rd2rk

Not to mention the zombie problem......

Bad dog!

I don't have an MPC. I looked at the manual, and per page 317, it should be possible, using the "DAW REMOTE (MMC) Template (04C). I tried using this template to control Sonar, and never could get it to work. Good Luck!

I think what spikey was getting at here was that the "entitlement mentality" and urge to "instant gratification" among modern youth is not purely an American thing. As for his seemingly arrogant nationalist sentiment, I'd hope that it was more by way of a possible explanation for the phenomenon......... As an aside, this whole thing is veering dangerously close to the kind of political BS that we don't need on this forum! I always just assumed that somewhere there was a law about defective merchandise, but that beyond that, returns policies were pretty much at the seller's discretion. But if you look at the returns policies of the biggest retailers today, it's pretty obvious that liberal returns policies are more of a positive than a negative. I worked at GC in SF in the early 80's, and as I remember it, while GC was always willing to do a trade up, simple returns for refund were not always as easy as they are today. They also sold a lot more cheap crap than they do today. Anybody remember the "Stone" guitars? They weren't actually made out of stone, but they might've played better if they were!:)

Once upon a time, if you wanted gear, you went to a brick and mortar store, tried it out, questioned a knowledgeable sales person, paid your money and took it home. If it turned out to be defective, you could return it, otherwise it was yours. We were careful how we spent our hard earned money. Then came the internet. On line retailers could undersell the local music store because they didn't need to charge tax. What always ticked me off was that people would go to the local store, try out the gear, then buy it on line. Not happy with the boon they'd been given, and seemingly oblivious to the damage they were doing, the on line stores started offering no questions asked returns. The volume they were doing made it possible to work with the lower margins that resulted from the returns. The local stores are mostly gone, and those that survive, even the once mighty Guitar Center, are pitiful shells of their former selves. There are no longer any knowledgeable sales people, just teenagers who (most of them) couldn't care less about you or the gear they're selling you. I still do my due diligence before I buy, and if, miraculously, I can find the item I want at a real store where I can try it out, that's where I buy it. Here in Colorado, if you buy on line and don't pay tax you're required by law to declare it on your taxes and pay the tax. Most don't, but I do. So, when I buy something on line sight unseen, and decide to return it, I don't feel bad about it at all. The on line retailers made their beds, the bedbugs are their just reward. That said, I buy primarily from Sweetwater*. Their sales folks may not know everything about everything they sell, but they do get basic training, and if you ask something they can't answer, they'll find out and get back to you, and they rarely hassle over returns, unless there's obvious damage. If the future of music retail is on line, we could do worse, but those who take unfair advantage are still turds....at LEAST do your homework! *I tempt the wrath of the forum mods because the business NEEDS a model of how it SHOULD be done, and those who provide that model should be acknowledged!

Put the whammy in a parallel path routed around the delay?

From the manual: Inputs & Recording Page The Line 6 Audio MIDI Devices - Inputs & Recording tab 9 Record Sends List: Displayed here are the Record Sends for the current Line 6 device that will be available to your audio software. For POD HD Pro X you’ll see the one, stereo “1-2 Main Out” Record Send. 10 Hardware Monitor Level: This slider independently controls the volume of your processed Source Input tone output for monitoring (the signal fed to the device’s main outputs). It does not affect the level of the signal fed to your computer via the Record Send. This allows you to balance your guitar’s monitor level against the playback audio from your computer, such as when recording in DAW software. Your DAW software may also offer its own “software monitoring” function. You may want to use the DAW’s software monitoring in some scenarios, such as if you want to hear your guitar signal processed with plug-ins on the DAW track. When utilizing DAW software monitoring, you’ll want to set this Hardware Monitor slider to minimum to allow you to hear only the DAW software monitoring signal.

