FlyingsCool

The part number of the saddles he ordered is right there in the pic above. You should check out the link from the other thread he created I posted above....

Oh, my... Where'd you get the saddles from? I don't see any Piezo's? How'd you attach the Piezo's? Did they come with the Piezo's installed? How'd you wire the Piezo's back to the board? Edit: Nevermind, found your thread... Nice :) http://line6.com/support/topic/17678-modified-jtv-69/

Are y'all connected by USB to a computer when you boot? If so, are you using PC or Mac? What OS and version on the computer? Is the editor active when the freeze occurs? Do you have anything assigned to EXP 1 in the preset that is active when it is booting? These questions need to be filled in with each instance of freeze report.

I'm pretty sure I'm at 2.10. I don't think there is a panning option there on the split block, only on the Merge Mixer block bringing it back together.

I ran into a similar issue that is probably working as designed, but is counter-intuitive to me. I wanted to split an amp to two cabs, left and right. And I wanted to add an effect to only one side. So I split the path after the amp put a cab on the straight through, put an effect and a cab on the other path, and panned the two paths left and right in the merge mixer when I brought the paths back together on Path A. Sadly for me, the effect still affected both paths even though it was placed after the split. Now, this may actually be what happens electrically in the real world. But, intuitively, to me, the signal flows like water, and doesn't go back on itself back up the split. I did figure out a way to get it to work by utilizing one Cab on Path A and the other cab and effect on Path B. I'm not at my helix right now, but I think I sent Path A1 to left, and path A2 to Path 1B and put the other cab and effect on Path 1B and that out to right. Something like that. But that's an awful waste of resources to me. Anyway, maybe this is your issue?

This guy sounds just like the guy I blocked on TGP over a year ago before Helix was even released... Exactly. Not sure why you guys kept feeding the troll....

