Jump to content

Digital_Igloo

Members
  • Posts

    2,344
  • Joined

  • Last visited

  • Days Won

    95

Digital_Igloo last won the day on June 6 2018

Digital_Igloo had the most liked content!

Profile Information

  • Gender
    Not Telling
  • Location
    Calabasas, CA
  • Registered Products
    1

Recent Profile Visitors

15,790 profile views

Digital_Igloo's Achievements

Grand Master

Grand Master (14/14)

  • Dedicated Rare
  • One Year In
  • One Month Later
  • Week One Done
  • Conversation Starter Rare

Recent Badges

1.1k

Reputation

43

Community Answers

  1. I summarily dismissed it? Were we talking about hardware GUI or something?
  2. PLEASE READ THE RELEASE NOTES! https://line6.com/support/page/kb/pod/pod-go/pod-go-140-r1037/
  3. Digital_Igloo

    POD Go 1.40

    POD Go 1.40 (released July 19, 2022) includes a new Line 6 original amp, 9 new effects, 18 additional Legacy effects, and bug fixes, and is recommended for all POD Go and POD Go Wireless users. How do I update to 1.40? Connect POD Go to your computer via USB and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both POD Go Edit and your POD Go firmware. If you're running an older version of POD Go Edit, you must update it before updating your POD Go hardware. I updated but why don't I see [Model X]? POD Go Edit can't magically see new models added to your POD Go hardware; you must update POD Go Edit as well (which you would've done had you followed "How do I update to 1.40?" above). Here's a link to POD Go Edit 1.40: macOS: https://line6.com/software/readeula.html?rid=11387 Windows: https://line6.com/software/readeula.html?rid=11388 My POD Go is at version 1.XX. Can I go straight to 1.40? Yes. Anything else I should know? Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 1.40 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK! While holding footswitches C and D (top row, 2 middle switches), turn on POD Go. Wait for "Will reset Globals, Presets, IRs..." to appear in the upper left corner of the display and let go. New Amp in 1.40 Amp/Preamp > Line 6 Ventoux, Line 6 Original. "The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard. This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits. Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities." —Ben Adrian, Sound Design Manager Drive—Controls the amount of amp drive HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion Ch Vol—Sets the overall level of the Amp block Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level New Effects in 1.40 Dynamics > Ampeg Opto Comp, based on* the Ampeg Opto Comp compressor pedal. Compress—Controls how much level the compressor detector circuit receives. More level = more compression. (Ampeg Opto Comp has a fixed threshold and ratio) Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms Mix—Controls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard Level—Sets the overall level of the block Modulation > Ampeg Liquifier, based on* the Ampeg Liquifier chorus pedal. Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast Depth—Adjusts the amplitude of the modulation, from mild to deep Mix—Controls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard Level—Sets the overall level of the block Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single" Spread—Sets the overall stereo spread of the chorus Delay > ADT, Line 6 Original double-tracking tape emulation. Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms WowFlutr1, WowFlutr2—Determines how much warbly tape sound is heard for each deck Saturate1, Saturate2— Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default Deck 2 Pol—Flips the polarity of deck 2 Mod Rate—Controls the rate or speed of modulation applied to Deck 2 Mod Depth—Controls the depth or amount of modulation applied to Deck 2 Level—Sets the overall level of the block TapeSpeed—Changes both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation Texture— Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion Low Cut—Applies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency Deck 1 Pan, Deck 2 Pan—Pans each deck left and right EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected Delay > Crisscross, Line 6 Original dual delay with cross-feedback between the two delay lines. Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values Feedbk A, Feedback B—Controls the number of repeats for each delay line. To hear only one repeat, set to 0% Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100 Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Level—Sets the overall level of the block Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. Mod Rate—Controls the rate or speed of modulation Mod Depth—Controls the depth or amount of modulation Shape—Sets the modulation's wave shape (Sine or Triangle) Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits" Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz" Low Cut—Applies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected Delay > Tesselator, Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached. Assign Tesselator to a stomp footswitch. It's bypassed by default. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters: First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics Direction—Determines the direction of the steps: Forward: Each step plays back normally (Ex. 2a below) Reverse: Each step plays back in reverse (Ex. 2b below) Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below) Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below) Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default) "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED "Dry Kill"—When Tesselator is on, only the effected signal is heard "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed) "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below) Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed" Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below) HP Filter—Very different from POD Gos traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence LP Filter—Very different from POD Go's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below) FX Level—Controls the level of the effected signal Level—Controls the overall output level of the block Woohoo! More charts and diagrams! Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples: Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after. Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps. Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off." TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land. Delay > Ratchet, Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before. Assign Ratchet to a stomp footswitch. It's bypassed by default. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32" FX Level—Controls the level of the looped audio Level—Controls the overall output level of the block Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default) "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED "Dry Kill"—When Ratchet is on, only the effected signal is heard "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard Reverb > Dynamic Plate, Line 6 Original plate reverb typically found in high-end studio rack reverbs. Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity) Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Low Freq—Sets the frequency below which the Low Gain parameter is applied Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected Reverb > Dynamic Room, Line 6 Original room reverb typically found in high-end studio rack reverbs. Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec) Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc. Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Low Freq—Sets the frequency below which the Low Gain parameter is applied Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency EarlyReflc—Sets the amount of early reflective room sound Level—Controls the overall output level of the block Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected Reverb > Shimmer, Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler. Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom Pitch A—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch A and Pitch B have 0.1 semitone resolution between -1and +1 Pitch B—Sets the interval of the second pitchshifter Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb Feedback—Controls the number of times the pitchshifting recirculates through the reverb Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default) Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity) Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals Room Size—Sets the size of the room (10, 20, or 30 meters) Damping—Determines the frequency above which the reverb will be absorbed Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected *NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development. 18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added. Don't sleep on these! Distortion > Bronze Master, based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry Distortion > Killer Z, based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound Modulation > Tape Eater, Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix Modulation > Warble-Matic, Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies Modulation > Random S&H, Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo Modulation > Sweeper, Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental Delay > Bubble Echo, Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about Delay > Phaze Eko, Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture Pitch/Synth > Buzz Wave, Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches Pitch/Synth > Rez Synth, Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter Pitch/Synth > Seismik Synth, Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch Pitch/Synth > Analog Synth, Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP Pitch/Synth > Synth Lead, Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits Pitch/Synth > String Theory, Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to POD Go. Renamed the POD Farm version "String Theory" to avoid confusion Pitch/Synth > Synth FX, Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks Pitch/Synth > Saturn 5 Ring Mod, Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical Pitch/Synth > Synth Harmony, Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant Pitch/Synth > Double Bass, Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down Bug Fixes in 1.40 The dirty preset indicator (box with "E") would not appear when changing tempo if set to per preset or per snapshot—FIXED When toggling stomp assignments with custom names, sometimes a graphical corruption can occur—FIXED If Modulation > Analog Chorus > Speed parameter is set to note divisions, the text can exhibit graphical issues when saving the preset POD Go Wireless: In some cases, the Auto Channel setting could select a less-than-optimal channel, resulting in poor wireless performance—FIXED POD Go Edit: After copying and pasting an Input or Output block, clicking Undo can result in a “Failed to undo edit buffer: … [code -4]” message—FIXED POD Go Edit: If an IR with 54 characters or less is copied and pasted and renamed with 55 or more characters, POD Go Edit can crash—FIXED POD Go Edit: Delay > Glitch and Delay > Euclidean would sometimes reflect different ranges between POD Go Edit and the hardware—FIXED Other minor fixes and improvements
  4. Full Release Notes here: READ THE INSTALLATION INSTRUCTIONS CAREFULLY! How do I update DL4 MkII to 1.01? Make sure you've installed Line 6 Updater 1.25 or later (released April 7, 2022). Earlier versions can't see DL4 MkII. Mac: https://line6.com/software/readeula.html?rid=11223 IMPORTANT! On newer macOS versions, your computer may display a pop-up reading "Line 6 Updater.pkg can’t be opened because Apple cannot check it for malicious software." THIS IS NORMAL. Click "OK," and open the System Preferences utility. Click "Security & Privacy," and in the Allow apps downloaded from section, click "Open Anyway" Windows: https://line6.com/software/readeula.html?rid=11222 Shut down all other software, especially those running audio like media players, browsers, DAWs, etc. If you have an SD card in your DL4 MkII, eject it until after the update has finished. If you don't, changes to the Looper engine while updating may cause any loop stored on the card to not play back correctly. Connect DL4 MkII to your computer via USB and launch the Line 6 Updater software. Log into your Line 6 Account. At the Select Device To Update screen, DL4 MkII should be listed and a popup reading "DL4 MkII detected" should appear. Click "Show Details" for instructions on how to reboot DL4 MkII into update mode. (Hold the ALT/LEGACY button while connecting the power cable, after which you should see the TAP LED turn blue.) The Select Device To Update screen should now list: NXP0130 - Bootloader Unknown DL4 MkII Unknown version Click "DL4 MkII Unknown Version." Click the "Update" button for version 1.01.0. Review the release notes and click "Continue." Review the EULA and click "Continue." Wait for the update to complete and follow the onscreen instructions. (Manually reboot DL4 MkII by turning it off and back on again.)
  5. DL4 MkII 1.01 (released July 5, 2022) includes new improvements and bug fixes and is strongly recommended for all DL4 MkII users. How do I update DL4 MkII to 1.01? Make sure you've installed Line 6 Updater 1.25 or later (released April 7, 2022). Earlier versions can't see DL4 MkII. Mac: https://line6.com/software/readeula.html?rid=11223 IMPORTANT! On newer macOS versions, your computer may display a pop-up reading "Line 6 Updater.pkg can’t be opened because Apple cannot check it for malicious software." THIS IS NORMAL. Click "OK," and open the System Preferences utility. Click "Security & Privacy," and in the Allow apps downloaded from section, click "Open Anyway" Windows: https://line6.com/software/readeula.html?rid=11222 Shut down all other software, especially those running audio like media players, browsers, DAWs, etc. If you have an SD card in your DL4 MkII, eject it until after the update has finished. If you don't, changes to the Looper engine while updating may cause any loop stored on the card to not play back correctly. Connect DL4 MkII to your computer via USB and launch the Line 6 Updater software. Log into your Line 6 Account. At the Select Device To Update screen, DL4 MkII should be listed and a popup reading "DL4 MkII detected" should appear. Click "Show Details" for instructions on how to reboot DL4 MkII into update mode. (Hold the ALT/LEGACY button while connecting the power cable, after which you should see the TAP LED turn blue.) The Select Device To Update screen should now list: NXP0130 - Bootloader Unknown DL4 MkII Unknown version Click "DL4 MkII Unknown Version." Click the "Update" button for version 1.01.0. Review the release notes and click "Continue." Review the EULA and click "Continue." Wait for the update to complete and follow the onscreen instructions. (Manually reboot DL4 MkII by turning it off and back on again.) Improvements in 1.01 The MIX knob on DL4 MkII 1.00 reflected the behavior of the original DL4 hardware. With 1.01, MIX knob tapers for MkII Delays, Legacy Delay, and Reverbs have been made more linear and the range has been extended closer to the minimum and maximum knob positions. The Looper's "Play Once" function has been made more responsive to rapid button presses. Improved the behavior of Tap Tempo when switching presets or toggling in and out of Looper mode Improved the behavior of EXP control when a connected expression pedal is disconnected during use Numerous Sound Design improvements Bug Fixes in 1.01 Although user-selectable note subdivisions were technically saved to the preset, a bug precluded any changes from being recalled when the preset was loaded later–FIXED Previous looper overdubs were not attenuating correctly, sometimes resulting in distorted audio—FIXED In certain conditions when changing playback direction while in Overdub mode, audio could become corrupted—FIXED In rare cases, the SD card could not be detected until ejecting and reinserting it—FIXED When DL4 MkII is resolving to external MIDI clock, in some cases loading a different preset could reset the tempo to the preset's saved value—FIXED In some cases, changing the Delay/Reverb routing could return either (or both) effects to their default states—FIXED Numerous other minor fixes and improvements Known Issues in 1.01 On macOS, using Line 6 Updater 1.25, the "There is a new version of Line 6 Updater available" message can interfere w/ the pop-up explaining how to update DL4 MkII. Workaround: Connect DL4 MkII to your Mac after dismissing the update message