From the Kemper manual: MIDI Program Change Assignments and Settings On the next System Settings page, you can assign up to 128 MIDI program change numbers to Rigs in your Browse Pool. Sending these program change numbers from any MIDI controller will load the assigned Rigs. To do so, first select the Rig you want to assign a program change number to and then press the System Button. Navigate to “Browser Mode PrgChg” page using the right Page Button, select a desired Program Change using the Soft Knob labeled “MIDI PrgChg#” and then press the Soft Button labeled “Assign”. Use the Soft Button labeled “Unassign” to unassign a Rig. On the following page “MIDI Settings” you find more options and parameters, which are explained in detail in the chapter MIDI. From the HX Effects manual: 3 MIDI PC Tx Determines whether the HX Effects device automatically sends MIDI program change (PC) messages from its MIDI OUT port, via USB, or both MIDI and USB when selecting presets. This setting does not affect the sending of any MIDI commands manually assigned from the Command Center page. -------------------------------------------------- In the Kemper, assign PC#s to the Rigs you want to call. In Helix/Global/MIDI, set MIDI Tx OFF - this prevents automatic sending of the default PC#. In Command Center, set an INSTANT COMMAND to the PC# corresponding to the Kemper Rig you wish to call. Either set the Kemper to RECEIVE MIDI on the same Channel as the Helix BASE Channel or be sure to set the INSTANT COMMAND to the Channel that the Kemper is set to RECEIVE MIDI on. That should get you there!

You're right! I got what I bought! It's good to know that there are still people in America who believe in the time honored business traditions of false or misleading advertising and "Let the buyer beware". Maybe I can still sell that beautiful ocean-front property in Phoenix....I don't suppose you'd be interested? "What?", you say, "it's just a big mud puddle you've named 'The Arizona Ocean!'" So? Those retirees who invested their life savings got what they bought! As another respondent pointed out, it's not uncommon, lots of companies do it. That doesn't make it right, and it doesn't make me wrong for wanting to set the record straight.

You might want to read the entire thread....

Have you optimized the computer for audio? There are how-to articles on both the Presonus and Steinberg sites, and elsewhere I'm sure. Most important optimizations I've found are to use the PERFORMANCE setting in Power Options, and turn off wireless. If you need to be connected use a cable.

What do you mean by "EXT"? Using the Helix S/PDIF OUT to your soundcard (assuming no S/PDIF INPUT LEVEL control) for recording, with the big knob set to MULTI or DIGITAL, if the record level in your DAW is good, then no. If the signal is too high or low then yes. If the signal is too weak with big knob maxxed, you might need to up the patch OUTPUT setting. Or did I misunderstand the question?

Since the Alto TS series doesn't differentiate the inputs, it's a pretty safe bet that it's the always-on wide range preamp type configuration. So, unless the preamp significantly colors the sound, there would be no tonal reason to remove the preamp in the Headrush. That brings me to the conclusion that, either by design or cost restraints (crappy preamp used to keep costs down?), the TS series is NOT nearly FRFR (though a decent budget speaker for PA/DJ use), and it's a happy coincidence that removing the preamp makes it MORE FRFR so that it sounds better with modelers (IMO) than the TS. Increased profits through product improvement as a result of feature subtraction! COOL! Since the preamp circuitry probably costs all of $5, I can see why they didn't bother changing the price. All in all, a logical explanation, though likely not one they'll admit....bottom line, I didn't buy it for PA/DJ use, it sounds really good with Helix, and it's cheap! I think I'll keep it!

Wouldn't that be the same as the way that mixing boards handle it, one end of the knob being "LINE" and the other being "MIC", but the "PRE" always engaged at some level? Or am I misunderstanding how that works?

Not "bad-mouthing" at all. THEY marketed it as being especially made for use with modelers. That's more than just rebranding a PA speaker. If it's nothing more than a marketing scam, and you're OK with that, buy two. I don't think it's something they should be allowed to get away with. My intent is simply to post what THEY tell me, like I did here, everyplace that people ask "what's the best FRFR speaker to use with my MODELER?". I believe that I mentioned here (if you read the whole thread), and will mention wherever else I post, that it sounds really good. BUT, if it's actually a function impaired VERSION of a PA speaker, and you can get a FULLY FUNCTIONAL otherwise identical product for the same price, people should be aware of that. That's NOT bad-mouthing, that's spreading the true word, IN THE MFR'S OWN WORDS!

