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Digital_Igloo

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Digital_Igloo last won the day on June 6 2018

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  1. HX One FAQ What’s HX One? HX One is a compact stereo stompbox with a massive library of effects. If HX Effects is the spiritual successor to M9 and M13, HX One is the spiritual successor to M5. How many effects can HX One run at once? Ahem… one. It's a stompbox for pedalboard-based guitarists and bassists. It is decidedly not a micro Helix. How many different effects does it include? Every* effect from our Helix, HX, and M-Class product lines, including all the crazy cool stuff like Poly Pitch, Poly Sustain, Retro Reel, ADT, Dynamic reverbs, Shimmer, Tesselator, Shuffling Looper, etc. Over 260 total. HX One ships with firmware 3.60, and when 3.70 drops, you may see even more effects. Ugh, I hate screens on pedals. Is it easy to use? Very. Push-turn the EFFECT knob to quickly select the effect category, turn EFFECT to select the effect, and then turn the three knobs to adjust parameters. Press < or > to see more parameters. That’s 90% of it, so congrats! Reading this one paragraph has made you an expert. What’s up with that TAP | FLUX switch? Hold TAP and it changes to Flux, which acts like a Heel/Toe expression switch, where any (or all) parameters transition to a different value over X seconds/beats with a selectable curve. It’s a ton of fun, especially with tape delay squeals, octave divebombs, distortion swells into the chorus, blooming reverbs, and countless more tricks that are difficult or impossible to pull off live. Or if you set Flux Time to zero, you can seamlessly toggle between two states of the same effect, just like snapshots in Helix. Any other cool things lurking in there? Variable analog impedance circuits on the inputs Always-available input noise gate available from the Setup menu, per preset Every effect can be stored as a user default so it always calls up the way you want (and it even remembers your Flux settings), independent of presets 128 preset locations, selectable from the footswitches or MIDI. All 128 factory presets include one or more parameters preassigned to Flux If you’re willing to sacrifice stereo operation, HX One can be switched into one of two different locations on your pedalboard (or in 4-cable method), per preset—say up front for distortions and pitch effects and toward the end for delays and reverbs High-contrast 128x32-pixel OLED display Switchable instrument or line operation. Sounds great on keyboards and synths too EXP | FS3/4 jack, letting you connect one expression pedal, a pedal and footswitch, or two footswitches. An expression pedal and Flux echo each other’s settings Robust MIDI implementation, including triggering bypass, Flux, and looper functions from synth keys or sequencers It only really works when HX One is the first pedal in your chain, but there’s a tuner lurking in there too So could HX One cover all the effects I wouldn’t necessarily buy a dedicated pedal for? Perhaps, but it also shines for many effects you would buy a dedicated pedal for. Just because HX One has 250+ effects doesn’t mean it can’t rival (or surpass) many dedicated pedals. Why didn’t you make a green delay version, a blue mod version, an orange reverb version, etc.? Because it costs almost nothing to include every effect and we’re not greedy. If you want to dedicate an HX One to just delays, that’s fine—put green stickers on it or something. What’s the USB port for? Connecting to the HX One Librarian for backing up/restoring/importing/exporting/renaming/reordering the 128 presets and for firmware updates via the new Line 6 Central app. As there’s only one effect at a time (and it’s running on an ARM processor, not a SHARC), HX One is unfortunately not compatible with HX Edit software. Can I power this from my pedalboard power distribution? Most likely. HX One requires just under 400mA of clean DC. It also includes a new compact DC-1h power supply. I fancy myself a gear forum grumpopotamus. <snorts> Who would buy this thing? HX One is clearly designed for traditional pedalboard guitarists and bassists, but it could also be ideal for the following customers: Keyboardists/synthesists/tabletop producers People who love Line 6 effects but for whatever reason prefer a competitive modeler or preamp pedal HX Stomp users who want more DSP (for Poly Pitch, etc.) Beginners—HX One is perfect for learning what types of FX you might like before building a pedalboard *Ha! You said it had every effect from Helix, but it clearly doesn’t have the 6 Switch Looper or the Volume/Pan stuff! With a MIDI controller, the 1 Switch and Shuffling loopers can be controlled from 6 switches (or keys on your MIDI keyboard). When is HX One shipping? How much? Mid-December 2023, $299.99 US street. You may be able to afford more than one for your pedalboard and unlike HX Effects, this one’ll fit in your stocking.
  2. HX One FAQ What’s HX One? HX One is a compact stereo stompbox with a massive library of effects. If HX Effects is the spiritual successor to M9 and M13, HX One is the spiritual successor to M5. How many effects can HX One run at once? Ahem… one. It's a stompbox for pedalboard-based guitarists and bassists. It is decidedly not a micro Helix. How many different effects does it include? Every* effect from our Helix, HX, and M-Class product lines, including all the crazy cool stuff like Poly Pitch, Poly Sustain, Retro Reel, ADT, Dynamic reverbs, Shimmer, Tesselator, Shuffling Looper, etc. Over 260 total. HX One ships with firmware 3.60, and when 3.70 drops, you may see even more effects. Ugh, I hate screens on pedals. Is it easy to use? Very. Push-turn the EFFECT knob to quickly select the effect category, turn EFFECT to select the effect, and then turn the three knobs to adjust parameters. Press < or > to see more parameters. That’s 90% of it, so congrats! Reading this one paragraph has made you an expert. What’s up with that TAP | FLUX switch? Hold TAP and it changes to Flux, which acts like a Heel/Toe expression switch, where any (or all) parameters transition to a different value over X seconds/beats with a selectable curve. It’s a ton of fun, especially with tape delay squeals, octave divebombs, distortion swells into the chorus, blooming reverbs, and countless more tricks that are difficult or impossible to pull off live. Or if you set Flux Time to zero, you can seamlessly toggle between two states of the same effect, just like snapshots in Helix. Any other cool things lurking in there? Variable analog impedance circuits on the inputs Always-available input noise gate available from the Setup menu, per preset Every effect can be stored as a user default so it always calls up the way you want (and it even remembers your Flux settings), independent of presets 128 preset locations, selectable from the footswitches or MIDI. All 128 factory presets include one or more parameters preassigned to Flux If you’re willing to sacrifice stereo operation, HX One can be switched into one of two different locations on your pedalboard (or in 4-cable method), per preset—say up front for distortions and pitch effects and toward the end for delays and reverbs High-contrast 128x32-pixel OLED display Switchable instrument or line operation. Sounds great on keyboards and synths too EXP | FS3/4 jack, letting you connect one expression pedal, a pedal and footswitch, or two footswitches. An expression pedal and Flux echo each other’s settings Robust MIDI implementation, including triggering bypass, Flux, and looper functions from synth keys or sequencers It only really works when HX One is the first pedal in your chain, but there’s a tuner lurking in there too So could HX One cover all the effects I wouldn’t necessarily buy a dedicated pedal for? Perhaps, but it also shines for many effects you would buy a dedicated pedal for. Just because HX One has 250+ effects doesn’t mean it can’t rival (or surpass) many dedicated pedals. Why didn’t you make a green delay version, a blue mod version, an orange reverb version, etc.? Because it costs almost nothing to include every effect and we’re not greedy. If you want to dedicate an HX One to just delays, that’s fine—put green stickers on it or something. What’s the USB port for? Connecting to the HX One Librarian for backing up/restoring/importing/exporting/renaming/reordering the 128 presets and for firmware updates via the new Line 6 Central app. As there’s only one effect at a time (and it’s running on an ARM processor, not a SHARC), HX One is unfortunately not compatible with HX Edit software. Can I power this from my pedalboard power distribution? Most likely. HX One requires just under 400mA of clean DC. It also includes a new compact DC-1h power supply. I fancy myself a thegearforum.com grumpopotamus. <snorts> Who would buy this thing? HX One is clearly designed for traditional pedalboard guitarists and bassists, but it could also be ideal for the following customers: Keyboardists/synthesists/tabletop producers People who love Line 6 effects but for whatever reason prefer a competitive modeler or preamp pedal HX Stomp users who want more DSP (for Poly Pitch, etc.) Beginners—HX One is perfect for learning what types of FX you might like before building a pedalboard *Ha! You said it had every effect from Helix, but it clearly doesn’t have the 6 Switch Looper or the Volume/Pan stuff! With a MIDI controller, the 1 Switch and Shuffling loopers can be controlled from 6 switches (or keys on your MIDI keyboard). When is HX One shipping? How much? Mid-December 2023, $299.99 US street. You may be able to afford more than one for your pedalboard and unlike HX Effects, this one’ll fit in your stocking.