  6. No. In fact, they're both mixed before the A/D, which is why the Quickstart video suggests keeping the mic trim knob all the way down when you're not using the mic—because it can add additional noise to the guitar input. You can, however, process both guitar and vocals simultaneously, or loop one pass with guitar, then vocals, etc.
  7. DL4 MkII FAQ What’s the deal with DL4 MkII? DL4 MkII is a modern interpretation of our best-selling legendary DL4 delay modeler. If you love(d) your DL4, DL4 MkII can be made to sound and behave the same way with a single button press. Or if you want Line 6’s newest delays and features, we’ve got you covered as well. Okay, but DL4 was a piece of cake to use. Is DL4 MkII much more difficult? If you want to keep it simple, here’s everything you need to know: Press the LEGACY button so it’s lit green. There—DL4 MkII literally becomes DL4 so you can party like it’s 1999. Press LEGACY again so it’s dark. Now you have Line 6’s newest world-class delays: Heliosphere, Transistor Tape, Cosmos Echo, Multi Pass, Adriatic Delay, Elephant Man, Glitch Delay, Vintage Digital, Crisscross, Euclidean, Dual Delay, Pitch Echo, ADT (Automatic Double Tracking), Ducked Delay, and Harmony Delay. Or you could just watch the Quickstart video. But if you’re a power user, there are quite a few surprises lurking inside. Oh, I’m a power user. How is DL4 MkII different from DL4? 15 of our newest, best-sounding delays, plus Echo Platter from the Line 6 Echo Pro rackmount studio modeler Better-quality converters and op amps, and improved dynamic range Analog dry path (or DSP mix, like the original) Multiple bypass modes: DSP bypass, true analog bypass, buffered analog bypass, or dry kill Twice the max delay time for MkII delays XLR mic in with preamp for processing/looping vocals or mic’ed amps MicroSD card slot for expanding looper memory and maintaining the loop across power cycles Eight times the built-in looper memory (4 minutes mono half-speed vs. DL4’s 28 seconds) The looper can be set mono or stereo and pre or post-effects Each delay’s Time parameter can be set to subdivisions without fancy rhythmic tapping Selecting a different delay no longer stops the looper. In fact, if you’ve assigned the 1 Switch Looper to TAP, you can switch to the 4 Switch Looper (or any delay or any preset) and recording/playback isn’t interrupted Up to 6 presets (128 blank user presets via MIDI) vs. DL4’s 3 Globally switchable bypass trails (echoes repeat when bypassing the delay) Two additional footswitches can be connected and assigned to external tap tempo, one-touch parameter morph, looper on/off, or feedback squeals. TAP can be repurposed as many of the above, plus preset bank toggle and a 1 Switch Looper available alongside any of the delays Tap can be set per preset or global Tap can now be engaged while DL4 is bypassed MIDI In and Out/Thru—presets can be selected via PC and functions via CC or even MIDI notes from your keyboard/pad controller/electronic drum kit Delays sync to incoming MIDI Clock USB C for MIDI and potential firmware updates DC In requires less than 300mA power, making it much easier to integrate pedalboard power distribution (we ditched the batteries) Chassis is notably lighter, smaller, and sleeker. See below for a size comparison Weren't some of these new features available for DL4 via the mod community? Yes. How much smaller is it compared to DL4? DL4 MkII is about 1” narrower and about 1.5” less deep (9.25"w x 4.5"d x 2"h/23.5 x 11.4 x 5.1 cm; 2.03 lb/0.92 kg). Switch and knob spacing is virtually identical, however, so muscle memory shouldn’t fail you. Here’s a size comparison: Why didn’t you make it even smaller, like with two or three switches? Because then it’d be a DL2 or DL3—not a DL4. Nor is it an “HX Delay” or something; it’s very purposely a MkII. Besides, unless you wear ballerina slippers on stage, a 4-switch pedal can only be so narrow. How reliable are the footswitches? They’re the same ones found in POD Go and POD Go Wireless and have been extensively stress tested. How long can I loop? Without a memory card, 4 minutes mono (half-speed), which disappears when you turn DL4 MkII off. With an optional microSD memory card, however, the loop remains in memory across power cycles. 4GB or larger cards let you record for hours. What’s the USB for? Duplicate MIDI control, syncing tempo to a DAW, potential bug fixes, and maybe new future stuff. We don’t know yet. Is there an editor? Not currently, no, but there are only 9 parameters, so… What is the sample rate/fidelity for the looper? 16-bit/48kHz Man, the power user stuff sounds pretty deep, and I don’t see a screen. What gives? While in Global Settings, you turn the model select knob to select the parameter and press ALT/Legacy repeatedly to select the desired value by color. These are all pretty much set-and-forget type settings, so they only need to be set once—or never, if you trust our defaults. The end of this video walks you through a few examples. How deep is the MIDI implementation? On top of recalling 128 blank user presets via PC messages, all effect selection, preset parameters, and looper functions can be controlled via CC. If you’re a keyboard player, you can even trigger looper functions from key presses or pad strikes on your MIDI controller. Here’s the manual; MIDI implementation starts on page 49. Can DL4 MkII run on batteries? No. DL4 MkII is powered by a DC-1g power supply (included). Can I power DL4 MkII from my DC power block? Most likely. DL4 MkII requires at least 300mA of clean 9VDC. How do I reset the DL4 MkII? Should you ever wish to restore the factory presets—and erase the sounds you might have saved in any of the 128 preset locations—you can perform a Factory Restore. 1. Press and hold both the A and TAP footswitches while connecting the power adapter to the DC IN. 2. Continue to hold the switches for approximately 8 seconds, until you see the green LEDs light up. Your DL4 MkII device is restored with all factory presets and original default global settings. WAIT. You said it has every delay from DL4. What happened to the Rhythmic Delay? Nice catch. Rhythmic Delay was always identical to Digital Delay w/ Mod, except with the ability to set note subdivisions. Since DL4 MkII lets you apply note subdivisions to any delay, Rhythmic Delay was completely redundant, so we swapped it for Echo Platter (based on the Binson EchoRec) from our rackmount Echo Pro. Anything else? You may or may not discover 15 hidden reverbs, one of which can run before, after, or in parallel with the delay. We may or may not have hidden them because you sort of need the Cheat Sheet to know how to access and tweak them. Can I still do that cool thing where an expression pedal automatically morphs the 5 knobs? Of course, but it now morphs the reverb knobs as well. Or if you don't have an expression pedal, you can reassign TAP (or an external footswitch) to toggle between heel-down and toe-down. My DL4 MkII is a little noisy. Anything I should check for? It's probably that the mic trim knob is turned up. If you turn it down and there's still noise, try different patches and settings. If it's still noisy across all patches, reduce your chain to the bare minimum for testing: instrument>DL4 MkII>amp. If the noise is still present, try to isolate the noise source by substituting cables, instruments and amp. Is the classic DL4 going away then? <Pours one out> Sadly, some of DL4’s parts have been discontinued, so yes, when they’re gone, they’re gone. 23 years is an eternity for any single product in this industry. I mean, DL4 is old enough to get into bars. Price and availability? $299.99 US street, shipping now.
  8. Please help. A drink got spilled on my Helix LT and the display is messed up. It's like the brightness is so far up everything is washed out and unreadable. Unit functions perfectly (audio, usb, etc). The splash screen looks fine, it's just everything else is messed up visually. I had my local Line6 repair center look at it and he replaced the LCD UI board but that didn't fix anything. I'd like to avoid just randomly replacing circuit boards. Could you please offer a hint on what might be messed up? It seems the display board is fed by the MCU-DSP board. It sucks having an $1100 door stop. THANKS in advance. 