As I stated, difference was confirmed by mfr.. NO MIC PREAMP in FRFR-112! The only question remaining (to me, as an early adopter) is, were there any other tuning (DSP?) differences that the mfr's support person was unaware of? Or did I just get scammed into buying a feature impaired version of the TS312? IF, IN FACT, there IS a tuning difference between the two (FRFR-112/TS312), then there might be a solid reason to buy the FRFR-112 vs either the TS310 or TS312. If I were you, I'd put off jumping on the TS3xx series until I get a definitive answer from InMusic/Alto/Headrush. I already bought the FRFR-112, but if I'd known then what I still don't know now, I'd've waited! PerS - Your English is a lot better than my Swedish!

Confirmed by InMusic/Alto/Headrush support: FRFR-112 differs from TS312 in that the Headrush branded unit has no mic preamps. I'm currently waiting to hear back from them as to why anyone would want to pay the same amount for a feature impaired version of the TS312. It may still turn out that there are other tuning differences that the english impaired support person was unaware of.... I CAN say that the FRFR-112 sounds really good (I bought one before I found out about the mic preamps), though I can't directly compare it to the Alto line, as it replaced a TS210, which (IMO) tended to accentuate the harshness of some Helix presets and made EQing that harshness more difficult. YMMV. Also, as DD said, more expensive speakers have more DSP options. Not sure what PerS meant by "even smaler and larger" - they share the same cabinets as the TS2xx versions.

I just sent the following to the guy at InMusic/Headrush/Alto who gave me the initial info: "Sorry if it seems like I'm being obtuse or combative, BUT.... If the lack of a mic preamp is the ONLY difference, imparts no special tonal advantage, and both units are the same price, then other than the free advertising from the giant logo, I wonder what's the point of the Headrush FRFR-112? Being the same company, you certainly knew that the TS312 was on the way. Seems like a good way to give the Headrush brand a negative image, selling a lesser device for the same price? OR.... is there actually a voicing difference that you, personally, are unaware of? If there's someone there with a better explanation of what's going on here, you really should get them involved, because I'm 5 minutes away from returning this to Sweetwater and posting my experience on every music and guitar forum of which I'm a member (which is every one that matters). What gives?" ---------------------------- I imagine I won't hear back until Tuesday or Wednesday. I'm also going to let my Sweetwater rep know about it. If, in fact, this whole FRFR-112 thing is just a marketing scam, they're not going to get away with it. I'm not normally a vengeful person, but we deserve better than this!

So, if the lack of a mic preamp is the ONLY difference, imparts no special tonal advantage, and both units are the same price, then other than the free advertising from the giant logo, I wonder what's the point of the Headrush? Being the same company, they certainly knew that the TS312 was on the way. Seems like a good way to give the Headrush brand a negative image, selling a lesser device for the same price?

Actually, I'm feeling kinda burned. If the ONLY difference is that the FRFR-112 lacks mic preamps, I'd'a rather got the TS312 and had the additional functionality - without the giant Headrush logo. Does a mic preamp color the sound? Does using the 1/4" input on a powered cab like the TS series bypass the mic pre? Anybody know? I might buy the TS312, compare the two, and return the HR-112 to SW if I can't tell the difference.

FWIW - per Headrush/Alto support, the difference between the FRFR-112 and the new Alto TS312: "As mention in my previous email, The FRFR 112 is a full range/ flat freq response, ideal for monitoring and does not have any preamp built inside for microphone usage compare to the TS series from alto professional. That would be the difference between the two items." So, no built-in mic preamps means if you're using XLR, you need to set it to LINE. Otherwise, the only difference is the logo.

