duncann

That's interesting. I wonder if effects like delays and reverbs produce frequencies beyond what is put into them?

If none of those work, you're probably out of options except to get it repaired. No idea how much it would cost. It could be anything from the internal power supply, to a fried chip controlling the screen, to the screen itself, or anything in between. Hope you get it sorted, good luck.

Left for global reset (try this first) Down for update flash mode (try this next) Right for calibration

I've done that in the past with the HD, and while it may be passable, it's hardly adequate, depending on your level of perfection, or what the track might be used for. A cheap bass (< $100) is better than an emulated one, by far. As primarily a six-string electric guitarist, before I spent the money on a decent bass, like you, I had no desire to buy one and thought I could get by without one. Eventually I broke down and got a fairly cheap one. Made a world of difference. Eventually got disgusted with the cheapness of the cheap one and got a better one. As it turns out, I really like playing the bass and now I wonder how in the world I ever thought I could just emulate one. Just thought I'd share my experience. I haven't tried this with Helix, but I would expect the results to be maybe slightly better than the HD, but not much. On the other hand, if the bass track you have in mind is fairly simple and straight-forward, go for it. Can't hurt to try it.

Here's a post I made a while back showing what I get for Helix's ASIO latency: http://line6.com/support/topic/16310-helix-as-audio-interface/?p=121025

Do headphones count as speakers? If so, I use Sony's MDR-7506. Helix sounds great through them, but then so did the HD.

Sounds great! I noticed with the patches that it looks like they will only work with your device right now, or anyone else with Helix Rack. Maybe because of a different form factor or different firmware version than the floor units. At least they wouldn't load on my floor unit.

Thanks for the compliment! Glad you like it. Here's everything I used to make that song. The bass patch will also work on an HD500; in the patch name there's 88mu, which means on my Ibanez SR1205E I set the bass knob to an imagined 8, the mid to an 8, and the treble to max. The U means the EQ switch for the mid frequency is "UP", or centered on 250Hz. I really wish they would put number indicators on these damn knobs, lol. The other patches, CBack and CBackOcto, might work on an HD500. But I doubt Lead5150 will work. So if you're most interested in checking out the bass patch, and have only the HD500 (or HD Pro), you're in luck. But, be aware that a bit of the bass tone comes from the EQ settings on the bass itself. transformative.annihilation.hd500x.zip

For things like this, I don't think you can expect to make a qualified judgment with only spending a very small amount of time with it. It takes a while to learn the character of the device. You already have a pre-bias and are comparing it to something else in your mind, and when Helix doesn't immediately produce the sound of your older equipment (that's in your mind), it makes Helix less appealing for you, or at least a great sense of skepticism. I did the same thing when I got mine and compared it to HD's modeling for a while. After time you start to see a the little intricacies and dynamics from Helix that you might not at first notice. Effects-wise, Helix is really, really good. Especially the delays. Nice wide stereo imaging. There's just not enough effects right now.

I think you have to get someone to move it. Not sure who can do that. Maybe one of the Line 6 Experts roaming around. Or I see threads moved occasionally, so someone might see it and just move it. Anything above 10Khz is what I find myself cutting often also. Sometimes I might go to 8Khz. Depends somewhat on the cab and mic being used.

You must be referring to the HD? This sort of thing isn't a problem with Helix.

To make things a little easier, and if you don't have the model packs, or if you do and you don't use them, just look at your patches using HD Edit without the HD turned on, while you construct your Helix patches with the same basic framework as the HD patches. Then when your done with that, there's a complete new slew of options available to you to improve things. One thing, even if you set the parameters of the amp the same as what's on the HD, it might not sound the same. In addition to that, the cabs and mics, plus the resonance controls, are quite a bit different in Helix. You can get close though.