  3. Digital_Igloo

    POD Go 2.0

    POD Go 2.0 (released November 7, 2023) includes an all new Cab engine including 33 new cabs, 6 new amps, 7 new effects, 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 2.0? 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 2.0 as well. Here's a link: macOS: https://line6.com/software/readeula.html?rid=12373 Windows: https://line6.com/software/readeula.html?rid=12374 My POD Go is at version 1.XX. Can I go straight to 2.0? Yes. Anything else I should know? Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 2.0 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 Cab Engine/New Cabs in 2.0 Thousands of impulses were captured with Sound Design's IR capture system and consolidated into 26 guitar cabs and 7 bass cabs. As such, cab block subcategories have been updated. From Edit mode, turn the Upper Knob to select the Cab block. Press the Lower Knob to open the Model List. Three subcategories appear: Cab—Cabs using the new improved cab engine Legacy Cab—Cabs using the earlier Hybrid cab engine. Legacy cabs remain in POD Go so your existing presets won't be affected. Legacy cab blocks now show a small Legacy icon in the corner IR—Impulse Responses loaded via POD Go Edit New Guitar Cabs Cab > 1x10 US Princess, captured from* the 1x10" Fender Princeton Eminence Copperhead Cab > 1x12 Grammatico, captured from* the 1x12" Grammatico LaGrange P12Q Cab > 1x12 US Deluxe, captured from* the 1×12″ Fender® Deluxe Oxford Cab > 1x12 Open Cast, captured from* a custom 1x12" open back cabinet EVM12L Cab > 1x12 Open Cream, captured from* a custom 1x12" open back cabinet G12M-65 Cab > 1x12 Cali EXT, captured from* the 1x12" Mesa Boogie Extension Cab Cab > 1x12 Blue Bell, captured from* the 1×12″ Vox® AC-15 Blue Alnico Cab > 2x12 Blue Bell, captured from* the 2×12″ Vox® AC-30 Fawn Blue Cab > 2x12 Silver Bell, captured from* the 2×12″ Vox® AC-30TB Silver Alnico Cab > 2x12 Match H30, captured from* the 2x12" Matchless® DC-30 custom G12H-30 Cab > 2x12 Match G25, captured from* the 2x12" Matchless® DC-30 custom G12M-25 Cab > 2x12 Double C12N, captured from* the 2×12″ Fender Twin C12N Cab > 2x12 Jazz Rivet, captured from* the 2×12″ Roland® JC-120 Cab > 2x12 Mail C12Q, captured from* the 2×12″ Silvertone® 1484 Cab > 2x12 Mandarin 30, captured from* the 2x12" Orange PPC212 V30 Cab > 4x10 Tweed P10R, captured from* the 4×10″ Fender Bassman® P10R Cab > 4x12 Greenback 20, captured from* the 4×12″ Marshall® Basketweave G12M-20 Cab > 4x12 Greenback25, captured from* the 4×12″ Marshall® Basketweave G12 M25 Cab > 4x12 1960A T75, captured from* the 4×12″ Marshall 1960A T75 Cab > 4x12 Blackback 30, captured from* the 4×12″ Park® 75 G12 H30 Cab > 4x12 Brit V30, captured from* the 4×12″ Marshall® 1960AV V30 Cab > 4x12 Cali V30, captured from* the 4×12″ MESA/Boogie® 4FB V30 Cab > 4x12 Mandarin EM, captured from* the 4×12″ Orange Eminence Cab > 4x12 MOO)))N T75, captured from* the 4x12" Sunn Cab w/G75T Cab > 4x12 Uber T75, captured from* the 4×12″ Bogner® Uberkab T75 Cab > 4x12 Uber V30, captured from* the 4×12″ Bogner Uberkab V30 Cab > 4x12 XXL V30, 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 New Bass Cabs Cab > 1x12 Epicenter, captured from* the 1x12" Epifani® Ultralight series cabinet Cab > 1x15 Ampeg B-15, captured from* the 1×15″ Ampeg® B-15 Cab > 2×15 Brute, captured from* the 2×15″ MESA/Boogie® 2×15 EV Cab > 4×10 Garden, captured from* the 4x10" Eden D410XLT Cab > 4x10 Ampeg Pro, captured from* the 4x10" Ampeg® PR-410HLF Cab > 8x10 SVT AV, 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 2.0 New Guitar Amps Amp/Preamp > Grammatico GSG, based on* the Grammatico GSG100. "The Grammatico GSG100 is an amp based on the study of legendary amps made around 1980. This model aims to capture all the unique details of this amplifier circuit, many of which are quite different than popular guitar amps from the major companies. The GSG100 is a feature-rich and complicated amp. There are many amazing sounds in the amp; however, the controls allow for such a wide range of adjustment that it's possible to get unpleasant sounds from it as well. To best use the amp, it really helps to know exactly what each of these features is doing to the guitar signal. Let's go through the parameters as they are found in the POD Go model:" —Ben Adrian, Sound Design Manager Drive—This is the first volume control on the amp. It's called "drive" on the model to fit the pattern of all the POD Go models. On the real amp is says "Volume." Bass, Mid, Treble—The normal tone controls on the amp (called a tone stack by amp nerds), located between the first and second gain stages in the preamp. These have different ranges than traditional guitar amp tone controls. Also, the whole voicing of the tone stack can be changed with the "Rock/Jazz" switch, which will be explained later. Presence—This is like the presence controls on other guitar amps. It changes the amount of high frequency in the power amp by modifying the EQ filtering in the power amp's negative feedback loop. Ch Vol—This controls the output level of the amp model. It has no effect on the tone or distortion of the amp model Master—This is the master volume on the front panel of the amp. It is located between the preamp and power amp and can be used to get more or less power amp distortion. This amp is VERY loud, and most players would probably run the master volume on the lower side. If the master volume is cranked, the power amp distortion can be pushed into unpleasant territory. Most players would never crank the master in real life as the actual output would be way too loud for most musical settings. Mid Switch—This switch changes the value of the treble capacitor in the tone stack. When it is off, the amp has more of a scooped sound. When it is on, there is a noticeable upper-mid boost. Jazz/Rock—This switch changes the wiring of the tone stack circuit. It allows for two totally separate tonal voices. Jazz is quieter with a lower center frequency for the mids. Rock is louder with a more traditional mid frequency center. Tone controls rarely translate well between the Jazz and Rock settings. If a good sound is achieved in one mode, it is not guaranteed that the same settings in the opposite mode will still sound pleasing. OD Switch—This turns the two-gain-stage tube overdrive circuit on and off. This circuit is located AFTER the tone controls and Drive knob. When the overdrive is turned on it's as if a third and fourth gain stage is added to the preamp. Generally, it's best to set up the base tone of the amp with the Drive and tone controls first, and then adjust the overdrive circuit to work with the desired base tone. OD Drive—This controls the amount of drive or saturation in the overdrive circuit. Since the whole overdrive circuit is after the amp's regular drive and tone controls, the range of OD Drive knob will change based on those earlier knob settings. OD Level—This controls the output level of the overdrive circuit. Bright—This is a three position switch. The settings are "off" and two different values of bright capacitor. This bright capacitor works with