I ran it through Google Translate. I've been editing it for better grammar, haven't finished it yet, but here's what I've got so far. Could probably use some editing by an actual Mark IV user, I've never seen a real one in my life.: The Mesa Boogie Mark IV Combo 85 watt amp 3 independent channels, Clean Rhythm (R1), Crunch Rhythm (R2), and Hi-Gain Lead. Simul-ClassTM Power Amp Technology, choose either Class A or Pentode Class AB. The power tubes can be arranged to deliver 70, 50 or 30 watts. 5 12AX7 tubes in the preamp, and Four 6L6 tubes in the power amp Selectable pentode or triode mode for the power amp. Variac switch for normal response (Full Power) or classic (Tweed). 5 band switchable graphic equalizer, Self-assignable to the R2 or Lead channels. Recording line out with Level Control and Silent Mode Mute Switch Mesa Boogie Mark IV A combo uses a Celestion Custom C-90 12" speaker. Spring Reverb In 1984, Mesa / Boogie released their first "Tri-modal" amplifier, the Mark III, named for its three channels: Clean Rhythm (R1), Crunch Rhythm (R2), and Hi-Gain Lead. The Mark IV, which came six years later, greatly improved the ability to control each channel separately by adding another row of control knobs to the front panel, thereby optimizing the available space without increasing the size of the head which was so comfortable and versatile with the Mark III. It is a complete amplifier for all styles; blues, jazz, rock, hard rock, even metal. Rhythm1 Gain with Pull Bright This control defines the sensitivity of the clean channel. At about 8, it begins to cause distortion, but overall it is crystal clean. When saturated, the channel is very sensitive to the right hand of the guitarist, useful in playing the blues, but technically that's what the Rhythm 2 channel is for. Pull Bright: Adds brilliance to the sound. With Gain at low values ​​ (4 and less), it adds a lot of brilliance. At higher gain settings (7 and up), less brilliance is added. Rhythm 2 Gain with Pull Fat Controls the gain of channel 2. It is a very powerful control; at low values ​​between 1 and 4, a low saturation is achieved, useful for playing blues. By controlling how hard you hit the strings, this channel can be used as an alternative to the clean channel, with the added ability to add distortion by adding more energy to your picking hand. Higher values ​​(from 5 up), will produce much more distortion with higher gain and longer sustain. Pull Fat: When disabled, a lower gain bluesy sound will be produced by controlling the gain and presence controls. But if you want something closer to rock or heavy metal, pull this knob and turn up the gain to higher values. Very useful when you need a wide tonal pallet. Treble Controls The Mark IV has three separate and independent controls for treble, one for each channel. It is a very powerful control, with much to do with the amount of gain for each channel. Of all the EQ controls on the amp, these have the most influence. Rhythm 1 Treble Between 0 and 3, delivers a warm, jazzy tone. For pop and rock, typical settings are between 5 and 7. Understanding this control is essential as it has a huge effect on the tone and gain of the amp. R1 + R2 Bass & Mid (Shared for channels 1 and 2) These controls regulate the low and middle bands for both R1 (Clean) and R2 (Crunch). They are the only shared controls in the Mark IV. These controls depend highly on the Treble settings of the two channels. If the Treble is very high, these controls do not produce much change in the overall tone. If the Treble is set low, however, low and middle bands have more effect. In either case, Bass and Middle serve to round out the sound and give it a little more definition. Therefore, it’s best to set the Treble first, and then work the Low and Mid controls. Rhythm 2 Treble Similar to Rhythm 1 Treble, the higher it's set, the more gain and sustain will result for the channel. Lower values ​​will allow the Bass and Mid controls to have more effect, giving more warmth to the sound. This control should be set in conjunction with the corresponding presence control for the channel. Presence Controls There is a Presence control for each channel on this amp. Presence typically refers to an enhancement of the mid-high and some low frequencies. More presence will sound brighter and warmer with a little more definition. Less presence is duller. The Rhythm2 and Lead channels have a "Pull" function. If the knob is pulled out, the presence control acts in a higher frequency range, allowing for a “brighter†sound to help “cut through†in situations where the music is at very high volumes. With the pull off, a more aggressive sound is achieved, a la Angus Young of AC / DC. Also, turning the knob has less effect with the pull off. Lead Channel The Lead channel has Gain, independent Treble, Mid and Bass, and Lead Drive controls acting in conjunction with the Lead Master control. The Gain control adjusts the amount of gain entering the amplifier (input gain) and has a Pull Fat option, which produces the same effect as in the Rhythm 2 channel, adding or subtracting body weight. Again, the Treble defines the sound and commands the most effect. The Bass and Mid controls only round and polish the sound. The Lead Drive adjusts the amount of distortion in the sound. To play metal, set the Gain and Drive to 10. For more vintage or British distortions, set these controls to low values. The Lead Drive control has Pull Bright, which helps to increase the definition of the distortion, so the notes sound a bit sweeter and more accurate. Graphic EQ The graphic equalizer is used to cut or boost frequency ranges that can be annoying in some situations. (Because we all like to boost those annoying frequencies ;) )

What version of Variax are you looking for this for? I'm not aware of such a thing for JTV's. They have either a VDI (Ethernet) cable or a 1/4" Instrument cable only, and there is a USB adapter for hooking connecting the Ethernet cable jack to a computer USB input for using Workbench. The VDI Cable supplies power to the electronics in lieu of the battery.

Yeah, my HD500 Bean sounded perfect through my Shure SRH840 44 ohm headphones, no tweaking required. Directly connecting the Headphones to the Helix is unlistenable, just awful. But if I connect the Helix to my Focusrite 6i6 (either XLR or Line or S/PDIF, usually S/PDIF just cause it's easy) and use the headphones through the Focusrite it sounds fine. I have yet to try to record out of the headphone jack to see if it's the jack or the low impedance of my headphones that is the problem. It would be nice to be able to direct connect when I want to be quiet. I have too many other things to spend $100 to $200 on when I have a workaround. But I do get it that there's always tradeoffs in engineering a product. Nothing ever works with everything, so gotta choose as best you can. I've read all these threads (I thought), hadn't heard of that 8X rule of thumb or what the Helix jack impedance was. Glad I stopped by, thanks guys.

