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Everything posted by codamedia

  1. Correct... but please be aware this is a very new feature and you just posted this answer to a zombie thread from 2016. Nobody overlooked it back then, it simply didn't exist.
  2. IMO... upgrading to a floor just for SPDIF ports isn't a wise investment. Have you used SPDIF in the past? It can be problematic. There are special cables required (it only LOOKS like an RCA, it isn't RCA) & there are clock rates to consider. Yes, plug your mic pre into a RETURN on the Helix.... win/win! You already own the LT and the Mic Pre. In that scenario, there is a conversion happening... the MIC PRE is converting the analog mic signal into digital, then sending to the HELIX Floor SPDIF input. If you connect your mic pre to your LT RETURN.... that is all analog, the Helix is doing the conversion to DIGITAL. The END RESULT is that there is only ONE analog to digital conversion taking place. The LT route will be just as pure as the Helix Floor / SPDIF route. All that said... I'm a big fan of keeping the Audio Interface separate. If you really want the SPDIF option I would put the price difference of an LT > Floor into a dedicated interface instead. @rd2rk has already made some great suggestions and points on this subject earlier in the thread.
  3. The only way to do that is to follow the advice from @phil_mabove. That's exactly how the original "King of Tone" operates... two "prince of tones" in one box. This is really easy on a Helix Floor, LT or Rack HOWEVER... you can engage the 1st drive with the footswitch (on/off).... then ADD the 2nd drive on another footswitch by assigning the "LEVEL 2" value to a footswitch. You will not get the 2nd drive by itself, but you can add it to the first drive when needed. This options is best if you have limited blocks... such as a Stomp or HX Effects.
  4. Just so the OP understands.... the choice of LEGACY effects is not the reason he can't sort out the timing.... they have the same timing options as the HELIX effects do. Even with those old effects, you can still choose a fixed time or a time subdivision that is linked to tempo.
  5. Yes - the OPTO Trem can be set to a separate speed than the the "tempo".... and it also comes with subdivisions just like delays and other modulations do.
  6. There is nothing wrong with keeping it simple... but it almost sounds like you might not realize how capable the HX Effects really is. Watching a few video's can go a long way into expanding your knowledge.... take it slow, you don't have to learn it all at one time.
  7. You have a lot of options to accomplish what you are after. The only effects that are tied to tempo are the ones YOU tie to tempo. You can set a hard value to any effect you want... many set different "fixed speeds" to tremolo, phase, chorus, etc... etc.... and never tie it to the tempo. You can also do that with delays. Another option is to simply set different divisions to each effect when you do want it tied to tempo. One delay can be set to 1/16 note (fast), some to 1/8 or 1/4, and some to dotted 8th (syncopated).
  8. Il s'agit probablement d'un problème matériel. Je vous suggère d'ouvrir un ticket d'assistance auprès de Line 6.
  9. No, you can't do this directly... but indirectly, here is how I approach something like this. Both delays are loaded on the preset The same footswitch is set to control the MIX level on BOTH delays (MIN = 0, MAX = <whatever level you want that delay to be when on> The snapshot determines which delay is engaged. Pressing the footswitch will raise the MIX on both delays to the appropriate level, but only ONE of the delays is active so that's the one you hear. Clarification required... but I think you are asking how to get the tap tempo working :) For TAP Tempo to work, the delay must to set to a time division. Each delay has two "time" modes. One is in MS (milleseconds)... which is a fixed setting that can't be tapped.... the other is set to a time division (1/4, 1/8, dotted 8, etc.... etc...) which is what you want. And no... unless I am mistaken you cannot assign Tap Tempo to another footswitch unless you get into some midi tricks.
  10. I would have never expected such a drop from a 2mm change. Thanks for those tests/experiments and insight... that is a great little article.
  11. codamedia