  9. Helix/HX 3.50 (released November 3, 2022) includes 24 new cabs running on an all new cab engine, 5 new amps, 7 new effects, new features, additional improvements, and bug fixes, and is strongly recommended for all users. How do I update to 3.50? IMPORTANT! The 3.50 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes significant improvements to Helix Core and thousands of IR files. Updating Helix/HX Hardware With Helix/HX connected to your computer, launch HX Edit (3.01 or higher), and make sure you're signed in. HX Edit knows when a new update is available and will walk you through the entire update procedure for both hardware and software, including backing up everything to your computer. IMPORTANT! If you're running HX Edit 3.00 or older, download HX Edit 3.50 and repeat step 1. HX Edit 3.50 (macOS): https://line6.com/software/readeula.html?rid=11599 HX Edit 3.50 (Windows): https://line6.com/software/readeula.html?rid=11598 Helix Floor/Rack/LT only: Halfway through the update to 3.50, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there. HX Edit will display a message indicating the device must be reset. Click resume and wait for the second part of the update to complete. Perform a factory reset. IMPORTANT! MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK! Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp HX Stomp XL: While holding footswitches C & D, turn on HX Stomp OPTIONAL: Performing a factory reset loads the new 3.50 Factory Presets, but restoring from your backup will overwrite these. Spend some time exploring these and export the factory presets you want to keep (or drag them to your desktop). If you have unused setlists in Helix Floor/Rack/LT, you can also export the entire FACTORY 1 bundle for loading into an unused setlist later. From the top File menu, select Restore From Backup... If you don't have any important presets in Setlist 1, click the disclosure triangle next to Presets and uncheck the first setlist's box; this will retain 3.50's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup. Updating Helix Native Before updating Helix Native, it is highly recommended that you export a preset/setlist bundle. Click the gear icon in the lower left, select the Presets/IRs tab, and then click Export Bundle. Some hardware compatibility modes (HX Stomp, HX Stomp XL, HX Effects) do not have this feature as they have only one setlist. In these cases, at the top of the preset list, click the yellow EXPORT to export the setlist. Quit your DAW and download and install Helix Native 3.50: Helix Native 3.50 (macOS): https://line6.com/software/readeula.html?rid=11601 Helix Native 3.50 (Windows): https://line6.com/software/readeula.html?rid=11600 Open your DAW and open an instance of Helix Native. OPTIONAL: The only way to hear 3.50's new factory presets is to restore them. IMPORTANT! MAKE SURE YOU'VE EXPORTED A BUNDLE (OR ANY IMPORTANT SETLISTS) FIRST, AS RESTORING FACTORY SETLISTS WILL ERASE ALL YOUR WORK! Click the gear icon in the lower left, select the Presets/IRs tab, and then click Restore Factory Setlists. Click Yes. NOTE: Presets created in 3.50 are not compatible with earlier firmware versions. I updated but why don't I see [Model X] in HX Edit? HX Edit can't magically pull new model names and graphics from your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.50?" above). My Helix/HX is at version X.XX. Can I go straight to 3.50? Yes, but note that if you're starting from 2.80 or lower, the update may appear to happen three times and will take notably longer than 30 minutes. This is normal. All New Cab Engine/New Cabs in 3.50 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Thousands of impulses were captured with Sound Design's all new IR capture system and consolidated into 20 guitar cabs and 4 bass cabs. As such, cab subcategories have been updated: Single—One new cab Dual—Two new cabs Legacy Single—One older Hybrid cab Legacy Dual—Two older Hybrid cabs Amp+Cab subcategories have been updated as well: Guitar—Guitar Amp+new cab Bass—Bass Amp+new cab Guitar+Legacy—Guitar Amp+older Hybrid cab Bass+Legacy—Bass Amp+older Hybrid cab With Cab > Dual blocks, you can now also choose whether changing the first cab automatically recalls a matching cab for the second. From the Global Settings menu, select the Preferences page. Press PAGE> until you see Link Dual Cabs. When set to "On" (default), changing the first cab automatically loads a matching cab for the second. Choose this option if you want to emulate the sound of two different mics (or two of the same mic with different angles or positions) on the same cab. When set to "Off," both cabs are completely independent of one another. Alternatively, in HX Edit (and Helix Native), click the Link Dual Cabs icon. Off (left) and On (right): New Guitar Cabs Cab > 1x10 US Princess (Single, Dual), captured from* the 1x10" Fender Princeton Eminence Copperhead Cab > 1x12 Grammatico (Single, Dual), captured from* the 1x12" Grammatico LaGrange P12Q Cab > 1x12 US Deluxe (Single, Dual), captured from* the 1×12″ Fender® Deluxe Oxford Cab > 1x12 Cali EXT (Single, Dual), captured from* the 1x12" Mesa Boogie Extension Cab Cab > 2x12 Blue Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30 Fawn Blue Cab > 2x12 Double C12N (Single, Dual), captured from* the 2×12″ Fender Twin C12N Cab > 2x12 Jazz Rivet (Single, Dual), captured from* the 2×12″ Roland® JC-120 Cab > 2x12 Mail C12Q (Single, Dual), captured from* the 2×12″ Silvertone® 1484 Cab > 2x12 Mandarin 30 (Single, Dual), captured from* the 2x12" Orange PPC212 V30 Cab > 4x10 Tweed P10R (Single, Dual), captured from* the 4×10″ Fender Bassman® P10R Cab > 4x12 Greenback25 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12 M25 Cab > 4x12 1960A T75 (Single, Dual), captured from* the 4×12″ Marshall 1960A T75 Cab > 4x12 Blackback 30 (Single, Dual), captured from* the 4×12″ Park® 75 G12 H30 Cab > 4x12 Brit V30 (Single, Dual), captured from* the 4×12″ Marshall® 1960AV V30 Cab > 4x12 Cali V30 (Single, Dual), captured from* the 4×12″ MESA/Boogie® 4FB V30 Cab > 4x12 Mandarin EM (Single, Dual), captured from* the 4×12″ Orange Eminence Cab > 4x12 MOO)))N T75 (Single, Dual), captured from* the 4x12" Sunn Cab w/G75T Cab > 4x12 Uber T75 (Single, Dual), captured from* the 4×12″ Bogner® Uberkab T75 Cab > 4x12 Uber V30 (Single, Dual), captured from* the 4×12″ Bogner Uberkab V30 Cab > 4x12 XXL V30 (Single, Dual), captured from* the 4×12″ ENGL® XXL V30 Mic—Select from up to 12 mics: 57 Dynamic—Shure® SM57 421 Dynamic—Sennheiser® MD 421-U 7 Dynamic—Shure SM7 906 Dynamic—Sennheiser e906 30 Dynamic—Heil Sound® PR 30 121 Ribbon—Royer® R-121 160 Ribbon—Beyerdynamic® M 160 4038 Ribbon—Coles 4038 84 Ribbon—AEA R84 414 Cond—AKG® C414 XLS 47 Cond FET—Neumann® U47 FET 67 Cond—Neumann U67 Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis Low Cut—Applies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble High Cut—Applies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness Level—Sets the overall level of the cab Pan (Dual only)—Moves the signal left or right across the stereo sound field. For example, if you're running a stereo playback system with two or more speakers, panning the first cab to Left 100 and the second cab to Right 100 can make your tone sound notably wider. Press the knob to return to Center Delay (Dual only)—Although the new cabs in 3.50 perfectly line up with one another, there may be situations where you want to delay one side very slightly, to perhaps impart a bit of phase incoherence or at higher values, to increase the apparent stereo spread. A little goes a long way here New Bass Cabs Cab > 1x15 Ampeg B-15 (Single, Dual), captured from* the 1×15″ Ampeg® B-15 Cab > 2×15 Brute (Single, Dual), captured from* the 2×15″ MESA/Boogie® 2×15 EV Cab > 4×10 Garden (Single, Dual), captured from* the 4x10" Eden D410XLT Cab > 8x10 SVT AV (Single, Dual), captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition) Mic—Select from up to 12 mics: 57 Dynamic—Shure SM57 421 Dynamic—Sennheiser MD 421-U 7 Dynamic—Shure SM7 88 Dynamic—Beyerdynamic M88TG 52 Dynamic—Shure Beta 52A 112 Dynamic—AKG D112 D6 Dynamic—Audix D6 40 Dynamic—Heil Sound PR 40 4038 Ribbon—Coles 4038 414 Cond—AKG C414 TLII 47 Cond FET—Neumann U47 FET 67 Cond—Neumann U67 All other parameters the same as for guitar cabs (see above) New Amps in 3.50 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T. "The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog. "This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine." —Ben Adrian, Sound Design Manager Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T Amp/Preamp > PV VitriolCrunch, based on* the crunch channel of the Peavey Invective (Master boost off). Peavey designed this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery, with the goal of offering no-compromise, high-gain performance and flexibility. Amp/Preamp > PV Vitriol Lead, based on* the lead channel of the Peavey Invective (Master boost off) New Effects in 3.50 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL Distortion > Pillars OD (Mono, Stereo), based on* the Earthquaker Devices Plumes distortion Gain—Sets the amount of distortion Tone—Sets the overall tonal balance