the Drive (volume) knob earlier in the circuit, and is similar to other amps that have bright switches. When the Bright switch is engaged, the effect is more pronounced with lower Drive settings. The bright becomes less effective at higher Drive settings. When the Drive is at 10, the switch is effectively removed from the amp circuit, and changing the switch settings has no audible effect. FET Boost—The GSG100 has a solid state, FET (Field Effect Transistor) boost circuit at the very beginning of the amp circuit. It is akin to placing a FET Boost pedal before the amp. On the physical unit there are two input jacks, but on the model it is placed on a switch and can even be made foot-switchable. The FET Boost has a fixed boost amount of about 7 to 9 dB and also gives a slight EQ change. PAB—This stands for "Preamp Boost." The PAB works by removing the tone controls from the circuit. Tone controls work by removing frequencies and signal level. Engaging the PAB circuit returns all of this lost signal level, but the side effect is that tone controls no longer work. It truth, the treble knob does work slightly, and the mid switch will change how much lows and mids comes through the circuit. In general, though, the PAB trades tone control functionality for a full blast level between tube gain stages 1 and 2. Sag—This is a control that is added to all the POD Go models. Every tube amp has some amount of power supply sag, which feels like compression, squish, and sustain to the player. This control makes the sag amount user-adjustable. Hum—This is a control that is added to most of the POD Go models. Preamp tube heaters in tube amps will leak a little bit of 60 cycle hum into the audio signal. When this hum mixes with the distorted audio signal, a non-musical distortion is created at low levels. To some players, this low-level, non-harmonic distortion adds a bit of realism to the amp model. The best way to put it is that sometimes the model sounds more "wrong" without the hum. However, if you don't like it, you can just turn it down. Ripple—This is a control that is added to most of the POD Go models. Power amp circuits will sometimes let a little bit of rectified 120Hz hum (that the power supply filter caps can't quite fully remove) into the audio signal. When the power supply is being pushed hard, more of this ripple can get through the audio path. Much like the hum, this provides a bit of non-musical distortion to the power amp at distorted settings. To some people, this sounds like harmonic complexity that is enjoyable and realistic. Other players just don't like it and turn it off. Bias—This control is in most POD Go models. It adjusts the bias of the tubes in the power amp, causing a change in tonality and the distortion characteristic. Bias X—This is the most difficult parameter to describe in POD Go models, so hang on. All tube amps need to bias the power amp tubes. This is usually achieved by applying a negative voltage to the input audio signal. (Cathode bias works differently, but that's a story for a different time.) However, when the power tubes are distorting, free electrons can form around the input grid and cause a shift in the bias voltage. This shift only happens during the moments when distortion is occurring. This shift causes a tonal and texture change much like adjusting the bias control. However, once the tubes leave the distorted state, the free electrons dissipate and the bias returns to normal. Another way to put it (less accurately) is that this is a level/envelope controlled bias shift. This behavior is modeled in all POD Go amps, and the Bias X control allows users to control the amount of bias shift that is happening. It is a very subtle change, so please don't expect high drama from this knob. 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 > Line 6 Elmsley, Line 6 Original "The Line 6 Elmsley is a new Line 6 original amplifier that employs a parallel distortion topology that layers distinct saturation characteristics across the lower and upper registers. The Elmsley features a smooth and present bottom end with some exceptional sparkle and definition all through the midrange and above. The result is an amplifier that is dazzling across the full spectrum, and the amplifier deals with pedals in spades. "The other new key feature of The Elmsley's power amp section is the Negative Feedback (NFB) parameter, where the amount of feedback within the power section's response can be dialed anywhere from wild and unhinged, tight and punchy, and anything in between. As with many amplifier designs, the presence and depth controls are part of this negative feedback circuit and functions to control the brilliance and resonance of the power amp, respectively. As the NFB param is reduced, the presence and depth controls' influences are also influenced, and they become effectively deactivated when the NFB knob is at zero. These interactions allow the player to create countless tonal variations to suit their needs.” —Sam Hwang, Sound Designer New Bass Amp Amp/Preamp > Agua Sledge, based on* the Aguilar Tone Hammer New Effects in 2.0 Distortion > Pillars OD, 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 > Dark Dove Fuzz, based on* the Electro-Harmonix® Russian Big Muff Sustain—Sets the amount of distortion Tone—Sets the overall tonal balance of the distortion Level—Sets the overall level of the block Modulation > FlexoVibe, 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 Modulation > 4-Voice Chorus, 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 > Triple Rotary, inspired by* the Yamaha® RA-200 rotary speaker (famously implemented on "The Wall"). "The Line 6 Triple Rotary is inspired by the Yamaha RA-200 Rotary speaker. The original RA-200 was a combo solid state amplifier designed to be used with organs much like other rotary speakers. However; the RA-200 unit was unique compared to the traditional rotary speakers, which typically have rotating horns and a rotating drum over a woofer, the Yamaha designs had midrange speakers which rotated vertically on top of a traditional non-rotating speaker cabinet. "To make the model more versatile, we made this effect to behave more as a stereo effect rather than modeling the whole cabinet, and suggest using the effect in combination with a cabinet model if recording direct or listening through FRFR systems." —Sam Hwang, Sound Designer Speed—Sets whether the speaker reflects the Slow Speed or Fast Speed Slow Speed—Sets the rate for the Slow Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock Fast Speed—Sets the rate for the Fast Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock Ramp Time—Adjusts how fast switching from Slow Speed to Fast Speed and back takes place Mix—Controls the wet/dry mix of the rotary effect. When set to 0%, no rotary effect is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Drive—Controls the amount of drive into the speaker's power amp Headroom—Adds up to 12.0dB of additional headroom Low Cut—Applies a low cut (high pass) filter to the speakers, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the speakers, letting