My advice is start from scratch. Or at least you could set in place the basic framework of the patch from the HD, which should be easy enough. The tones I've tried to bring from an HD500X to Helix was more an exercise in frustration. It doesn't translate very well. If you really want to replicate, or improve, a tone from an HD on Helix use your hearing. Set up a clip in a DAW recorded with your HD, then on the same track and timeframe, record using Helix. Easy to toggle between the takes for comparison. Tweak the Helix tone, looking for closeness or improvement, delete the previous take (or keep it) and record another take, etc. You could even use the reamping on Helix to make it easier.

They still have yet to finish Helix!

That's mighty considerate of Line 6 about the shipping. Good for them. I bought mine from Sweetwater also and am really glad it works. If anything ever goes wrong in the first year, looks like I'll deal with Line 6, and not Sweetwater. After 30 days from purchase, if something goes wrong and you have Sweetwater fix it, you're responsible for shipping costs, which to me seems exorbitant for something like Helix. It makes their automatic two-year warranty a little less and useful. Hope you get this all sorted out and wind up with a functioning device.

If one is buying for the number of amp models, that disqualifies Helix. I never really understood the need for model after model after model, etc. Effects models are a different story, though, which will undoubtedly increase in number, perhaps even flexibility. When I first got Helix, I didn't really gravitate towards using IRs, but they can really make a world of difference. Plus they can be combined with the built in IRs. IRs could very well be one of the most influential tools in Helix for constructing a tone.

That's a good idea, but don't count on it. They still have yet to fix the invisible DEP values they introduced with the last update.

Shouldn't really be any problem. I believe the HD Pro has some connection options the 500X does not, so if any of those are used on the HD Pro and stored in a patch, it might have a problem, or it might not and HD 500X Edit might be smart enough to just ignore or discard the extra info. Have to try it I guess. Other than than the two devices are really identical, just different form factors. There is also a program I've heard about than can convert between devices: http://line6.com/support/topic/4180-need-help-moving-presets-from-hd-pro-to-hd500/?hl=patch+converter&do=findComment&comment=27341

Lol. It's amazing how the most basic of tasks becomes obsolete, looking up a word, if one even cares enough to do that in the first place! And if you somehow can't even manage that today, just make something up, spelling and all. One of the more destructive sides of technology.

After thinking about this a little more, what I said above doesn't even work right. With the phaser disengaged, the delay's mix parameter would be zero. Sorry about that. The OP wanted to have a delay by itself on one switch, and the same delay on a different switch with a phaser. Having two identical delay blocks works, but you'd still have to remember what you did previously. For example, if you have the lone delay turned on and then turn on the delay/phaser, you still have to turn off the lone delay (another switch press) or you'll have two delays going at the same time. Unless, in addition to this setup, you also assign the mix of the lone delay to toggle to zero when the delay/phaser is engaged. That way, the two-delay-on scenario would never occur, because the toggle state of the lone delay doesn't matter anymore. However, with the phaser engaged, you can't turn off the delay unless the phaser is turned off. I think what makes this a little confusing is having an identical delay by itself on one switch, so it has the ability to toggle when the phaser is off. Does any of this make sense? Because I'm starting to get confused again. :unsure:

You could assign the the mix parameter of the same delay to a different switch, specifying min and max values, while still retaining the delay block to a switch.

Reminds me of George Carlin and the more stuff skit.

I remember a couple of your tracks you made with the HD which were all around really impressive. As long as you're happy with what you've got and can make good music with it, that's great, that's really all that matters in the end. For me, the tools I use to create music are one of the things I choose not to skimp on, as much as I can anyway, not skimp that is. While I could still make the music I make with the HD, I'm glad I moved to Helix. It's really a pleasure to work with. It's easier to create the tones I want, saving me a small amount of time that can go towards actually writing music. The re-amping feature is a nice time-saver as well.

This is the worst part about this. Says a lot about society in general. But your statement is a bit confusing because if it sells well, somebody must keep listening to it. Absolutely. Make music, whatever one might think of as music personally, hopefully veering away from the kind you described though.

There should be a customize button over the last encoder below the screen if there is parameter assigned to a switch. So assign the parameter to the switch and set its min and max values first. Then go to the command center and select the switch using the joystick to change the color and scribble strip.