codamedia

Interesting... I wasn't aware of that. I recorded a cover of that tune on a 4 track Tascam 244 back in 1988... the link to the MP3 is below. All the guitar parts (clean and dirty) was the same Rockman I made these IR's from. Always With You Always With Me

When I normalized the IR's they ended being exactly the same. CLN2 is still just as quite. Even when I look at the waveform... there is no room to expand. If someone else can take a stab at it and try to make it louder, please do. Keep in mind... CLN2 has no cabinet.... and is extremely thin. This IR would not sound good with a dirty amp, it wasn't intended to be used like that. All the mids are ripped out, leaving nothing but emphasized top end. It does sound like it should.. which I guess is the important part.

You quoted my comment, but are you sure you are talking to the right person? Who said I would do it with just a reverb? I never claimed I would. I never posted any YT clip.... I don't know what you are talking about? Who are you and why do you question my ability!

Yes it is... I should probably add a normalized copy of CLN2 so it is more balanced with the other 3. Since CLN2's intended use was keyboards, acoustic instruments, even vocals.... it was likely designed to have more headroom (eg: quieter) to allow for those instruments.

Although the tone control is full on the reverb (settings in your opening post) it appears to be rolling off the tone of the guitar track, not just bathing it in wetness. I will have to check my XT Live when I get a moment to see if the plate reverb behaves like that as well. IMO - I wouldn't have any problem replicating this in the Helix.... but you already returned your LT so I don't think any tips will help :)

Not for a moment do I believe L6 has purposely "hobbled" the Helix. They prioritize features, and weigh the demands of the users. Do they get it right 100% of the time... NO! Do they get it right most of the time, I suspect so! I know I'm pretty happy yet I certainly don't have everything I want :) I've seen this very same worry in the past about stomps being allowed to "bypass snapshots". It was debated for several updates, and eventually happened once enough people started to grasp the concept. Nobody complains about the option now, but it was a heated discussion many times in the past! @SaschaFranck has been pushing the "global blocks" for a while now... and although I didn't grasp the idea at first, I am all for it now! The fact that L6 is adding "effect templates" is a step in that direction. It may not happen in V3, but the ground work could be set for V3.1 or V3.2.

Really? Not a good start to the forums! The response was a joke.... you obviously missed it!

Since this is a reverb found in POD Farm... I just dug out my old XT Live that I never use to see if the model is there. Sure enough, there is a "Large Plate" with the same parameters as indicated here. However, I have no idea if it is behaving or sounding the same (or even similar) to what is included with POD Farm. On the XT Live... with those settings, this is just a really short reverb. It stays extremely pronounced while playing, and decays almost immediately when you stop. Not a gate (as in "shut off"), but certainly an extremely steep envelope. Long story short, I don't hear anything that couldn't be done with almost any reverb within the Helix. If the reverb model is the same in the XT Live as it is in POD Farm, mine does NOT behave like this. The mix simply blends in the reverb as expected until it hits about a 50/50 mix of guitar and reverb when full (100%).

Based on those settings.... I would think it would be an extremely short reverb that simply encompass' the tone, and provides very little decay. That said, I paid no attention to the settings and just I listened to the sample he posted (yes in a mix, but still a sample) and based my assumptions by what I heard there. I agree, that would be nice!

If it's a glitch, then that is why it is not happening on the newer products. Don't blame the new products, you just happen to like the "mistake" in Pod Farm :) Loved and loathed by many. Most stand alone reverbs include "gated reverb" algorithms for ease of use.... but the best way to get the effect (and most control over it) is with a parallel path including a Reverb (often a plate style) followed by a Noise Gate.

IMO... (based on the audio samples you posted) The effect is putting a lot of air (space) around the notes, but without an identifiable tail (decay). This makes your guitar sound much bigger than when it is turned off. It's the closest thing to a "gated reverb" I've heard on a guitar tone. As for why YOU believe this is the perfect tone and feel? There is no science to this... you simply found a sound/feel that you love. There are countless guitar players in history that found their "magic sauce" and rarely is it the same device for each of them. It could be an echoplex, a memory man, a distortion +, an LA2A, an 1176, etc... etc... For you it happens to be the Plate Reverb from Pod Farm. FWIW: When I gigged with amps my "magic sauce" was a Boss CS-2 Compressor at it's minimal sustain settings. FOR ME, it did everything I wanted to the feel of the amp, regardless of what amp I was plugged into. Trust me... not many people agreed with me, but those same people likes my tone!

@roscoe5... glad you are enjoying the IR's, and taking yourself down a Tom Scholtz / Rockman lesson while you are at it. I was there while it happened... and tend to forget others were not :) Since you seem to really enjoy the technical side of things.... take a look at this interesting video. It's just a little insight to his mind. He was the ultimate tinkerer.... with a degree to qualify it.

Yes and no :) They used the Scholtz 1/2 Rack models which were a little higher quality, and more options. The X100 was the headphone amp... and very good, but not quite the level of the 1/2 rack models. That said... the EQ curves should be quite similar.

@roscoe5 has been very gracious is sharing some IR's he has created over the past few days. I figure this might be a good time to jump on that trend and share one that's been asked about a few times on this forum. I created these IR's from a Rockman X100 in order to capture that Tom Sholtz "Boston" EQ curve that is so hard to duplicate. This ZIP contains the four settings found on the X100.... Clean, Clean 2, Edge and Distortion. For best results... apply the clean IR's to a clean tone, and edge or distortion to an overdriven amp tone. In theory these IR's would replace the cabinet model so you should load an amp model without the cab... Any amp works fine, but for Boston style tones.... try loading a Plexi style amp To hear a comparison, load a 412 Greenback Cab after the amp... then toggle between that cab and the IR. The difference should be obvious. Clean 2 on a Rockman X100 does not include any cab simulation, but it is very enhanced in the high end. This may work good for acoustic instruments, and/or electrics with a direct sound. The attached ZIP file has been updated to include a louder (updated) version of CLN2 that has been discussed in this thread. (The zip also contains a readme file with suggestions for those that aren't sure how to get started with these) Rockman_IRs_Updated.zip

Hey, thanks for these! A friend of mine has a Cab Clone and I was going to borrow it to create some IR's... you just saved me some time - LOL! I agree completely with your assessment, these will provide an option that doesn't impart "mic coloration"... more just the raw speaker tone. i can't wait to give these a try!

