rd2rk

From the LIVE manual: 1. The Meter shows both peak and RMS output levels for the track. While monitoring, however, it shows peak and RMS input levels. Peak meters show sudden changes in level, while RMS meters give a better impression of perceived loudness. Article on optimum input levels for recording: https://www.sweetwater.com/insync/ideal-level-record-tracks-daw/#:~:text=For dynamic tracks%2C the recommended,during mixing%2C and so on. Excerpt: For dynamic tracks, the recommended level — offering a good compromise between resolution, strong output, and headroom — is between -18dB and -12dB. This allows plenty of headroom for transients, dynamics, and level spikes, and is low enough that there’s room to boost EQ, add level during mixing, and so on. but it’s still hot enough to provide good resolution and level. ------------------- I'm showing PEAK around -12db and RMS around -24db in LIVE. Your latency will depend on your CPU's power. Set the lowest buffer size possible. On my 7th gen i7 laptop that's 96 with a simple project, 128 with a larger project. That results in RT latency of 9ms at 96 (48k sample rate) and 12.2ms at 128 as reported by the DAW. The generally accepted (RIAA study) threshold of perception is 10ms RT. Helix adds 2-3ms and if you're using digital wireless that can add 3-6ms. Unless you're playing through a plugin, don't monitor your recording through the DAW. Monitor direct from the HXS. If your CPU is not up to the task (or your computer is not properly optimized for use with a DAW) this could be the source of your "distortion". Latency is irrelevant during playback regardless of ITB processing (plugins).

Nobody from Line6 hangs out here. Post your wishes/suggestions HERE: https://line6.ideascale.com/c/ Do a search before you post and vote for all of the similar requests that have already been made.

@PerS- see my reply to @amsdenj, and thanks for the kind words!

So, I repeated the tests I did 2 years ago. You're right, and I was right, the HF driver only functions in Flat and User IR modes. Whatever it was that was causing my problem this week, it was not that. Since I never use L6 Link control (always MIDI) it wasn't the link bug either. I'm putting it down to temporary insanity. :-P

Not to worry, and even if you could tell by S/N (I don't think so), they're not going to fix it if it's not broken. If you bought it new it should not be a problem, the issue was resolved a long time ago. If you bought it used or it was sitting in store stock for a VERY long time, it might be from before they resolved the issue. In either case, if it breaks it's covered by warranty, even if purchased used.

If touch is enabled in Global Settings>Footswitches>Stomp Select, when you touch an assigned FS the display goes to that FS's settings. If you maintain touch for a moment the display switches to the options available for that FS. RTM. If it's only assignment is in Command Center (not simple BYPASS), then the display switches to Command Center. Above is how it works on Helix Floor. It may be slightly different on the LT, so RTM. When parameter values are bracketed and in white that means that those parameters are assigned to Snapshot control and may or may not be different from SS to SS, depending on the values when the SS is saved.

I have previously posted that the HF Trim is supposed to be OFF in Speaker Emulations. I was wrong. From the manual - SPEAKER MODE PARAMETERS Intended to respond like a real guitar speaker for a traditional "amp-in-the-room" experience. This mode applies different tonal characteristics of the selected speaker model to the system's coaxial driver, with the following adjustable parameters. IOW - What makes a Speaker Mode sound like the speaker is the EQ applied TO THE COAXIAL (HF) Driver, NOT the LF Driver as I previously thought. I've gone back and attempted to correct my previous posts, but may have missed some. My apologies for any confusion I may have caused.