of the distortion Level—Sets the overall level of the block Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical Distortion > Vital Dist (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Amplitude side) Gain—Sets the amount of distortion Filter—Applies a high cut (or low pass) filter to the signal, letting you remove treble frequencies. At 0.0, no filter is applied Level—Sets the overall level of the block Clipping—Chooses the type of clipping circuit—Opamp, Asymmetrical, or Symmetric[al] Octave—Blends in a signal one octave up. At 0.0, no octave signal is heard. Works best when playing single notes Distortion > Vital Boost (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Magnitude side) Boost—Sets the output level of the boost circuit Modulation > 4-Voice Chorus (Mono, Stereo), Line 6 Original Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast Depth—Adjusts the amplitude of the modulation, from mild to deep Voices—Determines the number of voices in the chorus (2, 3, or 4) Low Cut—Applies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency HighShelf—Applies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency Mix—Controls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Modulation > FlexoVibe (Mono, Stereo), Line 6 Original Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast Intensity—Adjusts the amplitude of the modulation, from mild to deep Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping" Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Reverb > Dynamic Ambience (Mono, Stereo), Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs. Room Size—Sets the size of the hall (8, 10, or 12 meters) Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even" Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When on, reverb decay continues to ring out after the block is bypassed Pitch/Synth > Boctaver (Mono, Stereo), based on* the BOSS® OC-2 Octaver –1 Oct—Sets the level of the signal one octave down –2 Oct—Sets the level of the signal two octaves down Dry Level—Sets the level of the dry (unaffected) signal *NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development. New Features in 3.50 IR > Dual Block Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL 3.50 renames the Impulse Response > Mono subcategory as "Single" and adds a new subcategory—Dual. The IR > Dual block can accommodate two 1024-point IRs, you can pan them independently, flip the polarity of either one, and even slightly delay one vs. the other to account for any phase inconsistencies between IR developers. IR Select A—Selects the IR file for the first (A) slot Low Cut A—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency High Cut A—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency Level A—Sets the level of the first (A) IR Pan A—Pans the IR left or right between stereo speakers. Press the knob to reset to Center Polarity A—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps IR Select B—Selects the IR file for the second (B) slot Low Cut B—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency High Cut B—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency Level B—Sets the level of the second (B) IR Pan B—Pans the IR left or right between stereo speakers. Press the knob to reset to Center Polarity B—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps [Both] Delay—Some IR files don't line up perfectly, especially when mixing and matching files from two different developers. This can result in phase incoherence or a thin, unfocused tone. Turning this knob clockwise delays the B side IR by a tiny bit; turning it counterclockwise delays the A side by a tiny bit. Press the knob to return Delay to "None" [Both] Mix—Controls the wet/dry mix of the IR block. For Cab IRs, you should leave this set to 100%, but when utilizing body resonance IRs for acoustic guitars, you may want to find the right blend between the IR and dry signal New Cabs and IRs now use 66-80% Less DSP Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects [IRs only], HX Stomp, HX Stomp XL Due to further improvements to Helix Core, new Cabs and 1024-point IRs use roughly 66% less DSP as older Hybrid cabs and IRs in 3.15 and earlier versions. A new Cab > Dual block uses less DSP than a single Hybrid cab block and the new IR > Dual block uses less DSP than a single IR block in 3.15. 2048-point IRs use roughly 80% less DSP, although they still use a lot of memory, so they're still limited to one instance per path. NOTE: Older Hybrid cabs use the same amount of DSP as in earlier firmware. Disable Snapshot Control over Parameter Assignments Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL Prior to 3.50, when assigning a parameter to a physical control (EXP 1, footswitch, etc.) or MIDI, Snapshots are also always assigned. In 3.50, they still are, but there's an additional "Snapshot Control" parameter on the Controller Assign page that lets you bypass this behavior. From the Controller Assign menu, select the desired parameter and turn Knob 2 (Controller) to select any value other than "None" or "Snapshots." A second page appears. Press PAGE> and turn Knob 1 (Snapshot Control) to "Off." It's set to "On" by default for all parameters. Other Changes and Improvements in 3.50 Encoder ballistics have been drastically improved. For example, tonestack values can go from 0.0 to 10.0 with one turn Helix Floor/Rack/LT only—SHORTCUT: While the Model List is open, pressing [AMP] jumps to highlight the Amp category without having to scroll down to it Helix Floor/Rack/LT only—The Impulse Response category's name has been shortened to "IR" (now matches that of HX Stomp/XL) to accommodate a wider subcategory column in the model list as well as accommodate longer IR names in the inspector header Bug Fixes in 3.50 Reverb > Shimmer's Pitch parameter was inconsistent between hardware and HX Edit—FIXED Reverb > Dynamic Room's Mot Rate value range was inconsistent between hardware and HX Edit—FIXED Delay > Stereo > ADT's Mod Rate value range was inconsistent between hardware and HX Edit—FIXED Delay > Tesselator and Ratchet's Operation is set to "Mute All," the signal would be muted even when bypassed—FIXED When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 (SAVE+EXIT) while in Pedal Edit mode did not always save edited parameters when controlled by snapshots—FIXED After loading a preset containing a Command Center > Instant > Ext Amp command, EXP Pedal 1 could sometimes stop functioning properly—FIXED When a snapshot is reloaded, a duplicate MIDI PC message was not sent—FIXED When many Command Center commands are assigned, snapshot names could sometimes disappear—FIXED While in tuner view, attempting to restore globals could sometimes cause Helix to crash—FIXED When assigning block bypass to an expression pedal, Behavior > "Heel Down" or "Toe Down" could sometimes revert to "Toggle"—FIXED HX Stomp/HX Stomp XL only—Upon receiving MIDI CC73, changing views was not functioning as expected—FIXED HX Stomp/HX Stomp XL only—Overly long favorite names could result in graphical glitches—FIXED HX Stomp XL only—After changing presets using footswitches, capacitive sensing could become disabled until pressing a stomp switch—FIXED HX Stomp XL only—When a Command Center > Snapshot Up or Down command is assigned to Footswitch 7 or 8, an extra Snapshot Up/Down message could occur—FIXED HX Edit only—Copying and pasting an IR with more than 31 characters in the name would truncate the IR's name—FIXED HX Stomp w/ HX Edit only—After restoring from a 3.01 backup, if path B exists, blocks move 1 position to the right—FIXED Many other minor fixes and improvements Known Issues in 3.50 In some cases, the Input block's Variax Tone Knob setting is not recalled across preset changes In some cases, sending MIDI CC49-59 (footswitch emulation control) to engage stomp switches assigned to snapshot commands can result in inconsistent behavior. Instead, send Helix CC69 messages (values 0-7) to recall snapshots In rare cases, attempting to fill all 128 user IR locations can result in a "Failed to get impulse names" -8207 error and the device will appear to be frozen on "Transferring data." In the meantime, load 127 or fewer IRs at a time If Global Settings > Footswitches > Stomp Select is set to "Press" or "Touch+Press," engaging multiple block bypasses assigned to the same switch (set to momentary) can sometimes appear to lag In the Command Center, any MIDI notes assigned to a footswitch can sometimes unexpectedly trigger upon snapshot changes Helix Floor/Rack/LT only—If Path 1 is routed to Path 2, engaging the Tuner while Tuner Trails is on can sometimes mute the processed audio signal Helix Floor/Rack only—While in 10 Stomp footswitch mode, the momentary state of FS1 or FS7 can sometimes become reversed HX Effects only—If HX Effects is receiving MIDI clock, loading a new preset can sometimes cause the TAP LED to flash at double the tempo (audio is not affected, however) HX Edit only—In specific cases, moving a Path 2 block across a Split or Merge block can sometimes cause the block's location in the hardware to become out of sync
  10. Helix/HX 3.15 is now available. CLICK THIS LINK AND READ THE RELEASE NOTES!
