duncann

I wouldn't say when changing mics in Helix - at the same distance each time - is less subtle than the HD. It's just more correct sounding. It's more natural and smooth, the rough edges filed away, maybe because it's likely higher resolution. But the differences for each mic are clearly apparent, no less so than the HD, or at least that's how I perceive it. Then again, maybe what I just described here does make it more subtle. Now I'm getting confused... Don't know if each mic distance is an IR or not, but it does do a good job. Closer distances have more low end, while farther do not. Just like you'd expect. The low end isn't the only thing that changes, but it's difficult to find the words to describe it.

HD500 value for money: hard to argue with that. I have a partially completed song, Aphotic X, on my bandcamp site that is done entirely on Helix (started on HD), no post-processing. Should be done with this song very soon. So if you're impatient to hear another demo, it's there now. I agree that a lot of the amp models sound the same, or can be made to sound the same, on both the HD and Helix. There's probably exceptions, such as the 5150 for sure (I can't get any other amp to sound like a 5150, regardless of cab/mic), but others as well, I guess. Haven't messed around too much with anything other than the Jumped Plexi on Helix. The cab differences on the HD versus Helix I don't see. While there can be dramatic differences on the HD when switching mics, that's also there with Helix. In fact, more so because there are more mics and mic distances. So it has the extremes and everything in between. For example, the HD might have a 421 mic on a blackback made with a distance of 12", but an 87 cond might have been made with a distance of 1", which would make a dramatic difference just because of the distance alone. I don't know for sure if this is the case, but it's possible. One thing is certain, Helix has all those missing distances in between, in increments of 1". The only thing really missing on Helix is the mic alignment, which I do wish it had. IRs solve that problem though. One thing the HD definitely has going for it currently is effects. I really do miss certain effects, such as autovolume, growler, obi-wah, seeker, a lot of the other filters are fun also. Forgot to mention that Helix FEELS better then HD when actually playing something. After using Helix for just over a couple of months now, I would honestly have a hard time going back to the HD. It's not really any one thing that makes me say this, but many things, from the ease of use, to flexibility, to not having to worry about DSP, to just name several. So the topic asks HD500X or Helix. For me it's Helix. Mostly. Because Helix still lacks effects, which I hope time will cure. Then it will be Helix 100%.

I think the intended behavior is for it to save its state. My unit does this also, but not predictably. Sometimes it does, sometimes it doesn't...

The amps without the power amp section are ported from an older device, can't remember which one, xt live maybe? Anyway, they are also inventions of Line 6 and don't exist in the real world, so there is no power amp to model with these.

Have a look here, under 'A few details to be aware of:': http://www.sweetwater.com/about/warranty/ This states that you are responsible for shipping both ways! I should have read that before I purchased a Helix from them. $71.40 is no small amount to just throw away like that, for one way. Even a slightly less shipping cost is still too much. This makes their 2-year warranty a bit useless. Hopefully you can convince someone to reimburse you. They also state on their site that if something is defective before 30-days, they will pay all shipping. A couple of more months longer than 30-days isn't too much to ask for them to pay all shipping costs for a defective device of this price. Good luck to you. Keep us posted how it turns out for you, if you have the time.

Another one here with the EP1-L6. Absolutely nothing wrong with it when used with Helix.

Surely they are going to reimburse you for the shipping costs!?

Haha. I didn't hear the difference because I was listening to the same tracks. Lol. The links in the first post are both the same link. After discovering this, and after listening to the Helix version, it is a dramatic night/day difference. Obviously the Helix version sounds better, but seems way too bass heavy for my liking, and a bit loud. Fix these things and I think the Helix version would sound much better. As others have already pointed out, the differences don't seem just because of a volume difference, which makes this comparison not very useful at all, if the original intent is to compare HD and Helix recordings, as the topic states. Both devices should have the same preset structure as much as possible (including all settings), but more importantly, any post-processing should be exactly the same, including volume.

Sounds like something to try. That's what great about virtual things. Or how about instead of two cabs in parallel, put them in series. Or first a cab, then IR. Or an IR, then cab, then amp, then cab.

If I did not know each recording was made from a different device, I would not even have guessed they were made on a different device. Listening through headphones, I'm not hearing the volume difference hurghanico is hearing.

Don't worry about the USB firmware showing 0.00. It only shows the version when the device is actually connected to a computer, if I remember correctly. The other problems you're having could be a lot of things, but sounds like a hardware issue. Since knob1, fs1, and fs5 are all in the same general area, maybe something fell on your pod from a great height without your knowing.

Yes the POD outputs via SPDIF at 24 bits. You should really use 24 bits. There's no reason not to. It gives the signal a lot more headroom. But when you start talking about sample rate, 48KHz seems to be a sweet spot. The difference between 48 and 96 in sound quality isn't really all that dramatic, if at all. Sadly, DunedinDragon is too right about people listening to music on crap equipment. Not even low end, but just crap. Don't cater to these people, they don't seem to know how to appreciate music.