AFAIK, FLAT (FLAT STEREO on the 212) does exactly that: FLAT MODE PARAMETERS Essentially full-range, flat-response, and equivalent to the signal being sent to a front-of-house mixer. This mode is most helpful for simple plug-and-play compatibility, letting your amp modeler do all the work. This mode is ideal for simply plugging in as if you were connecting directly to a PA, active monitor, or recording interface. It provides a flat frequency response, ideal for guitar signals that already include cabinet emulation or for playing back music and backing tracks. You're right about the baked-in 57 being on the plain PC112 only. As for the MODES, after re-reading the manual I've come to question much of what I've thought I knew. It seems that, long ago when I FIRST read it, I missed this: SPEAKER MODE PARAMETERS Intended to respond like a real guitar speaker for a traditional "amp-in-the-room" experience. This mode applies different tonal characteristics of the selected speaker model to the system's coaxial driver, with the following adjustable parameters. IOW - What makes a Speaker Mode sound like the speaker is the EQ applied TO THE COAXIAL (HF) Driver, NOT the LF Driver as I previously thought. I now need to go back and try to find every post where I've said that the HF Driver is OFF in speaker emulations and correct myself. Another thing I've realized after extensively testing it today using the panel controls (vs L6 Link) is that the level differences between the speaker modes were not L6 Link errors, but actually designed in to compensate between the apparent (to our ears) levels of the different speakers caused by their differing EQ curves. I think that I'm going to go back and DELTE every post I've ever made about the Powercab. Then I'll take the time to thoroughly test what's happening with L6 Link. Like most humans, I hate to admit it, but I may have been wrong about much of what I thought I knew.

Where are your HP connected? Is that the ASIO Device in Cakewalk?

DD's suggestion is probably your best choice if you want to add HW to your setup. The SW suggestions I made are only practical if, as I said, you're already tethered to a computer anyway.

Short of using 6 ICs all set to the same PC but on different channels (wasteful and time consuming) one solution I can think of is a BOME Box and MIDI Translator Pro software - a cost altogether of over $300. Bome Software | everything sounds. It's possible (if you're normally tethered to a computer anyway) that the SW ($65) can be used without the HW, and there's a trial version. Another possibility might be (again, if you're normally tethered to a computer anyway) something like Cantabile which IIRC allows for this sort of MIDI mapping. Cantabile - Software for Performing Musicians (cantabilesoftware.com) There's a FREE Lite version. I used this a long time ago and it's quite good.

Yes, you can use one of those (I have a couple from WAY BACK in the days when a guitar amp did double-duty as a PA) into a RETURN, but it's not the same as using a proper pre-amp, which is why I suggested using the Behringer for that purpose into the LT as AI to the DAW.

Every DAW I use allows you to record a Stereo Input to a single stereo track. USB 1/2 as Input is 1 = Helix LEFT; 2 = Helix RIGHT. If your Output Block is centered and your cab's speakers are panned hard left/right, that's where the signal goes. I setup a test preset with a Double Nrm (defaults, Channel Vol at 9.5) and Grammatico 1x12 spkrs, the dual cab panned hard L/R, using a 57 off center and a 4038 on center, both at 1" back. To get an even average signal from both on a stereo track in Reaper using Inputs 1/2 I had to cut the 57's level by 5db and boost the 4038's level by 6db. This resulted in an average peak input level of -18db which is optimal for recording - leaves lots of headroom for mixing. As expected, the 57 (left) peaked slightly higher on the trebly sounds and the 4038 peaked slightly higher on bassy sounds. I'm not sure if this helps you, as I'm not clear on what you're listening for and I don't have your ears, but it seems to demonstrate that there's no summing going on when the cabs are panned, and that there's a true stereo signal hitting the track. Here's the preset if you want to test it. guitarboy.hlx

Yep, that'll work, as long as your computer is powerful enough to use a low buffer setting for decent latency - (64 = <>7.5ms).