I use a Dunlop 535Q. Very adjustable for whatever sound you want. I'm selling it, and I'll never buy another Dunlop WAH. After not all that much use, the pedal action got floppy - couldn't leave it in a "cocked" position anymore. I looked for an adjustment, there wasn't any visible way to tighten it. I contacted Dunlop, and they generously offered to repair it for ONLY $75 (half the retail price), plus I pay shipping. I told them that that was outrageous, just tell me how to adjust it. They sent me directions to completely disassemble the unit (not a simple task), so that I could "try" tightening a strip of metal that goes over the axis rod. I could see that just by looking under the pedal, and it was as tight as it was ever going to get. In other words, THERE IS NO WAY TO TIGHTEN IT! I then looked at pictures of EVERY Dunlop WAH, THEY'RE ALL THE SAME! They sell millions of these things. Am I the only one who's ever noticed this flaw? Rant over.... It's going on Craigslist and I'll probably replace it with a Fulltone Clyde Deluxe. More expensive, not as wide a tonal range, but an obvious external adjuster for the pedal tension, and interesting buffer options. I've only ever used the Crybaby before the Helix, never tried it in a loop, because I don't want to be bothered adding a Loop to every preset.

Yes. Read the manual starting at page 35 - SNAPSHOTS>PARAMETER CONTROL

I'm pretty sure that you can't use the L6 Rack Floor Controller the way you described, but if all you want to do is allow the Guitarist and Bassist to control their own effects, you can use any old MIDI foot controller with standard MIDI barrel connectors. For instance, a Behringer FCB1010 can be picked up for $75 used. Just set up the Helix preset so that, for instance, FS1-5 control the Guitar effects, and FS7-11 control the Bass Effects. Set up switches 1-5 on the FCB1010 to Toggle CC#s 54-58. Make sure the MIDI Channels match (if the Helix Base Channel is 1, the FCB needs to be set to Channel 1). You're good to go! If you spend an extra $50 for the UNO Chip and ControlCenter Editor, you can even have the LEDs on the FCB reflect the ON/OFF status of the Helix effects! DISCLAIMER: I haven't tested this. If you're interested in this type of solution, let me know and I'll test it for ya'!

Glad I could help! Truth is, I don't really use it at all, I just know how. Before I had Helix, I messed around with computer based amp sims, controlling them from an FCB1010 and a couple of Korg nanoKontrols for the amp controls. MIDI is not rocket science, nor is it intuitive. But once you get the basics, you can apply them across whatever devices or software that you encounter. The hardest part, as you've discovered, is reading the manuals, which usually treat MIDI either as an afterthought (Line6), or as Quantum Physics (certain Roland and Yamaha synths). Potential uses for the MIDI implementation in Helix: Imagine that you're a solo artist, combining synths, sequencers and drum machines with your live guitar performances. Using Instant Commands, you could send preset changes to your synths, and start and stop sequences on any or all of them. You might use a VST Host such as Cantabile to create songs and setlists. You could, by selecting a single preset on the Helix, cause Cantabile to switch songs. Cantabile can then be programmed to send all of the Preset Changes to all of your synths and drum machines and start the song and play entire arrangements including sending further preset changes on all of the devices, including the Helix, without further intervention on your part. You could also change settings in any given device using the Helix Footswitches, even modify the pre-programmed arrangement within Cantabile (need a longer bridge to keep the people dancing? Repeat a section of the arrangement out of order? Cantabile is VERY powerful!). The only MIDI you can't send from the Helix is Sysex commands, useful for stuff that's way outside of anything I've ever contemplated. A simpler and very popular use is to control MIDI enabled devices such as the many excellent Strymon effects, placing them in the Helix loops. You could set the initial Strymon presets on multiple units, then use Snapshots to change those over the course of a song! There are composers who write entire symphonies using Synths and MIDI. Lighting rigs can be controlled by MIDI. Really, with MIDI, you're only limited by your imagination (and your budget!).