duncann

This is probably the single most important thing there is as it relates to guitar playing, so it not only helps, but it provides the basis for everything that comes after. Constantly challenge oneself. Don't just play a note because that's what comes next in time, let the note tell you how to play it, and if you can't, figure out how and work at it until you can.

That's true for the modeling and algorithms, but the extra dsp can be used in such a way that can provide for tones that just aren't possible on the 500.

500 to 500X isn't meaningless at all. The extra DSP provides for substantially more creativity with effects while still using some of the more DSP hogging amps, which just isn't possible with the 500. If you don't use effects much, or dual amps/cabs/mics, then sure, the 500X over the 500 isn't worth it.

Or control both the position and mix, and when the pedal is in the heel position, it's effectively off, but always ready to go with no switch pressing required. Doing it this way does change the way the wah sounds a little though. Maybe you won't like it.

Line 6 chose to call the new feature snapshots. A scene would be the same thing, just a different word. A preset has blocks. The blocks have parameters. Snapshot one can have the blocks enabled and disabled in a specific way. The enabled blocks can have their parameters set in a specific way. Snapshot two can have a different enabled/disabled configuration than snapshot one and different parameter settings for the enabled blocks than snapshot one. Snapshot three can have... etc. Each snapshot can be recalled instantly with the press of a switch, while retaining reverb and delay tails. It's a different way of thinking about a guitar rig, and very flexible. It's also something that I don't think could be done with a real guitar setup. It's a big advantage of virtual rig.

They are clearly not the same just by listening to them. Cab and IR blocks have a gentler slope. As to the specific differences between them, in terms of equations, who knows? Probably Line 6 does. I just use whatever sounds best at the time.

Check the input block of a preset. You can now assign controllers to this parameter.

As a last attempt, maybe you could find another computer to try? You'd obviously have to install the drivers and updater on the different computer. Also, download the firmware file with a web browser and use offline mode if you haven't tried that already.

The newest factory presets are a part of the firmware, so no need to do anything except update. No auto volume! :angry: Just kidding. This is really a great update. I think it far surpasses what anyone was expecting. The new amp model seems quite versatile, particularly because the graphic EQ part of it is modeled as well.

If you aren't worried about forking over the cash as Perfect said, I also say sure. Go for it. It's a great enhancement over the HD in many ways. As others have said, the learning curve is negligible. For building presets, you can take the general knowledge you learned with the HD and have that be of use, but you can also gladly throw away the HD specific nuisances like the dual vs single inputs, EQs in percentages, and things along those lines.

For the PAD setting, use what you get better results with. I have DiMarzio Evolution pickups (around high-medium output) and turn PAD on, from the default of off. I used to use it turned off, but recently found, with my pickups, on provided a better, clearer, more predictable tone.

While I don't use Helix with any additional appendages, so I have no first hand experience with this, one of its design characteristics is that of adding external stuff. Helix has four mono effect loops, or two stereo loops, and whatever is in those loops can be put anywhere in the signal chain.

Add another. Helix already does pretty much everything it can with an amp. Any new amps they add are only going to add a subtle level of variety that most casual listeners wouldn't even notice. Filters are currently a hole, and I think they know that. I really hope they're able to add effect modifiers. That would expand the core functionality of all effects at once.

When I used the HD, I've used this cab in a couple patches. It's one of the better ones in there, along with the XXL. The amps I've used with this cab are the Soldano Crunch and Panama. Both patches also used dual mics, the 87 cond and 57 off axis. I also liked turning up the resonance and tweaking the thump and decay parameters.

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Maybe, probably, I'm missing something, but with all those conditions applied, what kind of realistic use would this provide?

I wouldn't rely on the waveform displays to tell you any useful information at all. In fact, they may as well be solid, rectangular blocks, with maybe the ability to change the color, or maybe add some neat optical illusory patterns to it. If you want to know a specific point in a song's timeline, put a marker on the timeline.

I use it with the gain somewhere between 25% and 30%. No distortion before it, only a tube comp with 55% threshold and 0% level.

Thank you for asking this question, I just learned something new. You could use one of the expression controllers, which would be CC1, 2, or 3. If you don't want to use one of those: 1. Select the block that has the parameter you want to control. 2. Hold the encoder under the parameter in question. 3. Turn the second encoder until it says MIDI CC. 4. Turn the next encoder until it says the CC# you wish it to be, which is arbitrary. 5. Change the min and max. That should be it. Don't know about FL Studio specifically on how to send the midi to Helix, I use Reaper.

As a temporary workaround, you might be able to assign keyboard shortcuts - or some other method - in your DAW to toggle the switches via midi. Hopefully they'll have this functionality in the editor in the future though. Voted.

You certainly play with a very pure sense of feeling, and it comes through. Great tone and chops. Thanks for sharing.

This isn't always a certainty either. Recently, I was reorganizing my presets, and about a week later I noticed one of my bass presets was no longer a bass preset. Unfortunately for me, I had backed up this state of things. As well as a backup of the backup. Ugh! Luckily the preset was fairly easy to recreate. Don't know what caused this to happen. I was using the editor to do the reorganizing by copying and pasting presets to new locations. That's it. The bass preset was named 'Bass', and it took me a while to notice things were wrong because even after the preset was no longer the bass preset, it was still named 'Bass'. Could be a bug. But if it is, I have no idea how I did it. So if you're moving presets around, if might be a good idea to double check to make sure things are correct.

Like Barks62, I tended towards the Soldano, but either the crunch or overdrive instead of the clean. I also liked the Line 6 Drive, the smoothest and least harsh, with either of those amps. But over time I started using the Tube Drive instead of the Line 6 Drive. I've always stuck a tube comp in there as well, before the amp and distortion. And then I got model packs and started using the Panama with the Tube Drive. The Panama has a very unique sound signature. It's my favorite for lead stuff by far. I'm surprised AlexKenivel was able to get the Uber to sound like it.

I suppose Helix could be intentionally made to sound like an HD, but, depending on the type of tone, Helix is noticeably not as flat, boxy, or small sounding. The differences start to diminish slightly the more higher gain the tone is, but even then the increased responsiveness to pick dynamics and volume changes are still there. A big difference between the two is with most effects, particularly the delays. Very clear and defined. The modulations are also very good. Not too long ago I did a comparison between the two units which you might find useful.

Does your DAW have any option to zoom in on the peaks without actually adding any gain to the signal? In Reaper, I think the option for that is shift-up arrow.