  11. Helix/HX 3.15 (released February 8, 2022) includes a new Line 6 original amp, 10 new Helix effects, 18 additional Legacy effects, new features, additional improvements, and bug fixes, and is recommended for all users. How do I update to 3.15? If you're running HX Edit 3.01 or higher (released on Feb 2, 2021), just connect Helix/HX to your computer via USB and launch HX Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both HX Edit and your Helix/HX firmware. If you're running an older version of HX Edit, you must update it before updating your Helix/HX hardware. Before updating Helix Native, it is highly recommended that you export a preset/setlist bundle. This is done by going to Settings (the gear icon in the bottom left of the window), the Presets/IRs tab, and clicking Export Bundle. Some hardware compatibility modes (HX Stomp, HX Stomp XL, HX Effects) do not have this feature as they only have one setlist. In these cases the setlist will need to be exported. I updated but why don't I see [Model X]? HX Edit can't magically see new models added to your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.15?" above). Here's a link to HX Edit 3.15: macOS: https://line6.com/software/readeula.html?rid=11009 Windows: https://line6.com/software/readeula.html?rid=11007 My Helix/HX is at version X.XX. Can I go straight to 3.15? Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice. This is normal. Anything else I should know? Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your Helix/HX firmware to 3.15 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK! Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp HX Stomp XL: While holding footswitches C & D, turn on HX Stomp New Amp in 3.15 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Amp/Preamp > Line 6 Ventoux, Line 6 Original. "The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard. This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits. Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities." —Ben Adrian, Sound Design Manager Drive—Controls the amount of amp drive HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion Ch Vol—Sets the overall level of the Amp block Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level New Helix Effects in 3.15 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL Dynamics > Ampeg Opto Comp (Mono, Stereo), based on* the Ampeg Opto Comp compressor pedal. Compress—Controls how much level the compressor detector circuit receives. More level = more compression. (Ampeg Opto Comp has a fixed threshold and ratio) Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms Mix—Controls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard Level—Sets the overall level of the block Modulation > Ampeg Liquifier (Mono, Stereo), based on* the Ampeg Liquifier chorus pedal. Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast Depth—Adjusts the amplitude of the modulation, from mild to deep Mix—Controls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single" Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal Level—Sets the overall level of the block Delay > Heliosphere (Mono, Stereo), Line 6 Original delay with reverb injected into the feedback loop. Time—Sets the delay time. Press the knob to toggle between ms/Sec and note values Feedback—Controls the overall number of repeats. To hear only one repeat, set to 0% Rate—Controls the rate or speed of modulation Depth—Controls the depth or amount of modulation Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Level—Sets the overall level of the block Scale—For stereo delays, the Time parameter sets the left side. The right side's time is always some percentage of the left's time, and is determined by the Scale parameter. For example, if Time is set to 500ms, and Scale is set to 70%, the left delay is 500ms and the right delay is 350ms (or 70% of 500ms). When scale is set to 100%, left and right delays are the same Rev Mix—Controls the wet/dry mix of the reverb inside the delay's feedback loop. When set to 0%, no reverb is heard Rev Decay—Sets the decay of the reverb Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected Delay > ADT (Mono, Stereo), Line 6 Original double-tracking tape emulation. Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms WowFlutr1, WowFlutr2—Determines how much warbly tape sound is heard for each deck Saturate1, Saturate2— Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default Deck 2 Pol—Flips the polarity of deck 2 Mod Rate—Controls the rate or speed of modulation applied to Deck 2 Mod Depth—Controls the depth or amount of modulation applied to Deck 2 Level—Sets the overall level of the block TapeSpeed—Changes both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation Texture— Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion Low Cut—Applies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency Deck 1 Pan, Deck 2 Pan—Pans each deck left and right EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected Delay > Crisscross (Mono, Stereo), Line 6 Original dual delay with cross-feedback between the two delay lines. Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values Feedbk A, Feedback B—Controls the number of repeats for each delay line. To hear only one repeat, set to 0% Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100 Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Level—Sets the overall level of the block Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. Mod Rate—Controls the rate or speed of modulation Mod Depth—Controls the depth or amount of modulation Shape—Sets the modulation's wave shape (Sine or Triangle) Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits" Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz" Low Cut—Applies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected Delay > Tesselator (Mono, Stereo), Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached. Assign Tesselator to a stomp footswitch. It's bypassed by default. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters: First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics Direction—Determines the direction of the steps: Forward: Each step plays back normally (Ex. 2a below) Reverse: Each step plays back in reverse (Ex. 2b below) Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below) Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below) Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default) "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED "Dry Kill"—When Tesselator is on, only the effected signal is heard. TIP: With Tesselator on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed) "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below) Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed" Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below) HP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence LP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below) FX Level—Controls the level of the effected signal Level—Controls the overall output level of the block Woohoo! More charts and diagrams! Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples: Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after. Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps. Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off." TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land. Delay > Ratchet (Mono, Stereo), Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before. Assign Ratchet to a stomp footswitch. It's bypassed by default. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal. FX Level—Controls the level of the looped audio Level—Controls the overall output level of the block Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32" Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default) "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED "Dry Kill"—When Ratchet is on, only the effected signal is heard. TIP: With Ratchet on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard Reverb > Dynamic Plate (Mono, Stereo), Line 6 Original plate reverb typically found in high-end studio rack reverbs. Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity) Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Low Freq—Sets the frequency below which the Low Gain parameter is applied Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected Reverb > Dynamic Room (Mono, Stereo), Line 6 Original room reverb typically found in high-end studio rack reverbs. Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec) Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc. Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Low Freq—Sets the frequency below which the Low Gain parameter is applied Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency EarlyReflc—Sets the amount of early reflective room sound Level—Controls the overall output level of the block Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected Reverb > Shimmer (Mono, Stereo), Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler. Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom Pitch 1—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch 1 and Pitch 2 have 0.1 semitone resolution between -1and +1 Pitch 2—Sets the interval of the second pitchshifter Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb Feedback—Controls the number of times the pitchshifting recirculates through the reverb Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default) Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity) Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals Room Size—Sets the size of the room (10, 20, or 30 meters) Damping—Determines the frequency above which the reverb will be absorbed Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected *NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development. New Legacy Effects in 3.15 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL 18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added to the Legacy subcategory in their respective effects categories. Don't sleep on these! Distortion > Bronze Master (Legacy), based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry Distortion > Killer Z (Legacy), based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound Modulation > Tape Eater (Legacy), Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix Modulation > Warble-Matic (Legacy), Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies Modulation > Random S&H (Legacy), Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo Modulation > Sweeper (Legacy), Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental Delay > Phaze Eko (Legacy), Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture Delay > Bubble Echo (Legacy), Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about Pitch/Synth > Synth Lead (Legacy), Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits Pitch/Synth > String Theory (Legacy), Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to Helix/HX in 1.50. Renamed the POD Farm version "String Theory" to avoid confusion Pitch/Synth > Synth FX (Legacy), Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks Pitch/Synth > Buzz Wave (Legacy), Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches Pitch/Synth > Rez Synth (Legacy), Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter Pitch/Synth > Saturn 5 Ring Mod (Legacy), Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical Pitch/Synth > Double Bass (Legacy), Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down Pitch/Synth > Seismik Synth (Legacy), Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch Pitch/Synth > Analog Synth (Legacy), Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP Pitch/Synth > Synth Harmony (Legacy), Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant New Features in 3.15 Apple Silicon Support Helix Native The Helix Native VST/AU/AAX plug-in now natively supports M1 and newer Apple computers without Rosetta. NOTE: HX Edit software has worked with M1 Macs from day one. Input Block > Per-Preset Guitar Pad Helix Floor, Helix Rack/Control, Helix LT, HX Stomp, HX Stomp XL The Input > Multi and Input > Guitar block now has an additional Guitar Pad parameter that lets you engage the analog guitar pad per preset ("Off" or "On). Or you could leave it set to "Global" and continue to turn the guitar pad on and off from the Global Settings menu. NOTE: For HX Stomp and HX Stomp XL, "Global" refers to the Global Settings > Ins/Outs > Input Level setting. When Pad is on, it's the same as if Input Level is set to "Line"; when off, it's the same as if Input Level is set to "Inst[rument]." Per-Snapshot Command Center > HX Snpsht Values Command Center > HX Snapshot command parameters can now be controlled by Snapshots themselves. For example, imagine that you are on Snapshot 1 and create an HX Snapshot command on FS2. You set it so that pressing that switch recalls Snapshot 3. You then switch to Snapshot 3 and set the same switch to recall Snapshot 6. Recall Snapshot 6 and set the switch to recall Snapshot 2. Finally, you recall Snapshot 2 and set the switch to recall Snapshot 1. Now, you go back to Snapshot 1 and begin pressing the switch. Each successive press recalls the assigned Snapshot and you would cycle Snapshot 1 > 3 > 6 > 2 > 1 > 3 > 6 > 2 and so on for each switch press. NOTE: this assumes that the Snapshot Edits global is set to Recall. If it's set to Discard, you'd have to save the preset after each set in order for the changes to stick Global MIDI Control of Knobs 1-6, <PAGE/PAGE>, and Preset Save Helix Floor, Helix Rack, Helix LT, HX Effects, HX Stomp, HX Stomp XL Instead of manually having to assign parameters to incoming MIDI CC messages, Knobs 1-6 for any block on the Home screen (Knobs 1-3 on HX Effects, HX Stomp, or HX Stomp XL) respond to new global MIDI CCs. This turns any programmable MIDI keyboard or tabletop controller into a simple way to edit blocks without having to reach down (for those of you who can't be bothered to use Pedal Edit Mode). In addition, sending Helix/HX a CC74 message will save any changes to the preset. IMPORTANT! We ran out of reserved Global CCs and unfortunately had to steal five user-assignable CCs for this feature. Any parameters you've assigned to CC77-CC81 will have to be remapped. Sorry 'bout that. Other Changes and Improvements in 3.15 Bypass Assign > EXP Pedal 1/2 now has a new Behavior parameter to control how bypassing is handled. The default value "Toggle" behaves as this feature always has - bringing the pedal past threshold will toggle the block's bypass state from what it is currently (i.e. enable if currently bypassed and vice versa). "Toe Down" and "Heel Down" always bypass the block at the designated position, regardless of the block's starting state. So with "Heel Down" selected, the block will always enable when you cross the Position threshold and bypass when you return below it The max delay time for several Delay > Legacy models has been increased from 2 seconds to 2.5 seconds Numerous additional minor improvements to Delay > Legacy models Delay > Multitap 6 has been optimized to use less than half the DSP as in pre-3.15 builds MIDI CC69 values are now transmitted upon snapshot change We ran out of reserved Global CCs and unfortunately had to steal five user-assignable CCs for MIDI control of Knobs 1-6 and <PAGE/PAGE>. Any parameters you've assigned to CC77-CC81 will have to be remapped Encoder ballistics have been improved. For parameters with hundreds of values, you can now go from Min to Max in a couple of turns HX Stomp XL only: Global Settings > Footswitches > Snapshot Mode adds a third value—Toggle, like the one in HX Effects and POD Go. This remembers whether Preset Mode is in Preset or Snapshot mode and allows for toggling between Stomp and Snapshot mode via the MODE switch Bug Fixes in 3.15 Amp/Preamp > Das Benzin Lead channel output was set to -36dB instead of -24dB—FIXED Amp/Preamp > Voltage Queen's Master volume only affected one side of the push/pull power amp—FIXED Distortion > Ampeg Scrambler's oversampling wasn't fully implemented—FIXED IR names with more than 54 characters couldn't be copied or exported from HX Edit HX Stomp, HX Stomp XL, HX Effects only: Pressing TAP to reset LFOs now properly works on switch press, not release—FIXED HX Stomp, HX Stomp XL only: Some Preamp blocks would display an Amp block icon in the inspector header—FIXED HX Stomp XL only: Command Center > HX Snapshot commands assigned to Hold would not function properly on FS1 and FS4—FIXED HX Edit only: In rare cases, dragging in an IR from the list to the signal flow could sometimes create a None block instead of an Impulse Response block—FIXED HX Edit only: While Spillover is active, dragging a block across path A/B could occasionally fail—FIXED HX Edit only: After moving a block with Spillover active, changing a block from mono to stereo could occasionally fail—FIXED HX Edit only: While Spillover is active, the bypass state appearance of blocks could occasionally not match that of the hardware—FIXED HX Edit only: DSP allocation of poly pitch blocks could occasionally not match that of the hardware—FIXED HX Edit only: IRs with names longer than 54 characters couldn't be copied or exported—FIXED HX Edit only: When saving a favorite, the Enter key on extended QWERTY keypads was inoperable—FIXED HX Edit only: Snapshot-controlled Command Center changes would sometimes not be maintained across copy/paste or preset export/import—FIXED Known Issues in 3.15 Copy/pasted blocks retain their favorited status after overwriting an existing favorite When a snapshot is reloaded, a duplicate PC message is not transmitted, regardless of the Global Settings > MIDI/Tempo > Duplicate PC Send setting In some cases, the current Variax tone knob's position may not be recalled across preset changes Delay > Ducked Delay's ducking is inactive if DynAttack is maxed out at 2.000s When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 to save changes in Pedal Edit mode does not save snapshot-controlled parameters After changing a different delay's Time parameter from ms to note values, selecting Delay > Tesselator causes its Knob 1 parameter label changes from "First" to "Time 1" When Delay > Tesselator and Ratchet's Operation is set to "Mute All," the entire path is muted, regardless of whether the block is active or bypassed
  12. 1.30 for POD Go and POD Go Wireless is now available:
  13. Digital_Igloo

