duncann

The easiest way would probably be to adjust the level parameter of the output block. No need to sacrifice any tone. There's also a channel volume on each amp which is a tone neutral volume control. Most blocks also have level controls. I have the volume knob maxed with the spdif output.

Do mild, harmless hallucinations repeat themselves? Hmm. Well, hopefully you get it sorted out sooner or later. Let us know.

Eventually, something is going to come along to greatly preen the human population in a short amount of time, at which time nobody is going to worry about the ethics of digital amplifier modelers, including the rambling guy in the video. On the bright side for him, now he'll have something new to ramble on about.

Sounds like an odd problem, maybe even a bug. Not familiar with Garageband, but maybe take a look at the options available for multiple takes, if there are any. In Reaper you can implode and exploded media items to or from takes. And if you have a number of takes and the track height is too small it will only display the selected take. You can show or hide empty takes. There's other stuff you can do too. But displaying a stereo take suddenly as mono is weird. I can't think of any reason why someone would want to do this, unless I'm completely misunderstanding the problem. Maybe someone who actually uses Garageband would know. In any event, it sounds like something specific to Garageband. I would suggest giving Reaper a try.

Make a copy of the HD500 setlist, rename the extension to .5xs, and load it in the HD500X edit program. Or just drag and drop the HD500 setlist to the HD500X edit program, over the setlist dropdown. Or click file -> open setlist in the HD500X edit program, set the file type dropdown to all files, and find the HD500 setlist. There should be no problems as far as any patches within the setlist go.

Don't really have a favorite one. It depends on the tone I might be after and it's surrounding context, and how well an effect like a phaser, flanger, or something else might work any given cab. But I do like most of the 4x12s and in particular the XXL, Soldano, Uber T75, Blackback, or Greenback25. I'll usually end up combining the built in cabs with a Rosen Digital Carvin Legacy for lead tones. For cleaner tones I find myself using two 1960 T75s, sometimes combined with the Taylor 314ce Earthworks IR floating around the web.

For some reason, bass players seem to be a shunned species in the ever increasing digital realm. Puzzling. The bass amp/cab models in the add-on pack are quite good though. I found making an acceptable bass tone a lot easier than the prior pre-bass-pack exercise in frustration. There's also plenty of variety with the added bass amps. Also, try the 8x10 Beast cab with a non-bass guitar. It provides for some interesting tones.

As far as I know, they were all constructed that way, with the exception of the ones ported from the older X3 Live (or is it the XT?) device, which includes the Octone, Insane, Big Bottom, Variac'ed Plexi, Purge, Agro, Smash, and Acoustic. These are amps that don't exist in reality and are Line 6 creations, and also don't have pre versions.

The mission pedals are like little toy tanks. For the floor unit, you can plug an external pedal in either exp2 or exp3. If you use exp2, the onboard pedal becomes exp1 only, so the pedal switch won't do anything. If you use exp3, the onboard pedal remains as an exp1/exp2 toggle. For a wah, you could assign the wah block to a footswitch to toggle it on or off. Maybe that's kind of cumbersome though. Another way is to assign both the mix and position to one of the expression controllers, for a wah, with the mix min value being around 30-45 and max 100 or maybe less. This makes it so that the wah is always on, but when the pedal is in the heel position, the wah sounds like it is off. I guess this would be a workaround to what you really want, which is something like an auto-engage wah.

You might be remembering that, but the source of the memory must be from somewhere else. :)

Thanks brue58ski.

One of the particulars of the HD is the EQs. If you're going to use them, they tend to clip internally very easily, especially after the mixer block. So it might be better to cut frequencies rather than add them if you can. It's probably good to pay real close attention to the level you're getting after each block in the chain by using a DAW meter or something like that.

I've never really used any version of the J-800 specifically, but generally speaking, take a listen to some clips of Helix's J-800 (shouldn't be too hard to find something) and compare that to the original J-800 in the HD. The metal pack version probably falls somewhere in the middle of the resulting gap. If it's anything like the 5150 in the metal pack, which I found to be much more lively and dynamic than anything else in the HD, including the Soldano OD, then I would expect something similar from the remodeled J-800. The 5150 quickly became my favorite amp in the HD. I must admit I've never really been much of a fan of modeled Marshall amps, or Fenders. They always seem to have a real flabby, muddy, loose bottom end that's difficult to dial out.

It seems the switching could be smoother than it is right now. I tried this and when turning the effects on, I hear an apparent split-second of interruption. It sounds like the dry signal is dropping out and fading back in for that split-second. When turning the effects off though, that's kind of bad. Not smooth at all. In both cases, on and off, I hear the same thing as gavoja.

Even if the power supply is connected to power and not connected to the HD, the light still lights. So it does sound like the power supply is kaput. You could try one of these: http://www.trcelectronics.com/View/Mean-Well/GSM36B09-P1J.shtml But I remember coming across some info on this forum about the output connector for this supply being slightly different in size. Might want to search for that to be sure.

I'd definitely be interested in how you did the cello. To attach a preset, click the more reply, or use full editor when editing a post. Then you'll see where to attach something. You'll have to rename the extension of the file, or just zip it.

Pretty straight-forward comparison. Helix sounded a bit more rounded and rich. The one with the chorus and spring reverb was quite a bit different, I would assume because of the effects, mostly the chorus. For choruses, there really is no comparison. Helix is by far better in that category. By the way, great work on the real-modeled amp compilation.

Yea. That's the name Line 6 gave to the non-model-pack JCM800. It's hard to remember the names of these things sometimes. :)

The JCM800 isn't part of the model pack. The 2204 is though. The 2204 is the JCM800 but was redone using the HX modeling method and then ported to the HD.

I guess I have limited to no experience with reverbs for vocals and snares. Is there really that much of a difference between a single-purposed reverb like that and one for guitar? I do notice that most of the reverbs currently in Helix can be made to sound similar to each other, depending on the settings of each. There are differences between them, but they are subtle, and become even less when you make the reverb felt, rather than heard, as mentioned above by Ka5par and Dshow. With you though about what kind of HX reverbs should be added.

Of course it is. Curious to know what that means exactly for specific effects?

When a switch has multiple blocks assigned to it, It's the effect that's selected within these assignments that determines the state of the LED. To cycle through and change that selection, touch, don't depress, the switch.

Same thing has happened to me several times. It might have been on the latest firmware, 1.10.0. Very uncommon occurrence. What I was doing at the time? Can't remember. A power cycle fixes it.

It being a beta application, I don't think that function is in there yet. How are you even copying it to path 'B'?

Could it be a side effect of a noise gate? Either the one on the input block or one put in the chain somewhere manually?