codamedia

These are general signal chains... not intended to be a definitive chain as there are always variances. The point is to show the discrepancy between the player and the intended listener. Shouldn't the goal be to get the best possible tone to the intended listener? (I am quite aware that for some, the intended listener is themselves) LIVE TONE Guitar choice Effects Amp Speaker Cabinet (1 speaker, or multiple speaker cabinets) (note: 3 and 4 can also be a combo amp) THIS IS WHAT THE GUITAR PLAYER HEARS 1 mic placed about 1" away from 1 speaker (regardless of how many speakers the cabinet(s) have) capturing about 1 square inch of sound based on the mic position on the cone. Console Input including a low cut filter Console EQ Outboard Effects (reverbs, delays) Depending on the system and sound tech... possible varying degrees of compression PA Speakers / Clusters THIS IS WHAT THE AUDIENCE HEARS NOTE: #5 and #12 are dramatically different. The player hears all speakers he is using plus the cabinet tone.... the audience only hears the MIC which captures a fraction of a single speaker and little to zero cabinet. RECORDING TONE Guitar choice Effects Amp Speaker Cabinet (1 speaker, or multiple speaker cabinets) (note: 3 and 4 can also be a combo amp) Multiple mics placed on the cabinet(s) and in the room to try and capture the full tone of the amp Now for each microphone used.... Console Input including a low cut filter Console EQ Outboard Effects (reverbs, delays) Multiple levels of compression through all stages of the recording stage (not optional like it was in the live setup.. there will be compression used) THIS IS WHAT THE PLAYER MAY HEAR THROUGH HEADPHONES, and the ENGINEER/PRODUCER HEARS THROUGH STUDIO MONITORS (a player can also stand in the control room and hear the studio monitors instead of wearing headphones) Final mixing and mastering as monitored through several sets of studio monitors Additional implementation of gentle EQ, Compression and Processing Dithered to CD/STREAMING Qualiity THIS is what the buyer gets to hear The joy of the Helix is that it can do everything in each chain... it doesn't stop at the amp/cab! Most guitar players struggle with what happens "after" the cabinet (that starts with mic choice/position) because they are not familiar with those stages... even though that is what they hear on recordings and many/most live shows Guitar players get used to a sound (see live setup step 5) and often INSIST that is what a guitar should sound like. There is nothing wrong with that... but they should be considering the next stages as well. Myself... I try to create the best sound for the intended listener and to do that I like to create my tones from the listeners perspective in those above lists. My live tones (that I hear) do not suffer from that approach... if anything they are better and more consistent from room to room, stage to stage. YMMV

Not sure that it's truly worth a submission but I guess it can't hurt :) Done! https://line6.ideascale.com/a/dtd/Please-Unify-the-Revision-Numbers/960096-23508

This really isn't earth shattering, or important. But I was just wondering.... If the 2.8 update is meant to UNIFY everything, why is Helix Native only at 1.8 I do realize that Native came later than the floor/rack/LT.... but it's been around longer than the Stomp (and possibly even the Effects) yet both of those are at 2.8. It can't be because it's software... HX Edit is 2.8 I would think if you were going to unify everything, you would start by giving everything the same revision number so identifying different versions would be extremely obvious.

I'm an LT user.... but I've always found the 6 block limit on the Stomp to be an odd number.. and very limiting. Even though I don't own a Stomp.... I will upvote your idea.

I see... just open springs on the back. Since it's a build.... have you considered a small rout for a 9v?

I love reading a post like this because it means you "get it". You might not know how to accomplish your goal yet, but that will come now that you understand the process. Thank you for keeping an open mind... not everybody does!

I own a 300 and never got along with the neck. I replaced it with a mid 80's maple telecaster neck I found and it made a world of difference. Far less expensive and much easier than a complete transplant :) BTW: Thanks for the update on your status... glad to hear it all worked out fine.