you remove the effected signal above a certain frequency Wobble—Models how evenly the rotating speaker and its ballast weight are balanced about the axis. At zero, the speaker and ballast are perfectly balanced, and as the wobble control is increased the rotation of the speakers becomes more eccentric. Separation—The separation of the stereo field. Practically, this simulates moving the two listening points further apart as the separation knob is increased Rotor Drift—Adjusts how close the three rotor motors are in sync with each other in speed. As each of the rotors were belt driven, there are often some differences in belt or motor wear, and it creates some subtle modulation effects between the three rotors Rotor 2 Lvl—Sets the individual volume of the second rotor Rotor 3 Lvl—Sets the individual volume of the third rotor Reverb > Dynamic Ambience, 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, 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. Bug Fixes in 2.0 Pitch/Synth > Pitch Wham would load active instead of bypassed–FIXED Controller Learn would remain active after clearing a block in HX Edit—FIXED POD Go Edit only: In rare cases, the parameter Max slider could jump to minimum and become unresponsive—FIXED Other minor fixes and improvements Known Issues in 2.0 After importing a .wav file into the current empty slot of a Cab > IR block, all audio output can be muted If Modulation > ADT is loaded via the Lower Knob or POD Go Edit, a pitch ramp sound may be heard. This does not happen when engaging ADT via footswitch
  4. Helix/HX 3.70 (released November 16, 2023) includes 10 new amps, 9 new cabs, 5 new effects, new features, and bug fixes. Helix/HX 3.71 (released Jan 10, 2024) includes additional important bug fixes, and is recommended for all users. IMPORTANT! 3.71 does not apply to HX Edit. When running sufficient level into a Reverb > Dynamic Bloom block, audio clipping could occur—FIXED The mono version of Reverb > Nonlinear exhibits a less-smooth decay than the stereo version, which is especially noticeable on percussive material. It also affects the stereo version if merged to a mono path or when utilizing a mono output—FIXED When choosing the 30 Dynamic microphone at a distance of 7.0 ~ 11.75, Cab > WhoWatt Cab exhibits abnormal treble resonance—FIXED Delay > Tesselator could exhibit unexpected behavior in 3.70—FIXED Adjusting the Delay > Glitch Delay block's Time parameter could sometimes result in muted audio or other unexpected audio behavior—FIXED Adjusting the IR > Dual block's Delay parameter could sometimes result in graphical anomalies—FIXED Helix Native (Windows VST/AAX) only: Switching from certain reverb types to others (for example, from Hot Springs to Shimmer or Glitz to Shimmer) can result in DSP loss—FIXED Other minor fixes and improvements 3.71 for HX One (released Feb 8, 2024) includes one important bug fix, and is recommended for all users: HX One would only pass MIDI messages through on the MIDI channel it's set to (or when set to Omni, all channels). This clearly undermines the whole point of having MIDI thru at all—FIXED How do I update to 3.71? IMPORTANT! The 3.71 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes thousands of additional IR files. Updating Helix/HX Hardware (Except For HX One) There is no HX Edit 3.71. With Helix/HX connected to your computer, launch HX Edit 3.70 (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 3.70 and repeat step 1. HX Edit 3.70 (macOS): https://line6.com/software/readeula.html?rid=12404 HX Edit 3.70 (Windows): https://line6.com/software/readeula.html?rid=12406 If your Helix Floor/Rack/LT is currently running firmware 3.15 or older, halfway through the update to 3.71, 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 3.70 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 3.70's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup. If you run into trouble, check out this link. 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 3.71: Helix Native 3.71 (macOS): https://line6.com/software/readeula.html?rid=12503 Helix Native 3.71 (Windows): https://line6.com/software/readeula.html?rid=12502 Open your DAW and open an instance of Helix Native. OPTIONAL: The only way to hear 3.71'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. 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 3.71?" above). My Helix/HX is at version X.XX. Can I go straight to 3.71? 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. New Guitar Amps in 3.70 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL The six Original Amp Designs in Helix/HX 3.70 (Clarity, Aristocrat, Carillon, Voltage, Kinetic, and Oblivion) are taken from Line 6's popular line of Catalyst guitar amps. Each boasts a unique, integrated boost circuit optimized specifically for that amp. You can assign the Boost parameter to a stomp switch: Select one of the six Original Amp Design models below. Press and hold the Boost knob. Helix/HX jumps to the Controller Assign screen. [HX only: Press PAGE> to show the Learn knob.] Press Learn. Press the desired stomp switch. Helix/HX automatically assigns it. If you like, adjust Min Value and Max Value to dial in how much boost you want. Press HOME to exit. Wonder to yourself "wait, it's that easy to assign any parameter in Helix/HX to a stomp switch? Why haven't I done this before?"—OR—ponder "I'm a power user who knows all the shortcuts. I should assign parameters to switches more often." Amp/Preamp > Line 6 Clarity, Original Amp Design inspired by classic clean solid-state and tube amps. Lots of clean headroom with just a touch of overdrive at the very end of the Drive knob's range. Amp/Preamp > Line 6 Aristocrat, Original Amp Design inspired by rare, unobtainable boutique mid-gain black-panel amps. Features aren’t limited by what can be done with analog circuits. Amp/Preamp > Line 6 Carillon, Line 6 Original inspired by modern and vintage versions of a popular EL84 driven tube amp with added grit at higher gain settings. We kept the good quirks and eliminated the ugly ones, while also making the tone controls more flexible. Amp/Preamp > Line 6 Voltage, Line 6 Original inspired by the classic British "plexi" amp, but with an additional gain stage and more tonal versatility. Amp/Preamp > Line 6 Kinetic, Line 6 Original where all the preamp stages clip at roughly the same time, allowing the amp to go from mostly clean to heavily distorted using the guitar's volume control. Amp/Preamp > Line 6 Oblivion, Line 6 Original designed to cover both modern metal and old-school '80s thrash. We took out a lot of the noise associated with high gain, retaining just enough so that it doesn’t sound sterile or artificial. Amp/Preamp > Brit 2203, based on* the Marshall JCM800 2203 (Stock). TIP: Use snapshots (or a Stomp switch) to change the 2203's Input parameter between Low and High Amp/Preamp > PV Vitriol Clean, based on* the Peavey Invective (Clean Channel) New Bass Amps in 3.70 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Amp/Preamp > US Dripman Nrm, based on* the Fender Bassman (Silver Panel) Should I use US Dripman Nrm