If you can get around the wiring problems, you can use the LT for everything, and use the Behringer as a MIC Pre: Set the LT as your Playback device in Windows. That means connecting the speakers to the LT. That takes care of your PC sounds (which should be OFF for using a PC as an audio workstation - Google PC Optimization for DAW) and streaming. Set the LT as your ASIO Device in Sonar. Be sure to check all of the I/O boxes. In Global Settings>Ins/Outs set "Re-amp Src 7" to GUITAR. Record the WET guitar signal from USB 1/2 and the DRY signal from USB 7. Run the Behringer's MAIN Line Out Left to RETURN 1 on the LT and set the Behringer's MIX knob to IN (full counter-clockwise - RTM - and the STEREO/MONO Switch to MONO. This routes the MIC signal directly to the Outputs, effectively making the Behringer a MIC pre only. In your LT Presets, place a RETURN at the end of the signal chain. Pull it down to split the Path, then pull down the MIX Block to complete the split. Make the Split Block A/B and route the signal 100% A. This sends your guitar signal to the Main Outs and USB 1/2 for recording. Make the Output Block on the split USB 3/4 or 5/6. You can add FX after the RETURN Block if desired. Record the MIC signal from those USB (3/4 or 5/6) Outs. EDIT: In order to monitor both the MIC and GUITAR signals from the LT Main Outs and HP, place a SEND 1 Block last in the MIC signal chain. Place a RETURN 2 Block last in the GUITAR signal chain. Patch SEND 1 to RETURN 2. Use the MIX parameter of the RETURN 2 Block to set the MIC vs GUITAR level. Attached is a demo preset. lasthidingplace2.hlx

Do you know what packages those presets came from? Do you own the licenses for those packages?

The PC112 has 6 speaker models. The PC112+ has the same 12 models as the PC212+. The PC212+ is also stereo and you can mix the speaker models. - V30+GB for instance.

Not possible. Tone is ENTIRELY subjective. One person's killer tone is another person's hot garbage. The final playback system is a HUGE part of the sound. What sounds great through one person's $3k Genelec monitors sounds like trash through a pair of $50 3.5" computer monitors. Your Marshall amp sims might sound great through the FX Return of a DSL40 Creamback, but your Fender amp sims probably won't sound all that great through the DSL40. Neither is likely to sound great through the input/preamp section of a no-name transistor amp with an 8" speaker. Some companies do factory presets better than others. FAS, for instance, tends to score better. I would contend that if you can afford an AXEFXIII, you probably have a decent or better playback system. Factory presets are, IMO, mostly intended to showcase a modeler's capabilities. They are not intended to showcase tone so much as "How To" technique because, all of the above, and NO modeler I've ever seen has a "Use THIS preset for INSTANT GRATIFICATION even through a $30 pawnshop boom-box!" preset.

I hate to be the bearer of bad news, but I seriously doubt that there's a team in Calabasas dedicating L6 resources to making Helix amps that sound like the old HD500 amps. Some of the Helix amps were, in fact, ported over from older devices, but (IMO) they sound better, as do the "legacy" FX. It's new tech. It just sounds different. FWIW - I think the Helix Twin emulation and new cabs sound great. Try different MICs and distances. Try the Tilt EQ. Lots of tonal modifiers in Helix. Work with it. It might never sound perfect, but then, you still have the HD for "those" songs.

Worked for me. Are you accepting cookies?

I'd start by using a MIDI monitor to see what's coming from your MIDI track. One by one, load your songs and run the MIDI track while watching the monitor to see what's being sent. If you use a MIDI Monitor such as MIDIOX (free) that allows you to color-code the message types the errant program change should be easy to spot. You can set MIDI THRU to ON and capture the track output that way if you don't have a suitable plugin MIDI Monitor.

Nobody from L6 hangs out here. Post suggestions for new features here: https://line6.ideascale.com/c/ Do a search first and vote for all of the previous suggestions by folks who didn't do a search first.

The Input Block of each preset has a "pad" switch*, and this is its purpose. It can be set to Global, Preset or OFF, and can be toggled with a FS or SS. *My Helix Floor does, as does my HXS, and I believe the LT does also. It's not listed in the manual, but IIRC was added around v3.10.

I'm having a bad week...

Global EQ can be applied to 1/4" and XLR, but not either/or. Using an EQ block in a split path you can use the XLR Outs at the end of one and a 1/4" (with the L/Mono Out) at the end of the other. An interesting use of the HR and HS7s is to use the HR as the dry component of a WDW configuration by placing a SEND between the PRE and POST amp FX like this: Guitar>Helix Input>OD/Dist/Mod>Amp>SEND (to HR)>Mod/Delay/Reverb>XLR to HS7