I.T tech here.... changing ports, uninstalling old drivers, different cables, etc... etc... is definitely the most common problems/solutions related to any USB device. It just may not have been YOUR problem.

The warning from the manufacturer is correct and will apply to either product... but it really doesn't effect the HX line at all. Phantom power will not DAMAGE the HX, it just degrades the tone. At worst.... the HX won't sound it's best for the first 5 seconds. That warning applies more to something like an old ribbon mic that would DIE immediately if it saw any power. I'm sure you know this.... but just in case :). The Stomp uses TRS, not XLR so first you will need a TRS > XLR adapter... then attach the phantom power blocker to the XLR end - not directly to the stomp. The mic cable will then connect to the Phantom Blocker.

The short answer is ... no. The Line 6 Variax guitars (at least the 1st gen guitar... not sure about the later ones) could be powered by an XPS Box through a stereo cable so you didn't need to consume batteries. I assume it is something like that you are talking about. You could likely wire your guitar to use something like the XPS, but since you are looking to avoid the extra box we are back to the short answer.... The Helix does not provide 9 volt power through a stereo cable. There is a long answer, but I don't recommend it. The Helix Floor/LT/Rack all provide an VDI port - and that VDI port does supply 9v. in theory, you could likely build a cable that pigtails to utilize the power of the VDI. If successful, your guitar will forever have to be used ONLY with the Helix. If unsuccessful you could damage both the Helix and your pickups - throwing any warranty on either product out the window. IMO - neither of those sound very good to me. This confuses me. You use the trem so you can't use the cavity as a battery holder (I get that part).... but you also say you don't like the "back plate". Are you saying you built a strat with a trem that doesn't use a back plate... or you don't want to use the Fishman's replacement backplate that includes a rechargeable lithium battery pack? If it's the latter, I need to ask why? IMO that is a very practical solution that keeps the guitar self contained.... without the need for a dedicated power source AND a TRS guitar cable.

After loading the preset did you restart the Helix? If not.... the preset will not have been updated from it's original version to the new format.

That is definitely the 300... Even with a 300... 1: You should have gotten an XPS MINI power supply and TRS cable (I think the 600 uses a standard XPS, not the footswitch version) 2: You should have gotten the 6xAA battery cradle 3: I am not 100% sure... but I believe you should get the VDI to USB adapter... otherwise there is no way to edit it without a qualifying POD.

As stated above.... if you are trying to update your Helix to 2.8.... follow the instructions, don't try and go it alone! If you are not trying to update to 2.8 and have other intentions... I suspect you may have downloaded the Windows versions to your Mac.

I haven't updated my LT yet... but I have updated Helix Native and gave things a quick spin. The new amps sound great. The POT and KOT will certainly get use in my setup.... as well as the Zen I am really looking forward to utilizing the snapshot bypass on some effects. .... but the biggest impact for me is one of the "less fanfare" items in the update.... the TILT EQ. Exactly as I had expected.... place it after an amp (or cab if you separate them) and it finally gives you something akin to moving the mic position from "center" to "edge" as you lower the setting. I am shocked at how great it sounds in that usage.... far better than I had even hoped. For my preliminary tests all I did was raise the frequency to 3K... then lowered the EQ's parameter to taste, usually about -40 to -80.

This just means that the volume pedal is assigned to be controlled by EXP1... same as the wah. Open the Volume Pedals controller settings and change it to EXP2. Simply plugging in an external expression won't solve this. Another possibility... If this is a 3rd party preset the creator may have assigned the AMP volume to EXP1 as well. Therefore it seems like it works like a volume pedal, but it is really controlling the amp volume. In that case you need to remove the controller setting from the amp volume.

Proof that nothing good ever happens beyond page two of a thread... I stepped out for 16 pages and return to find a divided community with an unhealthy dose of passive aggression. Sadly, it's difficult not to look at a crash scene!