I get that squeal by a combination of factors. A lot of it comes from the actual play/pick mechanics, pretty much just like you described above, and I use the pitch glide as way to enhance the effect. Sometimes I'll just hit a note normally (at least what I think is normal, a lot of my playing habits are probably unconscious) and I use the pitch glide effect to give flavor to the note that pick dynamics cannot. Take a listen to a couple of examples of exactly how I use it on my original songs: Prime Vinculum, you can hear the effect start around 1:20 for a little bit, and then around 2:30 I use it again. Jemsite Guitar Challenge July 2015, I use the effect subtly starting around 0:42, and throughout parts of the rest of the song. As far a getting feedback for live playing, not an issue for me, since I never play live, at least currently, which is why I'd really love to be able to achieve authentic sounding simulated feedback, like that Fender pedal does. Never knew about that and it actually makes me think about getting one.

Not quite the same as with a pitch glide. The runaway feedback pedal sounds like a more authentic type of feedback. Sometimes I got the impression of a sustainiac pickup in pedal form. Would be really cool if Line 6 made this effect for the HD, and Helix. https://www.youtube.com/watch?v=rwfLZp7gDCM

I remember reading a post by DI saying that it wasn't included because devices in the class that Helix is in don't have that sort of connection option. So I guess the standards for the industry is to blame.

Never tried the pitch glide for drop tuning. In certain situations, like the guitar by itself, you might notice some warble with chords or multiple notes. In a mix that warble could be covered up. I know the pitch glide is better than the harmonizer in the HD, as far a warble goes. I like to sometimes use the pitch glide with the expression pedal to mix in +1 octave with the original note. Gives a note a unique blooming at the higher frequencies. Never used it the way Vai and Satch use these things.

No need to backup any patches if you've never created any user presets. The firmware has all this information. Unless you want to backup the factory and an empty setlist for quicker access to them. Also no need to install any previous firmware before v1.04.03.

There really is no simulated feedback in the HD. However, one thing you can try is using a pitch glide effect with the pitch set +1 octave and have the mix controlled by an expression pedal, from 0 to around 60 or 70 percent. Then when you want a note to sort of bloom in the higher frequencies, use the expression pedal. To add a little more flavor to its texture, ridding it of some sterility, add a phaser in there, perhaps tying the mix parameter to the same expression pedal. Compression for longer sustain would also help. The red comp I find is usually good for sustain, but it will also color the tone slightly. Sorry, don't know anything about the Digitech GNX3000.

There is a room reverb in Helix, which is basically ported from the HD series. Nothing really spectacular I suppose, but it works well enough. Also there is an early reflections parameter on the built in cab models. Could be what you're looking for.

After listening to that video, with headphones, a lot of what it does doesn't seem much more than delays and choruses, which Helix is pretty good at. And a lot of Helix's delays have some pretty neat modulation effects along with them. For the double tracking effect, you could put a ping-pong delay on a parallel path with the following settings: time: 0ms, fb: 0%, scale and spread: adjust to your liking, mix: 100%, lo- and hi-cut: off. If you want to use some sort of modulation with this, you could put a chorus, flanger, phaser, etc. on the same path as the ping-pong, or put it on the other path. You could also use a dual-delay without the need for a path-split: left-time: 0ms, right-time: >0ms (usually around 25ms sounds good), lfb: 0%, rfb: 0%, left mix: 100%, right mix: 100%, lo- and hi-cut: off, spead: adjust to preference. This delay also has a mod-mode with chorus, vibrato, and off.

Excellent to be aware of this sort of thing. Thanks!

In version 1.04.1 or 1.04.2 there was a new global option introduced called 'Tap Tempo Pitch' under the MIDI/Tempo category. The two options are Transparent and Authentic. One of those should be what you want, probably Transparent.

Every conscious moment of every day is an opportunity for the music to flow through the folds of your brain. Here's hoping everyone can spot that flow more easily. Every unconscious moment of every day is an opportunity for the music to flow through the folds of your brain without you knowing. Here's hoping everyone can expose this hidden flow to themselves and apply it to your conscious moments, increasing the opportunity to make truly wonderful music.

I used to use HD Edit all the time and never authorized my computer for anything, and have the model packs. Also, DAW (I didn't know Line 6 made this?) and Monkey for firmware updates don't need the computer to be authorized. The computer listing is likely there for their software modelers, which would be tied to your computer. The only way to get the model packs out of the device itself, as far as I know, is to use the licensing program while the device is connected via USB, and then manually deauthorize it. Or deauthorize the device in question via your Line 6 support account, and then use the license program to check the devices status.

What would he have to authorize his computer for?