as a bass amp or a guitar amp? Yes. Amp/Preamp > Mandarin 200, based on* the Orange AD200 MkIII bass amp New Cabs in 3.70 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Cab > Soup Pro Ellipse (Single, Dual), captured from* the 1x6×9″ Supro® S6616 Cab > 1x8 Small Tweed (Single, Dual), captured from* the 1×8″ Fender® Champ Cab > 1x12 Fullerton (Single, Dual), captured from* the 1x12" Fender® 5C3 Tweed Deluxe Cab > 1x12 Cali IV (Single, Dual), captured from* the 1x12" MESA/Boogie® Mk IV combo Cab > 2x12 Interstate (Single, Dual), captured from* the 2×12″ Dr Z® Z Best V30 Cab > 4x12 WhoWatt 100 (Single, Dual), captured from* the 4×12″ Hiwatt® AP Fane® Cab > 4x12 Greenback 30 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12H-30 Cab > 2x15 Dripman (Single, Dual), captured from* the 2x15" Fender® Bassman JBL D130 Cab > 6x10 Cali Power (Single, Dual), captured from* the 6×10″ MESA/Boogie® Power House New Effects in 3.70 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL, HX One Distortion > Prize Drive (Mono, Stereo), based on* the Nobels ODR-1 Drive—Sets the amount of distortion Spectrum—When turned down, mids are accentuated; when turned up, lows and highs are accentuated. Could almost be considered a "scoop" control. Level—Sets the overall level of the block. Bass Cut—When set to "On," slightly attenuates low bass frequencies. Voltage—The Nobels ODR-1 can behave differently depending on how much power it receives. Choose 9V or 18V, which gives a bit more headroom. Distortion > Regal Bass DI (Mono, Stereo), based on* the Noble Preamp bass DI Bass—Adds a 150Hz bass boost to the signal. 0.0 is flat. Treble—Adds a 3.5kHz treble boost to the signal. 0.0 is flat. Low Cut—Applies a 90Hz low cut (high pass) filter to the signal (6dB/octave). Volume—Controls the overall output level of the DI. Dynamics > Feedbacker (Mono), Line 6 Original feedback generator Oh man, this one is fun with a capital Ffffff but you'll want to read up on how to get the best results. Works best as one of the first blocks in your signal flow. NOTE: Feedbacker loads bypassed by default. Fdbk Gain—Controls the amount of feedback. At higher settings, can easily overwhelm your guitar signal; at lower settings, the feedback can better "sit" between chords. WARNING! Be careful, as this effect can quickly go off the rails, just like real feedback. Consider assigning it to a momentary stomp so feedback only appears while you hold the switch. Fdbk Type—Determines the type of the feedback generated. TIP: Try assigning different Feedback Type values to snapshots. –Octave—Feedback appears one octave below the "reference frequency," which is basically the note Feedbacker chooses to base its feedback generation on. Depending on the chord, Feedbacker may choose different reference frequencies. Unison—Feedback appears at the reference frequency. +Octave—Feedback appears one octave above the the reference frequency. Oct +5th—Feedback appears one octave plus a 5th above the the reference frequency. +2 Octaves—Feedback appears two octaves above the the reference frequency. 2 Oct+3rd—Feedback appears two octaves plus a 3rd above the reference note frequency. 2 Oct+5th—Feedback appears two octaves plus a 5th above the reference note frequency. 2 Oct+7th—Feedback appears two octaves plus a 7th above the reference note frequency. Mid to Low—Feedback typically starts on the highest harmonic below 500 Hz and drops down to lower harmonics as the signal decays. High to Low—Feedback typically begins on the highest harmonic below 1200 Hz and descends to lower harmonics as the signal decays. Rndm Onset—New harmonics are selected randomly every time a new onset (note or chord's attack) is detected. In this case, repeating the same chord could still generate different harmonics. Rndm Trigger—New harmonics are selected randomly every time the Retrigger parameter is set to "Trigger." See the Retrigger parameter below. Attack—Controls how quickly feedback appears. Release—Controls how quickly each harmonic dies out or transitions to a different one. At higher values, you may hear more than one harmonic as they transition. Dry Kill—Determines what happens to the dry (unaffected) signal: Off—The dry signal is controlled by the Dry Level parameter but is otherwise unaffected when the Feedbacker block is turned on On—The dry signal is muted when the Feedback block is turned on. TIP: With Dry Kill on and Fdbk Type set to "Unison," playing slower, single notes can result in sounds similar to using an E-bow. Always—The dry signal is completely muted from the entire path, regardless of whether the Feedback block is on or off. TIP: Use this setting only when Feedbacker is on a parallel path. Dry Level—Sets the amount of dry signal through the Feedbacker block. TIP: Assign this parameter to an expression pedal for blending in the dry signal behind the feedback. Reference—Determines which note within a chord is referenced by the feedback. "Lowest" prioritizes a chord's lowest-pitched note as the feedback reference, which often represents the fundamental frequency of the chord. "Loudest" prioritizes the loudest note in the chord as the feedback reference, which may not be the lowest note. Silence Thr—Sets the level threshold above which feedback is generated. Below this level, no feedback will be generated. Onset Thr—When Feedback Type is set to Rndm Offset, sets the threshold of onsets (plucks) that cause changes to the feedback note. Lower values increase sensitivity to plucking and strumming, so changes to the feedback note take place more often. Higher values reduce sensitivity to plucking and strumming, so changes to the feedback note take place less often. Offset Thr—Rapid drops in the signal level by this amount will quickly kill the feedback to prevent warbling. Retrigger—Okay, Retrigger isn't a parameter per sé; it's meant for you to assign it to an unused momentary stomp switch. (Press and hold the Retrigger knob, press Learn, press the desired stomp switch, and then set Type to "Momentary.") Every time you press the switch (and the parameter changes from "---" to "Trigger"), the feedback generated will change, depending on the type of mode: Mid to Low or High to Low modes—Pressing the Retrigger switch will cause the Feedbacker to descend to lower harmonics. Rndm Trigger or Rndm Onset—Pressing the Retrigger switch will cause the Feedbacker to randomly choose a different harmonic. All other modes—Pressing the Retrigger switch will cause feedback to regenerate at the mode's selected frequency. Trails—When on, feedback continues to ring out (for the duration of the Release parameter) after the block is bypassed. When off, feedback stops abruptly when the block is bypassed. Reverb > Dynamic Bloom (Mono, Stereo), Line 6 Original bloom reverb. Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity). 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. Rise Time—Sets how long it takes for the reverb to bloom. Choose Short, Medium (default), or Long. 