    Digital noise

    You should not be sharing a preset that someone is selling! I won't download it out of principle! You need to attach an audio sample of what you are hearing. He's not the designer... it's a preset he says he bought.
  12. Make sure the contour button is NOT turned on. You must set this for flat response when playing louder and when preparing tones. Lift the headrush off the floor, even just a little. Prepare your tones at louder volumes... (more on this later) When you create your tones at home... you are creating them at lower volumes and introducing the "Fletcher Munson Curve" into your sound. The result is always the same.... you think you create a great tone but when you turn up your tones get boomy & thin and you can't hear them. Turn down the highs Turn down the lows (possibly a fair amount) Turn up the mids note: steps 1 - 3 happens naturally when you prepare tones at louder volumes. At lower volumes the tone might appear to sound small & lifeless... but as you turn up, it will sound bigger and cut through a mix.
  13. STEP ONE: If the mixer has phantom power engaged... that "can be" the result. Turn if off on your channel and it if can't be turned off - you will need to use a Direct Box between your Helix and the FOH/Monitors. The Helix does not like Phantom Power! STEP TWO: If phantom power is not the issue, then it is a GAIN issue. FOH & Monitor Consoles all come with "trims/input gain" controls, and many also come with PADs. The tech should now how to use those when required. If not - you still have options that you can control at your Helix. Set the BIG volume to only control what is given to the AMP.... This will set the XLR outputs to FULL.... (stay with me... this provides a consistent signal to the FOH) If the XLR outs are too HOT they are likely set to LINE... instead, set them to "mic/instrument level" in global settings. That will lower them by about 12db. If you still need finer control over the level going to the FOH/Monitors.... try this (only works if you are not using the global EQ) Engage the Global EQ on the HELIX Set it to the XLR outputs only Leave all EQ settings flat.... you don't want to change your tone. Turn the LEVEL of the Global EQ down so it doesn't clip the input of the FOH/Monitor board. Somewhere between -6db and -12db should get the job done.
  14. Do you have the Helix connected to Studio one as a "controller"? If not, I believe you need to do that for MMC to work. Also - when adding a controller to Studio One there are filter options.... make sure you are not inadvertently filtering the MMC commands.
  15. ^^^ this ^^^ FYI... a good quality DI to isolate your Helix from the FOH is never a bad idea. I've experienced grounding issues that the Helix XLR lift couldn't solve but an external DI w/lift did... and phantom power becomes a problem when the FOH board has a global "Phantom power switch" for the entire console. (notably... many mid to lower grade consoles, and certainly the older models of such) FWIW... I carried a phantom power blocker for a while... then decided to permanently mount a quality DI. I've never regretted the latter move which gives me isolation, a ground lift and built in pad.
  16. @gertroscam... IMO... Just ask the FOH/Monitor tech to MUTE your channel until everyone is ready. Nobody will get your guitar in their mix until the band it ready to proceed with sound check, at which point you should no longer be noodling/practicing anymore :)
  17. The janglebox is a compressor.... an IR is not capable of doing that action. It's could simulate the "high end" character of the janglebox, but not the compression. I haven't owned a janglebox so I don't know which compressor in the Helix would be most similar... but I'm sure there is something close.
  18. @i7718.... I see you have figured out the merge block with help from "phil_m"... I just want to offer another possible option. I don't know if this exists on the stomp, but on the Helix you do not have to MERGE the two paths back together.... just drag the lower path off the merge block and a new output should be created automatically. Once you do that you can set the output options for each path independently.
  19. That is called "stomp mode"... and yes it exists in the Helix just as it does in the HX Effects. The GAP when changing presets has options as well. Learning snapshots (mentioned above) is the best approach (IMO) but since 3.1 the Helix also has a mode called "preset spillover" that removes the GAP when changing presets. That option will cost you an entire DSP (path), but some find it worth the sacrifice.
  20. What a great resource for safely inspecting presets, setlists and bundles. Bookmarked for future reference...
  21. I'll assume that by "patches" you actually mean "snapshots"... which are like having presets within presets. Assuming you have a Helix Floor, Rack or LT... go to Global Settings > Footswitches > Preset Mode Switches Adjust those to have your screen display what you would like... If you want "snaps on top, presets on bottom" set this to "snap/preset" The flexibility of how to lay the controls out on a Helix allows users to set it up to their preference... what works for one person won't necessarily work for another.
  22. I fully agree about those early Line 6 manuals and pilot guides, they were really great reads that were very informative. Besides the Helix Help site & the Big Book of Helix mentioned already I have found this thread to be helpful along the journey. https://line6.com/support/topic/19961-helix-amp-model-gallery-real-controls-vs-invented/
  23. I'm not sure about the STOMP XL, but the Helix and LT can be set to use the returns.... I can't imagine they stripped that option from the Stomp. You cannot have the tuner listen to "returns" and "inputs" at the same time.
  24. Just to be clear... in my suggestions I think the BADONK or PANAMA would be a better amp choice since they have a lot more gain than the 2204, but those amps would need an added EQ to scoop those mids out - simply lowering the mids doesn't seem to be enough. Disclaimer... This is not my style of music or playing, I'm just going by the samples I heard on you tube, and loading amps into the Helix to see if I could get close.
  25. I'll admit, It's a scary thought... get to a gig, start it up and find it blank. Backups don't do you any good unless you have a laptop in your trunk to restore from. It appears to be very rare... I'll probably continue to play the odds that it won't happen to me. I always have a spare modeler on hand for emergencies, this seems to be a scenario that would qualify.
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