Looks like an exact knock-off of the BOSS FV-500H (as Berhinger is typically wont to do, not that it's a problem) at the price you can get a used BOSS for (I just did). Assuming that; yes, it should work. But if it is a knockoff, it is likely a TRS expression pedal connection, so you'll need to create a cable for it to work properly. Only way to know what type of connector the Behringer has is is to call Sweetwater or find someone who has already used one. As far as connecting a BOSS FV-500H, there is another thread here that goes into detail how to create the cable. I used a TRS to dual TS adapter and plugged a TS cable into the black side and it works great. I've been using the BOSS pedal for a few years now as a volume pedal on my old board, and just picked up a second so I can have 3 expression pedals available with the Helix (I hate having to share an expression pedal between two functions a la the onboard expression pedal)

I've searched all over, does anyone know which power section was modeled? I'm only familiar with the amp through youtube demos, and I'm not smart enough to figure it out.... I like to know these things because it helps to set up the amps the more you know about them....

Man, this is a complex answer to answer completely, but, suffice to say, I don't have an H9, but, if it works like most stereo pedals, if you have a stereo connection, it's going to act on it like a stereo signal, so if you send it only the left, you'll only get half of whatever the H9 is producing out of it. If it's a mono effect, that's probably ok. But if you are trying to use a stereo effect in mono, you'll only get back half the signal if you only use 1 side. Example is stereo Ping Pong delay. If I send it through a mono path, I'll get the full effect. But if I only send one side, I'll only get half the effect. If that makes sense. Example. Connect Helix using a single cable in the Left (mono) output to a speaker. Play a patch using ping pong. You'll hear the whole ping pong effect, both sides. Now switch the cable to the right side nothing connected to the left output. Helix now thinks it's connected in stereo because something is connected to the right (stereo) side, and only sends the right half of the signal to the speaker (It ignores the fact that nothing is connected to the left signal and switches to stereo anyway). I had tried to connect XLR Left to one speaker and 1/4" right to an amp. Helix sent the whole signal mono to the XLR cable (because it was switched internally to mono), and the right half only signal to the 1/4" because, since there was a cable in the right side it thought it was connected in stereo. Hopefully that helps you see all the different ways that things can work if you think about the connections (and your brain doesn't blow up). There's lots of combinations of doing things, but hopefully you get the idea..... IOW, if you are connected in stereo... send in stereo and receive in stereo even if it's a mono signal in and out. Helix will convert back to mono on the other side of the block....

Hmm. This was a pretty big dead spot when I was using a partially inserted TS cable. With this set up it was not noisy and went from 0 to 100% from 0 to 90% of travel and stays at 100% from 90% to 100% of travel (not an issue really). Then, when I use the TRS to dual female TS adapter, I get noisy response at the ends (it jumps around a percent or two for a bit), and it only goes from 0 to 96% of response, I can't get that last 4% of range out of the pedal. The pedal I just bought works perfectly with the adapter cable. It was sold used, but it looks brand new. My old pedal has seen a lot of use and travel, I'm imagining my issues are just a dirty pot or 1/4" connector. But thanks for the input. Technical details are always good to know and don't always make it into the manuals.

What are your settings on the reverbs?

