FlyingsCool

Welcome to the family!

One of those companies that wishes they didn't have to have customers to stay in business?

Yeah, my bet for these lockups is a corrupt preset. Several people have had this, deleted the preset in question, rebuilt it, and went on their merry way and haven't had a problem since.

Feedback could be related to the guitar (as I write this, I realize.. duh)... Unpotted pickups will feedback on pretty much on command, or all the time depending on stage volume... It's all about the volume and sympathetic vibration of the strings at natural frequencies.

No worries, the editor is going away soon for a new version based on the Native interface design....

You may want to consider doing a 9-10 reset and have it rebuild your presets. Apparently Sweetwater, and other vendors, have been updating to the latest firmware, but not applying the last step, the reboot to rebuild the presets. Make sure to back up your presets before you do this as it will reset it to factory presets.

(repeating Duned's comment at the end of his post...) To this end, and I don't understand why they don't do this and emphasize it... Given that training is important to using any tool effectively, even a hammer, why doesn't Line 6 spend some time and create some videos around the myriad ways to get tone? Sean Halley did some of this before he moved on ( :( sniff, sniff ). There is certainly room for more of this; Paul Hindmarsh and others would definitely be up to the task.

Just a side note, 4CM is not necessarily for effects only.... You can also send shut off the Guitar In send... add an (pre)amp in the Helix and send that signal straight to the Power amp.

He Meant the Setlists, not the Presets... It doesn't look like it from my end, not from the editor. You can rename it in the Helix, however. Just move the Joystick to the left when you are in the setlist view so you can select which setlist you want, and there's an option to rename it.

I so wish I could participate in this thread... Sadly, my talent booster is on the fizz :(

Perhaps the reason you like the cleans is that Line 6 chose to model the amps as they are and let users eq them, whereas it seems Axe has their cabs eq'd already? (IOW, the cleans kind of depend on those high frequencies to get through) And you are correct, even the Line 6 staff have talked about how they apply cuts to their tone (yes, they are users of their own products). Overall, Line 6 tends to err on giving users the raw sound and letting users create their tones from that, instead of trying to think for them.

Another reason I control my cuts with an EQ instead of in the cab (not to mention the steeper cut of an EQ cut versus a cut in a cab, which allows "looser" cuts).

Of course, the only issue, and it may not matter... You only get one shot wiith Stomp switches, so you can't control those parameters with other stomps. So you can't individually control the effects that are controlled by the momentary switch.

I have both Stagesource L2t/m and Alto TS210. It may be the Stagesource sound a little better and they can a teensy bit louder (128 dB SPL max vs 125 for the Alto I think (can you even tell the difference between that?)), but I'm finding myself using the Alto much more because it's so much lighter. And in a band context it kinda all goes away, anyway. And the Alto is plenty loud. I used it recently with a band with another guitar (marshall) and bass and drums playing basically 80's post punk in a two car garage. It was all I had (and my Helix) and it easily kept up.

I have the JBL LSR305 and I'm very happy with them. I'm no expert myself, but I did a lot of research, and, for the price these were among the best bang for the buck. In general, most people who comment say thumbs down on the KRK, too much coloration, but I haven't tried them myself. I'm not familiar with the Aldo (they are more prevalent in Europe I think?) I've got StageSource L2t/L2m (love the flexibility of the L2t), one Alto TS210 (I love the portability of it, but only need that if you're moving around and jamming). They all are comparable to my ears. Alto sounds a little plasticy if you will, but, overall, I've been using it the most lately because of its portability. (half the weight of the L2's.)

Short answer... Yes. Question: It seems you only want to go to the effects loop of the Power Amp/Cab? So you don't need 4CM? Or do you want some effects to the front of the amp, and the rest to the effects loop? Or is it all just to the front of the amp from your effects? Or is the Power Amp/Cab exactly that, just a power amp and cab?

Guys, he said right at the top and through that he upgraded to Helix Floor... He's all set. Based on the feedback I am seeing, my bet is Line 6 is looking to find a way to upgrade the pedal support design on the LT... At least I hope so... I certainly see lots of pics of LT on stage. Dude, if you break your Helix Floor, you are one STRONG MF ;) Sorry you had such issues. As another data point, I've never been a fan of the Expression pedal switch... first thing I did was add my volume pedal to my floor so I could dedicate the onboard pedal to whatever function I'm using it for and not have to deal with switching back and forth with that pedal switch. (Not to mention I hate having to wrap my head around a pedal having two functions, last thing I want to do on stage is have to think... I have enough to worry about than to have to use my brain during a performance... Eek!)

Did your global EQ get modified somehow? I imagine you checked, but it sounds like something got changed globally? (I know for me, I keep getting caught with my guitar volume knob down... "Why's my patch so quiet all of a sudden?"... (face palm) )

Thanks Dragon... What I'd like to hear more about is how bands with multiple guitars set up their sound individually along the lines of this... Where does each instrument sit in the mix, and what kind of tones do you use so each person, guitars, vocals, bass, drums, etc., carves their own space in the mix, if that makes any sense.... i.e. how do you handle like maybe Fender clean rhythm so it sits back in the mix but still adds... what do two distorted guitars do so they don't muck each other up... etc.

I kind of had a worry with the speaker just from it's name... B-Hype doesn't engender thoughts of flat response.

Ah, I misunderstood. Yes, I agree, a dedicated monitor is important. And in my experience, in the garage, that dedicated monitor was all I needed for me and everyone else.

I totally disagree that you can't keep up with a monitor and direct with drums if everyone else is on amps. My Alto 210 can easily keep up with a Marshall 4x12 and drums and bass in a garage. And it was loud. I totally agree the problem was the tone. It was mentioned right away that cutting through a mix is a general tone issue. Sad it took more than halfway through the thread to finally suggest WHAT a good tone for cutting through a mix is. (less bass, more mids, etc.) Using high and low cuts is only a first step to cutting "harshness" and "boom". But it has nothing to do with setting up a tone to cut through a mix.

I think you have to switch to the snapshot in Helix, save it like that, then upload it to Native.... Not sure though, I haven't tried it myself yet.

Yes