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. Ducking—Traditionally, ducking controls how much of the entire reverb is dropped in volume (or "ducked") while the signal is active. With Dynamic Bloom, the ducking instead applies to the reverb's feedback only. For example, if you set Decay really high and strum one chord, you'll hear that chord sustain for a long time. While it's ringing out, hit another chord. Without ducking, both chords now sustain together. With Ducking set high, the first chord quickly fades out, and all you'll hear sustaining is the 2nd chord. This can help your bloom from turning into a sloppy mess. Level—Sets the overall level of the block. Trails—When set to "Off," 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 > Nonlinear (Mono, Stereo), Line 6 Original nonlinear reverb with a variety of decay tail shapes (including multiple reverse reverb shapes). Decay—Sets the decay of the reverb (1.0 ms ~ 2.000 sec). Press the knob to toggle between ms/sec and note values. TIP: When set to note values, playing a note/chord 4 beats (Decay set to "1/1") or 2 beats (Decay set to "1/2") before a song transition can cause the reverb to stop right on the downbeat. Predelay—Determines the amount of delay heard before the signal enters the reverb. Shape—Determines the shape of the reverb's decay: Linear—Traditional reverse reverb with an even, linear slope; abruptly stops after the decay length. Log—Reverse reverb with a logarithmic curve so it starts low and ramps up toward the decay's end. Inverse Log—Reverse reverb with an inverse logarithmic curve so it ramps up quickly. Gauss—Ramps up and then down in a gaussian curve shape. Inverse Gauss—Ramps down and then up in a gaussian curve shape. Triangle—Ramps up and then down in a triangle shape. Inverse Triangle—Ramps up and then down in a triangle shape. Full—No ramp at all; the reverb is on full blast for the duration of the decay and then abruptly stops after the decay length. Late Dry—Adds a bit of the original signal as the very last tap. Most audible when playing simple lines with gaussian and triangle shapes. 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—Sets the overall level of the block. Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer 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. Mod—Controls the amount of modulation applied to the reverb. Rate—Controls the rate or speed of modulation applied to the reverb. Spread (Stereo version only)—Determines the stereo width or spread of the effected signal. Trails—When set to "Off," 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 Features in 3.70 Cab Delay > Auto Value Helix Floor, Helix Rack/Control, Helix LT, HX Stomp, HX Stomp XL Helix/HX's new cab engine (introduced with 3.50) makes it easy to quickly find a great cab sound by automatically phase and time-aligning the mics in dual cab setups; this avoids the phasing or "thinning out" that can occur naturally when using two mics at different distances. However, some studio engineers are very adept at using phase misalignment to achieve interesting sounds. We've now added a new "Auto" value to the Cab > Delay parameter (all the way left, before 0.0 ms) that automatically approximates the delay through the air when changing the mic Distance parameter. For most people, however, we recommend leaving Delay set to the default "0.0 ms." Bug Fixes in 3.70/3.71 When Amp/Preamp > PV Vitriol Crunch's Gain knob was turned all the way up, the signal could drop out unexpectedly—FIXED With very fast attack times, Dynamics > Deluxe Comp could sometimes exhibit distortion on some source material—FIXED Some reverbs would not reflect the Tuner > Trails parameter—FIXED Stereo versions of select distortion and modulation effects could exhibit an unbalanced stereo field, some more so than others—FIXED In rare cases, some HX Command messages could appear laggy when assigned to a stomp switch with many other assignments—FIXED HX Stomp/HX Stomp XL only: Accessing the Tempo panel by touching the Tap switch could sometimes make the Tempo knob non-responsive—FIXED HX One only: In rare cases, adjusting select parameters and then pressing an external footswitch assigned to Next or Previous preset can cause HX One to become unresponsive—FIXED HX One only: When Settings > Guitar-In Z was set to "Auto" and HX One was bypassed, the effect's impedance value would be retained—FIXED HX One only: Flux On/Off Time would not respond to MIDI Clock when set to note division or beat values—FIXED HX One only: Bypass state wouldn't always be recalled correctly after a power cycle—FIXED HX One only: When using stereo inputs, in certain cases, the right channel would be offset by up to 6dB—FIXED HX One only: Turning the BPM value knob could be a bit glitchy—FIXED 3.71—When running sufficient level into a Reverb > Dynamic Bloom block, audio clipping could occur—FIXED 3.71—The mono version of Reverb > Nonlinear exhibits a less-smooth decay than the stereo version, which is especially noticeable on percussive material. It also affects the stereo version if merged to a mono path or when utilizing a mono output—FIXED 3.71—When choosing the 30 Dynamic microphone at a distance of 7.0 ~ 11.75, Cab > WhoWatt Cab exhibits abnormal treble resonance—FIXED 3.71—Delay > Tesselator could exhibit unexpected behavior in 3.70—FIXED 3.71—Adjusting the Delay > Glitch Delay block's Time parameter could sometimes result in muted audio or other unexpected audio behavior—FIXED 3.71—Adjusting the IR > Dual block's Delay parameter could sometimes result in graphical anomalies—FIXED 3.71—Helix Native (Windows VST/AAX) only: Switching from certain reverb types to others (for example, from Hot Springs to Shimmer or Glitz to Shimmer) can result in DSP loss—FIXED 3.71—Other minor fixes and improvements Known Issues in 3.70/3.71 In some cases if a Path 1B or 2B Input block is set to the same return as a block on a B path in a corresponding preset, the preset can load blank. After performing a Factory Reset, attempting to load 128 or more IRs can result in a "Failed to get impulse names" -8207 error. Instead, load fewer than 128 IRs at once. If Looper > 1 Switch Looper is playing, the first MIDI CC62 (Play Once) command is ignored. Sending a second CC62 command will work properly. Helix LT only: After entering and exiting the tuner from Snapshot performance view, Helix LT returns to the home screen. In the meantime, note that pressing FS6 (MODE) and FS12 (TAP/TUNER) together returns to Snapshot performance view. HX Stomp/HX Stomp XL only: If you have a snapshot command set to a footswitch (and Global Settings > Displays > LED Rings is set to "Off/Brt"), the footswitches may not light up red when pressed. HX One only: User Model Defaults created with 3.60 firmware are lost after update to 3.70. IMPORTANT! Be sure to use HX One Librarian to back up all data BEFORE updating to 3.70! HX One only: In rare cases, very quickly push-turning the EFFECT encoder can maintain the effect category carousel view. Press HOME to exit. HX One only: When using HX One in 4-Cable Method, stereo models can collapse to mono when the Insert position is set to Post. HX One only: When True Bypass is engaged, the Tuner does not operate correctly.