The "old school" method of re-amping broke every rule in the book. In it's earlier days they didn't track a dry guitar so they could try different amps later, they simply tracked a guitar part & whether it was through a Vox, Marshall, Fender, etc... was irrelevant. When the producer later figured out the tone didn't work they would run the signal into different amps to change the color of the tone. With that premise... amp stacking makes perfect sense. Myself... I often use cabinets/mics/ir's as a form of EQ prior to an amp. EG: Running a greenback cabinet with an RE-20 mic prior to an overdriven amp really warms up the tone substantially.... allowing you to push the eq's on the amp very differently than you normally would. Guitarists have never followed the rules in the past, so why follow them now. Go ahead... run cabinets into amps, amps into amps, amps into overdrives, etc... etc... the consequences have been eliminated with a modeler... you won't blow it up! If I throw one caveat at this... I find it very beneficial to know the rules before breaking them... YMMV.

To clarify, you are looking to setup a mono chain for one loop in the PCB, and then a Stereo chain for a second loop? That wouldn't be difficult, but it will require one of the following in the Stomp A mono send block & a stereo return block (consuming two of six blocks) or A stereo loop block (this is what I would use to converse blocks) In option two you chain could be as follows.... PCB Send > Stomp Input > insert mono effects > Stomp Loop 1 Send > PCB Return PCB Stereo Send > Stomp Loop 1/2 Return > insert stereo effects blocks > Stomp L/R Output > PCB Stereo Return If I have misunderstood what you are looking to do, please disregard :)

Is your global EQ accidentally engaged... with a low end push. If not... can you share your patch so we can take a better look at it?

During the install of Helix Native it states.... "NOTE: The VST2 plug-in installation location, if installed, will be determined by the user during the installation process." From there you are given the option to install a VST2 version, a VST3 version and an AAX... then choose a location for the VST2 DLL.

If you are actually wanting to dump the amp and just run the HX Effects into the FOH, it's not that easy since the HX Effects doesn't have amp simulation. You need a Helix or HX Stomp for that. If you are still running your amp on stage for yourself, then for simplicity sake I would run it like this.... Guitar > HX Effects (load effects just like a pedal board here) > Load a LOOP block on the HX > HX Send 1 to Amp Input > Amp Send to HX Return 1 > Load IR in the HX > HX Output to Direct Box / FOH This gives you a pedal board of effects prior to the amp (like a standard pedal board would be), the amp will still create sound for you and send it's preamp tone to the HX return, the IR will provide the speaker sim for the FOH. No more simulation needed.... it's your effects with your amp. The only difference is YOU hear the speaker on the amp, the FOH gets the IR. You can get more complicated with a 4 cable method (one more return to the amp) but then you need a 2nd SEND block on the HX or a split of the left right output and the IR on a separate path to keep the IR away from the amp. It's all up to your comfort zone with routing.

This is all very interesting. Has anyone tried Helix Native in a VST2 environment to see if it responds to program changes there. By default I would think most modern DAW's would load the VST3 versions... but I'm pretty sure you have a choice to install "either or both" during the Helix Native install routine. If program changes work with a VST2 install then at least it would be a work around when needed.

Are you plugging the HX Effects into the clean channel of the HRD? If so... I'd suggest the Tee-mah (Timmy). It will add a touch of thickness/edge to the tone and you can vary the amount of overdrive. If you are using another amp, we likely need to know the setup before making a suggestion.

I don't know why lowering the mix works... but it does. In theory, a real wah does not have a MIX control so by default it is 100% when engaged. But on the Helix (and the HD500 before it) lowering the mix is crucial to getting great wah tones. A common trick on real wah pedals is to move the pot so the "top high range" is lowered. This is accomplished much easier on the Helix by lowering/adjusting the FC high parameter. Fine tune that so your toe down sits in a sweet spot and doesn't get too shrill or biting.

That has to be a bug.... I can't imagine it was designed with that intention. If I were you I would prepare a recipe to re-create this problem with a simple patch and submit it to Line 6. If they can reproduce it... it's the first step to correcting it.