My bet is that your input into Pro Tools (and subsequently Native) are actually a lot hotter than the guitar input on the Stomp. Ooops... EDIT TO ADD I see @phil_m has already provided a similar response. Note to self, "read entire thread before piling on" :)

If tracks "default" to mono, that suggests there should be a way to change it to "stereo". OR, don't accept the default and add a stereo track. If for any reason you cannot change a single track to stereo or add a stereo track, then you can still do it the old fashion way which is (IMO) the best way. Setup two mono tracks to record.... Set one track to record the Helix LEFT side Set the other track to record the Helix RIGHT side Hard pan each track left/right... Result = stereo

It is nice of you to share these... thanks for the offering! I will certainly try them out when I get a moment. FYI... -18 is a safe zone in the digital world that most of us are used to. Don't get caught up with a number being in the negative. Now for a real possible problem.... if someone needs to set your IR to 0 then loads a standard IR into that slot... they risk speaker and/or hearing damage! Just to do a simple comparison between your IR and 3rd party IR would require more than just swapping the IR. I would recommend something more in the -12 to -18 range to stay consistent with everyone else. Just my 2 cents!

Outside of Stomp users with limited blocks, why would this be rough. Regardless of using 1 block or 3, It's still going to use the same amount of resources. Breaking it up provides more options to users. In this instance (JC-120) I'm not sure the architecture even exists. Every amp in the Helix is MONO.... a real JC120 is a MONO preamp with a Stereo Chorus, Stereo Power Amp and Stereo Speakers. FYI: Line 6 uses ideascale for feature requests and there is a request for this already there that you can go upvote. (registration is required, but free) https://line6.ideascale.com/a/dtd/Add-amp-s-specific-effects-into-the-amp-block/919491-23508

I could be wrong... but I think the HD Effects were essentially the M Series... maybe with some minor variances. I could be wrong again... but I think the XT/X3 were the same effects as the DL-4, FM-4, DM-4, etc... If so, some were ported over to the HD/M Series and would be included as legacy, but other may have been dropped completely. If I am wrong, I hope I am corrected :)

Strictly just an opinion.... coming from an LT owner. There is no question the Stomp is a higher end product with more "pro options" than the Pod GO. But unless you need those "pro options".... the Pod GO could very well be the better product for certain users and only the end user can decide that. Myself.... considering a backup for my LT... I would lean to a Pod GO. But that is "ME"! Not "YOU"!

It's a reasonable request... but Line 6 tends to keep everything separate to maximize resources for each user. Have you followed/replicated the actual chain for a JC120... which is placing the chorus between the amp and cab? If you put a chorus before the amp it collapses to mono, and if you put it after the speakers something gets lost. Neither will sound right. JC120 Amp (no cab) > Stereo 70's Chorus OR Analog Chorus (found in legacy, it's already stereo) > Dual 212 Rivet Cab OR create a parallel path and put a 1x12 on each path. If you split the paths, pay attention to the pans on the split and returns. The chorus must be stereo The chorus must be placed between amp and cab Optional: Add a stereo reverb just before or after the chorus for more depth The cab must be stereo to retain the depth of the chorus. You need to monitor the Helix in Stereo to get this lush effect.... because the real JC120 Chorus IS stereo! If you do that, I find it is extremely close to a real JC120. Similar to my example above. Try separating the amp from the cab then place a spring reverb between the two. This is also the best place for the "opto trem" to simulate how a BF/SF Fender really works. Unlike the JC120 Fender amps are mono... stereo works, but is not required for accuracy.

Congrats... you have figured out rule #1. Don't count on every effect to operate EXACLY like it's real counterpart. Some will, some won't. Does it really matter? In the real world I have never found two tube screamers that sound the same, or two AC30's that sound the same, and this list can go on and on! What does matter is that when you choose a tube screamer, it sounds like a tube screamer - regardless of how you have to set it.

Fast forward a few months.... I'm just providing a quick update. For anyone that likes a warm, thick, mid rich tone I would highly recommend taking a look at the RUBY IR's from Celestion. It's difficult to describe... they have the complexity of the Blue Bells (Vox Amps) with the mid depth of vintage green backs. I currently use the Ruby on about 80% of my tones and I am very happy with them. NOTE: If you like "glassy" top end...this is likely not for you :)

@GlennCohen.... Some people make the adjustment, others don't. Some focus on matching tones with the real gear, others focus on getting great tones from the Helix itself without comparison, or with very little comparison. No right. No wrong.... just different. I've been a touring guitarist since the early 80's and I've owned some beautiful amps over the years. I can honestly say my tone has never been more "consistently good" from venue to venue as it's been with the Helix. Sure.... I loved my amps (still own a couple beauties) and there are shows that my mind recall as being the "best tones I've ever had"... but not consistently. I don't A/B my Helix with my old AC30. I don't A/B my Helix with my old Vibrolux. I don't care if they are "the same". I just know that when I dial in an A/C 30 tone or a BF Fender tone on the Helix it is convincingly "those amps" yet consistently better than when I used to haul my amps and pedal board around. Just my 2 cents....