  5. Helix/HX 3.60 (released April 25, 2023) includes 3 new amps, 9 new cabs, 2 new effects, additional improvements, and bug fixes, and is strongly recommended for all users. How do I update to 3.60? IMPORTANT! The 3.60 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes thousands of additional 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 3.60 and repeat step 1. HX Edit 3.60 (macOS): https://line6.com/software/readeula.html?rid=11893 HX Edit 3.60 (Windows): https://line6.com/software/readeula.html?rid=11894 If your Helix Floor/Rack/LT is currently running firmware 3.15 or older, halfway through the update to 3.60, 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 3.60 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 3.60'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 3.60: Helix Native 3.60 (macOS): https://line6.com/software/readeula.html?rid=11895 Helix Native 3.60 (Windows): https://line6.com/software/readeula.html?rid=11896 Open your DAW and open an instance of Helix Native. OPTIONAL: The only way to hear 3.60'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. 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 3.60?" above). My Helix/HX is at version X.XX. Can I go straight to 3.60? 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. New Amps in 3.60 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Amp/Preamp > Grammatico GSG, based on* the Grammatico GSG100. "The Grammatico GSG100 is an amp based on the study of legendary amps made around 1980. This model aims to capture all the unique details of this amplifier circuit, many of which are quite different than popular guitar amps from the major companies. The GSG100 is a feature-rich and complicated amp. There are many amazing sounds in the amp; however, the controls allow for such a wide range of adjustment that it's possible to get unpleasant sounds from it as well. To best use the amp, it really helps to know exactly what each of these features is doing to the guitar signal. Let's go through the parameters as they are found in the Helix model:" —Ben Adrian, Sound Design Manager Drive—This is the first volume control on the amp. It's called "drive" on the model to fit the pattern of all the Helix models. On the real amp is says "Volume." Bass, Mid, Treble—The normal tone controls on the amp (called a tone stack by amp nerds), located between the first and second gain stages in the preamp. These have different ranges than traditional guitar amp tone controls. Also, the whole voicing of the tone stack can be changed with the "Rock/Jazz" switch, which will be explained later. Presence—This is like the presence controls on other guitar amps. It changes the amount of high frequency in the power amp by modifying the EQ filtering in the power amp's negative feedback loop. Ch Vol—This controls the output level of the amp model. It has no effect on the tone or distortion of the amp model Master—This is the master volume on the front panel of the amp. It is located between the preamp and power amp and can be used to get more or less power amp distortion. This amp is VERY loud, and most players would probably run the master volume on the lower side. If the master volume is cranked, the power amp distortion can be pushed into unpleasant territory. Most players would never crank the master in real life as the actual output would be way too loud for most musical settings. Mid Switch—This switch changes the value of the treble capacitor in the tone stack. When it is off, the amp has more of a scooped sound. When it is on, there is a noticeable upper-mid boost. Jazz/Rock—This switch changes the wiring of the tone stack circuit. It allows for two totally separate tonal voices. Jazz is quieter with a lower center frequency for the mids. Rock is louder with a more traditional mid frequency center. Tone controls rarely translate well between the Jazz and Rock settings. If a good sound is achieved in one mode, it is not guaranteed that the same settings in the opposite mode will still sound pleasing. OD Switch—This turns the two-gain-stage tube overdrive circuit on and off. This circuit is located AFTER the tone controls and Drive knob. When the overdrive is turned on it's as if a third and fourth gain stage is added to the preamp. Generally, it's best to set up the base tone of the amp with the Drive and tone controls first, and then adjust the overdrive circuit to work with the desired base tone. OD Drive—This controls the amount of drive or saturation in the overdrive circuit. Since the whole overdrive circuit is after the amp's regular drive and tone controls, the range of OD Drive knob will change based on those earlier knob settings. OD Level—This controls the output level of the overdrive circuit. Bright—This is a three position switch. The settings are "off" and two different values of bright capacitor. This bright capacitor works with the Drive (volume) knob earlier in the circuit, and is similar to other amps that have bright switches. When the Bright switch is engaged, the effect is more pronounced with lower Drive settings. The bright becomes less effective at higher Drive settings. When the Drive is at 10, the switch is effectively removed from the amp circuit, and changing the switch settings has no audible effect. FET Boost—The GSG100 has a solid state, FET (Field Effect Transistor) boost circuit at the very beginning of the amp circuit. It is akin to placing a FET Boost pedal before the amp. On the physical unit there are two input jacks, but on the model it is placed on a switch and can even be made foot-switchable. The FET Boost has a fixed boost amount of about 7 to 9 dB and also gives a slight EQ change. PAB—This stands for "Preamp Boost." The PAB works by removing the tone controls from the circuit. Tone controls work by removing frequencies and signal level. Engaging the PAB circuit returns all of this lost signal level, but the side effect is that tone controls no longer work. It truth, the treble knob does work slightly, and the mid switch will change how much lows and mids comes through the circuit. In general, though, the PAB trades tone control functionality for a full blast level between tube gain stages 1 and 2. Sag—This is a control that is added to all the Helix models. Every tube amp has some amount of power supply sag, which feels like compression, squish, and sustain to the player. This control makes the sag amount user-adjustable. Hum—This is a control that is added to most of the Helix models. Preamp tube heaters in tube amps will leak a little bit of 60 cycle hum into the audio signal. When this hum mixes with the distorted audio signal, a non-musical distortion is created at low levels. To some players, this low-level, non-harmonic distortion adds a bit of realism to the amp model. The best way to put it is that sometimes the model sounds more "wrong" without the hum. However, if you don't like it, you can just turn it down. Ripple—This is a control that is added to most of the Helix models. Power amp circuits will sometimes let a little bit of rectified 120Hz hum (that the power supply filter caps can't quite fully remove) into the audio signal. When the power supply is being pushed hard, more of this ripple can get through the audio path. Much like the hum, this provides a bit of non-musical distortion to the power amp at distorted settings. To some people, this sounds like harmonic complexity that is enjoyable and realistic. Other players just don't like it and turn it off. Bias—This control is in most Helix models. It adjusts the bias of the tubes in the power amp, causing a change in tonality and the distortion characteristic. Bias X—This is the most difficult parameter to describe in Helix models, so hang on. All tube amps need to bias the power amp tubes. This is usually achieved by applying a negative voltage to the input audio signal. (Cathode bias works differently, but that's a story for a different time.) However, when the power tubes are distorting, free electrons can form around the input grid and cause a