duncann

Keep in mind, that pedal is for Helix Rack specifically. The switch on it won't work with the floor version.

Can't speak for the L6 pedals, but the Mission EP1-L6 is great for most things. If you were planning on using it for volume, I'd say stay away from it because of it's short throw. Works good for wah, whammy and probably other effects where you don't require a great deal of precision. I think of it as a smoother way to transition from min to max for something, as opposed to a sudden jump from min to max using a switch.

There's also the ubiquitous mix parameter. That's sort of like having two switches for each effect.

You could actually plug a fairly simple switch into the extra expression pedal jack, making it separate from the other switches so you don't accidentally hit the others. It would have to provide around 10K ohms, slightly less, in one of its states. Then assign the channel volume of the amp, or other equivalent parameter, to EXP2 with the min and max values as desired. I haven't actually tried this, but I see no reason why it wouldn't work.

At first I noticed much the same thing. But as time goes by, I also notice that it's easy to fall into the same bad habits as before. Meaning I have a tendency to zoom in to minute little details. Details that could very well be imagined, and if not imagined are so small that they may as well be. This is with just working with an amp, cab, mic, and mic placement, mostly. Then comes the other aspect of effects, how to route them, and the settings of each effect. So while I agree that it is easier to dial in a base tone on Helix, the counterbalance to that is the available options. If you're a person that struggles with making decisions and generally has to see what's around the next corner, Helix can be somewhat of a hindrance because of all those options.

If you want them, here is a thread with a link to them here: http://line6.com/support/topic/20709-restoring-the-factory-original-presets-hd500x/?p=156476 Another way to get them is to reflash the firmware.

The Helix version is a bit more defined and the controls correspond to the controls that are on the real thing, unlike the HD version. It behaves like the real thing also, judging from videos of the real thing. But I actually prefer the HD version. The Helix version's pick attack is almost too defined and too clear and sudden despite trying to tweak it to a smoother state of being, whereas the HD version is somehow smoother and less harsh. Also, I swear I sometimes hear distinct steps in the Helix version as it goes through what it does. These two things are subtle enough, though, that I can overlook them.

Voted, but I wouldn't deprive yourself of any oxygen over it getting done. Usually for comparison I'll just end up using the daw: record something, change a setting, record that something again, etc. Then I just switch takes in the daw to instantly compare things.

Good work. Here's my take on the mics (which could be completely wrong from someone else's perspective): 409 Dyn: A tamer version of the SM57 Dyn. It doesn't cut through you as much and is less harsh, lacks the fizz the SM57 has, and is overall well balanced across the frequency spectrum. 421 Dyn: A brighter 409 Dyn but also lacking in some mids. 4038 Rbn: Emphasis is on the lower end of things. Also has a unique voicing that reminds me a little of a parked wah. 121 Rbn: Fairly dark, but well rounded. Similar to the 409 Dyn with less presence. 87 Cond: It's got an active feel to it, kind of like an active EQ on a bass guitar, or active pickups. It can be aggressive sounding with some cabs but overall has a fairly neutral character. 67 Cond: Brighter than the 87 Cond, but also less aggressive. Somehow a softer feel than the 87 Cond, even though it's brighter and a little more sparkly. Note that these descriptions are from what I remember as it pertains to the HD specifically. Since I've gotten Helix, the same mics from there are somehow different. For example, when switching mics on the HD there are drastic changes, but on Helix the changes seem minimized and not as abrupt.

Yes. This was a bug that was fixed a few firmwares ago. They also added an auto filter since then, which is basically a more tweakable version of the Mu-Tron, or mutant filter, more parameters exposed and easier to work with.

Paraphrasing Digital_Igloo, he isn't fond of the idea of paid for packs. Whether his position at Line 6 means anything for decisions like this...

:lol: :lol: :lol: Good one. Not cool pissing off musicians and astronomers. For people with hearing aids, it's gotta be beyond horrific. Why am I not surprised the company's name starts with a small "i".

Wow. That is really interesting. And unfortunate. Damn worse-than-useless technology polluting the airwaves. Tell the janitor to get off his lollipop and mow the lawn the normal way. :lol: Robotic lawn mowers. Sheesh. Figure out a way to sabotage it. Lol. Anyway, thanks for letting us know what was happening. Certainly not something you hear about everyday.

You can make it 120 seconds, by using it at half speed, but it will be only mono then. Not sure why it's limited.

Nice one! You really ought to get yourself some color changing LED lights. They'd provide some interesting ambiance for your videos.

Great idea. Wasn't aware the HD was capable of this. Wish I would have known. It would be great to have predictable results when working with modulated effects, particularly the modulation on delays. But the delays' modulations aren't based on the tempo, so I don't know how that would work.

You'll want the ones with 48 in the name. 48kHz sample rate. When imported, Helix will convert anything else, 44k, 88k, 96k to 48k anyway. Best of luck with the choosing of IRs. It's fun.

However you have it set, it sounds like that's exactly how it should be. Combined with the reverb, I really like how the tone itself adds to the mood of things, dynamically changing with a lot of lush overtones and harmonics. Or as you say, giving movement when stationary. Check out the new flanger, the dynamix, it can be controlled by an envelope, so it responds to what you're actually playing. It's kind of like the auto-filter but more flangerish sounding. Makes for some interesting tones.

Nice. It doesn't sound to me like anything is over the top. I really like that tone.

1. The parametric EQ has the most control. It will allow you to target a specific frequency and set the bandwidth around that frequency. The looper is certainly a good way to tweak that. Also, if you know there's an annoying frequency somewhere but not quite sure where, temporarily increase the gain on one of the bands and scan through the frequencies, hopefully making the offensive sound pop out at you. Now you should know what frequency you need to cut. 2. The only thing that comes to mind is the high cut on the cab block. I start at 10k, but it usually ends up somewhere between 7.5k and 9k. 3. You could use the EQ HC and LC as an alternative to the cab block settings. The cab block provides a gentler curve while the EQ curve is more aggressive for high and low cuts. It's probably easier to use one or the other. Using both can complicate things unnecessarily. But more likely, if you do use both, the EQ would basically override the cab settings. 4. You can certainly use the global EQ, but that's more for compensating for environmental conditions. So if that's not what you're trying to do, you'd be better off using an EQ block for a particular preset. The global EQ only works on the XLR and 1/4" outputs.

Passive.

And then there's that pesky cosmic microwave background!

If the action is fine, check the pickup height. If they're too close to the strings, the magnetics will kill sustain. I've got mine set so that when a string is pressed at the 24th fret, the space between the bottom of the string and the top of the pickup is about 2mm or so. Also, on the technique side, use vibrato to help continue a note's life. If the vibrato is intense enough you could even keep it going for eternity if you possess the physical endurance. On the guitar itself, make certain there is nothing loosely flopping around, like a loose tremolo arm.

My floor unit headphone knob provides ever so slightly more resistance than the big volume knob. Hardly noticeable. In fact, it could even be illusory because the knobs are such different sizes.

If Ray Kurzweil is correct, which he has been before, technology will very soon become a literal part of us. For most people reading these forums, that means within your lifetime.