    POD Go 1.30

    POD Go 1.30 (released October 5, 2021) includes a new amp, new effects, new features, improvements, and bug fixes and is recommended for all users of POD Go and POD Go Wireless. Here's a video if you're in a hurry. How do I update to 1.30? Connect POD Go/POD Go Wireless to your computer and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer, updating POD Go Edit, and updating the firmware. I updated but why don't I see [Model X]? POD Go Edit can't magically see new models added to your POD Go hardware; you MUST update POD Go Edit to 1.30 as well. Here's a link: macOS: https://line6.com/software/readeula.html?rid=10708 Windows: https://line6.com/software/readeula.html?rid=10709 My POD Go is at version 1.XX. Can I go straight to 1.30? Yes. Anything else I should know? Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 1.30 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK! While holding footswitches C and D, turn on POD Go/POD Go Wireless. New Amp in 1.30 Mandarin Rocker, based on* the Orange® Rockerverb 100 MKIII (Dirty Channel). NOTE: We decided to slightly alter the model so that at lower settings, the Drive knob's taper exhibits a smoother transition into distortion. New Effects in 1.30 Distortion > Ratatouille Dist (Mono, Stereo), based on* the 1984 Pro Co RAT. Turns out our Vermin Dist model was broken. Sorry! We were going to replace it completely but a bunch of people had presets with the old version. On top of that, we found out our RAT's LM308 chip had crapped out since we modeled it last so we decided to get it into perfect working order and start from scratch. Gain—Sets the amount of distortion Filter—Sets the amount of high cut (low pass) filter applied to the distortion, basically letting more treble through (lower values) or filtering it out (higher values) Level—Sets the overall level of the block Modulation > Retro Reel (Mono, Stereo), Line 6 Original effect that simulates playing a signal back from an analog tape machine. This signal can be distorted, filtered to sound older or more lo-fi, and modulated with wow and flutter. Wow Fluttr—Determines how much warbly tape sound is heard Saturation—Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone Low Cut—Determines the frequency of the Low Cut (High Pass) filter. At higher settings, can provide a lo-fi effect High Cut—Determines the frequency of the High Cut (Low Pass) filter. At lower settings, can provide the natural high-end roll-off of old tape Tape Speed—Changes both the rate of the modulation applied by the Wow Fluttr control and the filtering response of the analog tape emulation Level—Sets the overall level of the block Texture—Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion Delay > Euclidean Delay (Mono, Stereo), Line 6 Original delay based on Euclidean algorithms. Creates multitap patterns by setting the length of the pattern (Steps) and the number of taps (Fill) in the pattern. The Euclidean algorithm spaces taps as evenly as possible throughout the pattern, resulting in rhythms from traditional to highly complex. Settle in because this one'll require diagrams and charts and whatnot. Step Time—Sets the time between steps. The total delay time is Time x Steps, so [Time: 1/16 x Steps: 8] is a 1/2-note. Press the knob to toggle between ms/sec and note values Feedback—Controls the overall number of repeats heard for the entire sequence. If you want to hear all fills in the sequence only once, set to 0% Steps—Determines the number of steps in the sequence (1-16; see diagram below) Fill—The number of active taps, whose spacing is set by Euclidean algorithms (1-16, see diagram below). If Fill is higher than Steps, the extra taps are ignored Rotate—Rotates all fills forward by the same amount (0-15; see diagram below). Used If you like the sound of a repeat pattern but want the fills and gaps shifted forward Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Low Cut—Applies a low cut (high pass) filter to the fills, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When on, delay repeats continue to ring out after the block is bypassed I was told there'd be no math! Sorry. If you'd like to read more about Euclidean rhythms, check this out: https://splice.com/blog/euclidean-rhythms/ Or if you'd like to know more about Euclidean math, see ya' in a semester or two! https://en.wikipedia.org/wiki/Euclidean_algorithm Reverb > Dynamic Hall (Mono, Stereo), Line 6 Original hall reverb Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity) TIP: Assign a second stomp switch to toggle between a lower Decay value and Infinity. Label it "ForEVER ever?" Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals Room Size—Sets the size of the hall (10, 20, or 30 meters). NOTE: This parameter actually changes the algorithm so you'll hear a small bump when changing it. Therefore, we don't recommend assigning Room Size to snapshots or other controllers Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal Low Freq—Sets the frequency below which the Low Gain parameter is applied Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When on, reverb decay continues to ring out after the block is bypassed Reverb > Hot Springs (Mono, Stereo), Line 6 Original spring reverb Dwell—Adjusts the strength of the signal sent into the spring tank. Higher values result in a longer decay Spring Count—Sets how many springs are in the tank (1, 2, or 3, and numerous values in between) Drip—Adjusts the intensity of the spring reverb, or how much "ploink" you might hear Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Trails—When on, reverb decay continues to ring out after the block is bypassed *NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development. New Features in 1.30 User Model Defaults 1.30 lets you save any amp, cab, or effect block's settings as default, so every time you call that model up, it sounds exactly the way you want it. Or, if you want to revert it to factory default, you can do that too. Editing/saving a User Default does not affect any existing instances of the model currently in use in your presets. From Edit view, choose any effect, amp, or cab and tweak it exactly how you like it. Press ACTION and then User Default. From POD Go Edit, right-click (Mac: control-click) the block icon and select "User Default." Customizable Stomp Switches POD Go 1.30 adds the ability to customize the LED colors and onscreen labeling of stomp switches. Press <PAGE and PAGE> to open the main MENU and then press Knob 1 (Bypass/Control). Turn the Upper Knob to select the desired block and then turn Knob 2 (Switch[Controller]) to select FS1 ~ FS6. Press ACTION and then Knob 3 (Customize). Use the Upper Knob and Knob 4 (Character) to rename the Stomp switch. Turn Knob 3 (Switch LED) to choose the desired color for the switch. Press Knob 5 (OK) when finished. Customizable Snapshot Switches Switches in Snapshot Footswitch Mode can now have custom labels and colors. From Play View, press the Upper Knob to open the Preset List. Press Knob 5 (Rename Snapshot). Use the Upper Knob and Knob 4 (Character) to rename the Snapshot. Turn Knob 3 (Switch LED) to choose the desired color for the switch. Press Knob 5 (OK) when finished. On Play view, when in Snapshot footswitch mode, custom snapshot names appear in the boxes with smaller camera icons: Global Settings > Ins/Outs > Volume Knob Prior to 1.30, POD Go’s Volume Knob only controlled the Main Outs (and Phones out, of course). Now you can choose whether it controls the Main Outs, Amp Out, or both. IMPORTANT: When connecting POD Go's AMP OUT to the input of a guitar or bass amp, we strongly recommend leaving Global Settings > In/Outs > Volume Knob to "Main Outs," as turning the Volume knob with any other setting will be like adding many boost pedals or attenuators between POD Go and your amp; that is, it'll probably sound totally wrong. Only set this to "Amp Out" or "Both" when connecting the Amp Out to a full-range, flat response (FRFR) speaker, studio monitor, or similar playback system. Global Settings > Switches/Pedals > FS7/8 Function Prior to 1.30, POD Go’s Footswitch 7/8 jack supported an expression pedal or two additional stomp switches. You can now assign them to Bank Up/Down, Preset Up/Down, or Snapshot Up/Down, so you can leave POD Go in Stomp mode (with all 6 stomps) and still navigate presets and snapshots from external switches. Wireless Transmitter Updating via POD Go Edit POD Go Wireless can now update a connected G10T or G10T II via POD Go Edit. Bug Fixes in 1.30 Changing Wah or Volume/Pan models could could inadvertently change the block's bypass state–FIXED In some cases, the 6 Switch Looper would not reflect the proper states in Play View—FIXED In rare cases, some graphic anomalies could appear on the LCD—FIXED If a Modulation > Deluxe Phaser (set to 2 Stage) was moved, it could freeze POD Go—FIXED If an Amp > Agua 51 block is set with Bass to 0.0 and Mid to 10.0, it could cease processing audio—FIXED In rare cases, repeated, incessant reordering of blocks via POD Go Edit could cause POD Go to freeze—FIXED In certain cases, exiting footswitch modes could cause the display to inadvertently change from Play view to Edit view—FIXED In certain circumstances, loading a preset with specific Delay > Legacy models could cause them to behave as Authentic instead of Transparent—FIXED Many other minor fixes and improvements Known Issues in 1.30 If many parameters are assigned to the expression pedal, POD Go Edit may fail to reflect some parameters' correct Min and Max values In some cases, loading a .WAV file into the currently active IR slot can cause the block to cease passing audio until a different IR location is selected When Modulation > Chorus' WavShape is set to "Saw Up" or "Saw Down," the block collapses the signal to mono when after the Amp block A minor thump may be heard when loading a Distortion > Kinky Boost, Dhyana Drive, or Tycoctavia Fuzz In rare cases, if Delay > Glitch Delay is in the active preset, performing a firmware update can cause POD Go to freeze on the splash screen Renamed footswitch assignments that are at the character limit and also contain special characters may cause lines to temporarily appear along the bottom of the screen when toggled. Please shorten the customized name by 1 character to avoid this as a temporary workaround until this is addressed in a future release. POD Go Edit—After copying/pasting an Input or Output block “Failed to undo edit buffer: …" can appear POD GO Edit—Adjusting some parameters can fail to display the preset name in a dirty state (italics)
  14. Helix/HX 3.11 is out now with important bug fixes. READ THE RELEASE NOTES! https://line6.com/support/page/kb/effects-controllers/helix/helix-310311-release-notes-r969/
  15. Apologies if an answer is posted but I’ve searched and can’t find:  I updated to 3.1 the other day and my unit updated but HX Edit did not.  Can someone post instructions for how to proceed?  IE. how to roll back the unit update ( if necessary) and/or how to update HX Edit itself to 3.1?  Thank you.

×
×
  • Create New...