shift in the bias voltage. This shift only happens during the moments when distortion is occurring. This shift causes a tonal and texture change much like adjusting the bias control. However, once the tubes leave the distorted state, the free electrons dissipate and the bias returns to normal. Another way to put it (less accurately) is that this is a level/envelope controlled bias shift. This behavior is modeled in all Helix amps, and the Bias X control allows users to control the amount of bias shift that is happening. It is a very subtle change, so please don't expect high drama from this knob. Grammatico GSG factory presets to check out: Helix Floor/Rack/LT/Native FACTORY 1—04B [013] Grammatico GSG FACTORY 1—13A [048] Grammatico JNC. Preset created by John Cordy FACTORY 1—13B [049] Screams JNC. Preset created by John Cordy HX Stomp 14A [039] DIR:Gram GSG 20A [057] DIR:GRAM JNC. Preset created by John Cordy 20B [058] DIR:SCREAMS JNC. Preset created by John Cordy HX Stomp XL 10D [039] DIR:Gram GSG 15B [057] DIR:GRAM JNC. Preset created by John Cordy 15C [058] DIR:SCREAMS JNC. Preset created by John Cordy Amp/Preamp > Line 6 Elmsley, Line 6 Original "The Line 6 Elmsley is a new Line 6 original amplifier that employs a parallel distortion topology that layers distinct saturation characteristics across the lower and upper registers. The Elmsley features a smooth and present bottom end with some exceptional sparkle and definition all through the midrange and above. The result is an amplifier that is dazzling across the full spectrum, and the amplifier deals with pedals in spades. "The other new key feature of The Elmsley's power amp section is the Negative Feedback (NFB) parameter, where the amount of feedback within the power section's response can be dialed anywhere from wild and unhinged, tight and punchy, and anything in between. As with many amplifier designs, the presence and depth controls are part of this negative feedback circuit and functions to control the brilliance and resonance of the power amp, respectively. As the NFB param is reduced, the presence and depth controls' influences are also influenced, and they become effectively deactivated when the NFB knob is at zero. These interactions allow the player to create countless tonal variations to suit their needs.” —Sam Hwang, Sound Designer Line 6 Elmsley factory preset to check out: Helix Floor/Rack/LT/Native FACTORY 1—04C [014] Line 6 Elmsley. Turn Distortion > Minotaur off to hear more of the character of the amp. Press the NFB switch to instantly adjust with your feet HX Stomp 14B [040] DIR:Elmsley. HX Stomp XL 11A [040] DIR:Elmsley. Amp/Preamp > Agua Sledge, based on* the Aguilar Tone Hammer Agua Sledge factory presets to check out: Helix Floor/Rack/LT/Native FACTORY 1—10D [039] BAS:Agua Sledge FACTORY 1—11C [042] BAS:Hire Me! HX Stomp 30C [090] BAS:Agua Sledge HX Stomp XL 23C [090] BAS:Agua Sledge New Cabs in 3.60 New Guitar Cabs Cab > 1x12 Blue Bell (Single, Dual), captured from* the 1×12″ Vox® AC-15 Blue Alnico Cab > 1x12 Open Cream (Single, Dual), captured from* a custom 1x12" open back cabinet G12M-65 Cab > 1x12 Open Cast (Single, Dual), captured from* a custom 1x12" open back cabinet EVM12L Cab > 2x12 Silver Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30TB Silver Alnico Cab > 2x12 Match H30 (Single, Dual), captured from* the 2x12" Matchless® DC-30 custom G12H-30 Cab > 2x12 Match G25 (Single, Dual), captured from* the 2x12" Matchless® DC-30 custom G12M-25 Cab > 4x12 Greenback 20 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12M-20 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 3.60 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 > 1x12 Epicenter (Single, Dual), captured from* the 1x12" Epifani® Ultralight series cabinet Cab > 4x10 Ampeg Pro (Single, Dual), captured from* the 4x10" Ampeg® PR-410HLF 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 Effects in 3.60 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL Distortion > Dark Dove Fuzz (Mono, Stereo), based on* the Electro-Harmonix® Russian Big Muff Sustain—Sets the amount of distortion Tone—Sets the overall tonal balance of the distortion Level—Sets the overall level of the block Modulation > Triple Rotary (Stereo only), inspired by* the Yamaha® RA-200 rotary speaker (famously implemented by Pink Floyd's David Gilmour). "The Line 6 Triple Rotary is inspired by the Yamaha RA-200 Rotary speaker. The original RA-200 was a combo solid state amplifier designed to be used with organs much like other rotary speakers. However; the RA-200 unit was unique compared to the traditional rotary speakers, which typically have rotating horns and a rotating drum over a woofer, the Yamaha designs had midrange speakers which rotated vertically on top of a traditional non-rotating speaker cabinet. "To make the model more versatile, we made this effect to behave more as a stereo effect rather than modeling the whole cabinet, and suggest using the effect in combination with a cabinet model if recording direct or listening through FRFR systems." —Sam Hwang, Sound Designer Speed—Sets whether the speaker reflects the Slow Speed or Fast Speed Slow Speed—Sets the rate for the Slow Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock Fast Speed—Sets the rate for the Fast Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock Ramp Time—Adjusts how fast switching from Slow Speed to Fast Speed and back takes place Mix—Controls the wet/dry mix of the rotary effect. When set to 0%, no rotary effect is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Drive—Controls the amount of drive into the speaker's power amp Headroom—Adds up to 12.0dB of additional headroom Low Cut—Applies a low cut (high pass) filter to the speakers, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the speakers, letting you remove the effected signal above a certain frequency Wobble—Models how evenly the rotating speaker and its ballast weight are balanced about the axis. At zero, the speaker and ballast are perfectly balanced, and as the wobble control is increased the rotation of the speakers becomes more eccentric. Separation—The separation of the stereo field. Practically, this simulates moving the two listening points further apart as the separation knob is increased Rotor Drift—Adjusts how close the three rotor motors are in sync with each other in speed. As each of the rotors were belt driven, there are often some differences in belt or motor wear, and it creates some subtle modulation effects between the three rotors Rotor 2 Lvl—Sets the individual volume of the second rotor Rotor 3 Lvl—Sets the individual volume of the third rotor *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. Changes and Improvements in 3.60 As 3.60 adds a second Grammatico amp, the three existing Grammatico LaGrange amp models have been renamed to "GrammaticoLG Nrm," "GrammaticoLG Brt," and "GrammaticoLG Jmp" A few 3.50 factory presets have been updated to utilize 3.60 cabs where appropriate Bug Fixes in 3.60 After a long period of time with tonestack parameters set a certain way, the Amp > Moo)))n amp models could stop processing audio—FIXED Helix Floor/Rack/LT only: The 8 TEMPLATES setlist preset numbers were offset by one—FIXED Helix Native only: Loading an Amp+Cab > Bass model could sometimes crash the plugin—FIXED
  6. I summarily dismissed it? Were we talking about hardware GUI or something?
  7. PLEASE READ THE RELEASE NOTES! https://line6.com/support/page/kb/pod/pod-go/pod-go-140-r1037/
  8. 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
  9. 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.)
  10. 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
  11. 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.
  12. 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.
  13. 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. 

  14. 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
  15. Helix/HX 3.15 is now available. CLICK THIS LINK AND READ THE RELEASE NOTES!
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