I've got two BOSS FV-500H pedals I love, One I used as a volume pedal on my old rig, and I just picked up another. Got them both used for $50 and $59 respectively. I like the feel and range of motion of them, and they are solid as heck. They are, as noted above TRS expression pedals. One method I used to connect to the helix was a TRS male to split TS female (red and black female 1/4" connectors) adapter, and then I connect a TS cable to the black female connector. Works great. Well, works great on one of them. The other, (my old one), when using this connector, it can only range from 0 to 96% and it's kind of jumpy at the extremes. When I used a straight TS cable and only plugged it in partway, I could get the full 100% range and without the jumpiness if the cable was just right. Well, actually, it got to 100% at about 90% of travel (which was usable). I'm not sure what the issue is. I work with a bunch of EE's though, so when I get a chance I'll have them take a look at the pedal and I'll let you know what they say. Only other problem with the pedals is the casting has these wings on the either side of the connector bay, which preclude the use of angle connectors. But it wasn't hard to fix that by grinding the wings off my old pedal. They are aesthetic only, so not a big deal.

Wow, people having issues really need to say exactly how they are hooking up and what equipment you are using. It doesn't do any good to complain without exact details of how you are using it and what you expect. I have had my Helix hooked up to my Focusrite 6i6 using s/pdif, the 6i6 hooked up to my PC by USB, the Helix hooked up to the PC by USB, my Helix hooked up to an L2t by XLR, and my amp by 1/4 (all this at the same time), and recorded for hours on Mixcraft 7 in multiple sessions without a single hiccup. All items are hooked into the same strip. No Midi in use. One guitar is plugged into the helix by 1/4" jack, and a Variax connected by VDI, so I can easily switch between the two on a song by song basis. The only way anyone is going to be able to help is if they know exactly how you have it hooked up. They also need to know how you are using it. Otherwise, nobody is going to have a clue how to help you. Your issues could be happening anywhere in your chain. I'm not saying you're not having issues, just asking how we could possibly help without knowing the chain. (P.S. Is it true all the people having issues are using macs?)

I'm betting the line 6 folk are loving this thread in terms of validating amp choices.... So much variety among users, impressive

Did you have to do anything special? What cable do you use? I assume you are connecting to the expression jack on the pedal?

So it seems that people who don't generally use delay or reverb are happy with the Helix delay and reverb.... interesting... How about some responses from some P&W or ambient folks, who actually do like to use a lot of reverb and delay? As I posted above, Wires Dream is a big Strymon user, and he's pretty happy with the Helix delays and reverbs, and so am I after I used some of his tips... (And, yes, I'm a prior HOF user... was very happy with it, just not happy enough to really want to sully my Helix by putting the HOF in a loop. I'm trying to stay as lean as possible (hence the reason for purchasing the Helix in the first place, not to mention access to a billion more amps and effects then I'd ever be able to purchase)

One of the users (WiresDream ... Wires Dream Disasters on YouTube) over on The Thread posted a bunch of comparisons of Helix vs Strymon reverbs and delays. I had been pretty unimpressed with especially the Helix reverbs until I watched these videos, now I'm much happier once I applied his techniques. I think L6 kind of hurt themselves with the default settings on their reverbs, but that's just me... He basically goes through comparisons of all the reverb modes, here's a couple of examples:

Guess I'm lucky, My local GC (Nashua) usually has one or two hanging around, They had a Standard and a JTV for a while, which gave me a chance to try them both out, which helped convince me to get one.

The Edge....

Yes, several people have done it. If it sounds interesting to you, you should try it... Somebody was just talking about it the other day. Somebody else is branching his signal off before the amp into his amp, and then running into a helix amp and running that to an FRFR... He really likes it, kind of the best of both worlds of that amp in the room sound, but the crystal clear post amp effects running through the FRFR. Just another idea....

I guess what I should do is record out of the headphone jack and compare it to a recording from the other outputs.... Sometimes it takes a while for this brain to engage...

Interesting. My Headphone out has sounded like crap through my Shure SRH-850's since I got it. I assumed it was due to the low impedance of the headphones (44 ohms), which supposedly the Helix can overdrive relatively easily. But I've wondered if it was a problem with the headphone jack itself. Haven't had a chance to try a different pair of headphones. The headphones sound fine connected to my computer or Focusrite 6i6.