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Digital_Igloo

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Everything posted by Digital_Igloo

  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. 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
  14. Helix/HX 3.15 is now available. CLICK THIS LINK AND READ THE RELEASE NOTES!
  15. Helix/HX 3.15 (released February 8, 2022) includes a new Line 6 original amp, 10 new Helix effects, 18 additional Legacy effects, new features, additional improvements, and bug fixes, and is recommended for all users. How do I update to 3.15? If you're running HX Edit 3.01 or higher (released on Feb 2, 2021), just connect Helix/HX to your computer via USB and launch HX Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both HX Edit and your Helix/HX firmware. If you're running an older version of HX Edit, you must update it before updating your Helix/HX hardware. Before updating Helix Native, it is highly recommended that you export a preset/setlist bundle. This is done by going to Settings (the gear icon in the bottom left of the window), the Presets/IRs tab, and clicking Export Bundle. Some hardware compatibility modes (HX Stomp, HX Stomp XL, HX Effects) do not have this feature as they only have one setlist. In these cases the setlist will need to be exported. I updated but why don't I see [Model X]? HX Edit can't magically see new models added to your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.15?" above). Here's a link to HX Edit 3.15: macOS: https://line6.com/software/readeula.html?rid=11009 Windows: https://line6.com/software/readeula.html?rid=11007 My Helix/HX is at version X.XX. Can I go straight to 3.15? Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice. This is normal. Anything else I should know? Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your Helix/HX firmware to 3.15 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK! Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp HX Stomp XL: While holding footswitches C & D, turn on HX Stomp New Amp in 3.15 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Amp/Preamp > Line 6 Ventoux, Line 6 Original. "The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard. This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits. Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities." —Ben Adrian, Sound Design Manager Drive—Controls the amount of amp drive HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion Ch Vol—Sets the overall level of the Amp block Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level New Helix Effects in 3.15 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL Dynamics > Ampeg Opto Comp (Mono, Stereo), based on* the Ampeg Opto Comp compressor pedal. Compress—Controls how much level the compressor detector circuit receives. More level = more compression. (Ampeg Opto Comp has a fixed threshold and ratio) Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms Mix—Controls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard Level—Sets the overall level of the block Modulation > Ampeg Liquifier (Mono, Stereo), based on* the Ampeg Liquifier chorus pedal. Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast Depth—Adjusts the amplitude of the modulation, from mild to deep Mix—Controls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single" Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal Level—Sets the overall level of the block Delay > Heliosphere (Mono, Stereo), Line 6 Original delay with reverb injected into the feedback loop. Time—Sets the delay time. Press the knob to toggle between ms/Sec and note values Feedback—Controls the overall number of repeats. To hear only one repeat, set to 0% Rate—Controls the rate or speed of modulation Depth—Controls the depth or amount of modulation Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Level—Sets the overall level of the block Scale—For stereo delays, the Time parameter sets the left side. The right side's time is always some percentage of the left's time, and is determined by the Scale parameter. For example, if Time is set to 500ms, and Scale is set to 70%, the left delay is 500ms and the right delay is 350ms (or 70% of 500ms). When scale is set to 100%, left and right delays are the same Rev Mix—Controls the wet/dry mix of the reverb inside the delay's feedback loop. When set to 0%, no reverb is heard Rev Decay—Sets the decay of the reverb Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected Delay > ADT (Mono, Stereo), Line 6 Original double-tracking tape emulation. Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms WowFlutr1, WowFlutr2—Determines how much warbly tape sound is heard for each deck Saturate1, Saturate2— Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default Deck 2 Pol—Flips the polarity of deck 2 Mod Rate—Controls the rate or speed of modulation applied to Deck 2 Mod Depth—Controls the depth or amount of modulation applied to Deck 2 Level—Sets the overall level of the block TapeSpeed—Changes both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation Texture— Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion Low Cut—Applies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency Deck 1 Pan, Deck 2 Pan—Pans each deck left and right EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected Delay > Crisscross (Mono, Stereo), Line 6 Original dual delay with cross-feedback between the two delay lines. Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values Feedbk A, Feedback B—Controls the number of repeats for each delay line. To hear only one repeat, set to 0% Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100 Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Level—Sets the overall level of the block Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. Mod Rate—Controls the rate or speed of modulation Mod Depth—Controls the depth or amount of modulation Shape—Sets the modulation's wave shape (Sine or Triangle) Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits" Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz" Low Cut—Applies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected Delay > Tesselator (Mono, Stereo), Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached. Assign Tesselator to a stomp footswitch. It's bypassed by default. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters: First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics Direction—Determines the direction of the steps: Forward: Each step plays back normally (Ex. 2a below) Reverse: Each step plays back in reverse (Ex. 2b below) Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below) Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below) Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default) "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED "Dry Kill"—When Tesselator is on, only the effected signal is heard. TIP: With Tesselator on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed) "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below) Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed" Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below) HP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence LP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below) FX Level—Controls the level of the effected signal Level—Controls the overall output level of the block Woohoo! More charts and diagrams! Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples: Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after. Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps. Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off." TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land. Delay > Ratchet (Mono, Stereo), Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before. Assign Ratchet to a stomp footswitch. It's bypassed by default. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal. FX Level—Controls the level of the looped audio Level—Controls the overall output level of the block Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32" Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default) "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED "Dry Kill"—When Ratchet is on, only the effected signal is heard. TIP: With Ratchet on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard Reverb > Dynamic Plate (Mono, Stereo), Line 6 Original plate reverb typically found in high-end studio rack reverbs. Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity) Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Low Freq—Sets the frequency below which the Low Gain parameter is applied Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected Reverb > Dynamic Room (Mono, Stereo), Line 6 Original room reverb typically found in high-end studio rack reverbs. Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec) Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc. Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Low Freq—Sets the frequency below which the Low Gain parameter is applied Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency EarlyReflc—Sets the amount of early reflective room sound Level—Controls the overall output level of the block Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected Reverb > Shimmer (Mono, Stereo), Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler. Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom Pitch 1—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch 1 and Pitch 2 have 0.1 semitone resolution between -1and +1 Pitch 2—Sets the interval of the second pitchshifter Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb Feedback—Controls the number of times the pitchshifting recirculates through the reverb Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default) Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity) Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals Room Size—Sets the size of the room (10, 20, or 30 meters) Damping—Determines the frequency above which the reverb will be absorbed Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected *NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development. New Legacy Effects in 3.15 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL 18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added to the Legacy subcategory in their respective effects categories. Don't sleep on these! Distortion > Bronze Master (Legacy), based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry Distortion > Killer Z (Legacy), based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound Modulation > Tape Eater (Legacy), Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix Modulation > Warble-Matic (Legacy), Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies Modulation > Random S&H (Legacy), Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo Modulation > Sweeper (Legacy), Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental Delay > Phaze Eko (Legacy), Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture Delay > Bubble Echo (Legacy), Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about Pitch/Synth > Synth Lead (Legacy), Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits Pitch/Synth > String Theory (Legacy), Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to Helix/HX in 1.50. Renamed the POD Farm version "String Theory" to avoid confusion Pitch/Synth > Synth FX (Legacy), Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks Pitch/Synth > Buzz Wave (Legacy), Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches Pitch/Synth > Rez Synth (Legacy), Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter Pitch/Synth > Saturn 5 Ring Mod (Legacy), Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical Pitch/Synth > Double Bass (Legacy), Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down Pitch/Synth > Seismik Synth (Legacy), Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch Pitch/Synth > Analog Synth (Legacy), Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP Pitch/Synth > Synth Harmony (Legacy), Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant New Features in 3.15 Apple Silicon Support Helix Native The Helix Native VST/AU/AAX plug-in now natively supports M1 and newer Apple computers without Rosetta. NOTE: HX Edit software has worked with M1 Macs from day one. Input Block > Per-Preset Guitar Pad Helix Floor, Helix Rack/Control, Helix LT, HX Stomp, HX Stomp XL The Input > Multi and Input > Guitar block now has an additional Guitar Pad parameter that lets you engage the analog guitar pad per preset ("Off" or "On). Or you could leave it set to "Global" and continue to turn the guitar pad on and off from the Global Settings menu. NOTE: For HX Stomp and HX Stomp XL, "Global" refers to the Global Settings > Ins/Outs > Input Level setting. When Pad is on, it's the same as if Input Level is set to "Line"; when off, it's the same as if Input Level is set to "Inst[rument]." Per-Snapshot Command Center > HX Snpsht Values Command Center > HX Snapshot command parameters can now be controlled by Snapshots themselves. For example, imagine that you are on Snapshot 1 and create an HX Snapshot command on FS2. You set it so that pressing that switch recalls Snapshot 3. You then switch to Snapshot 3 and set the same switch to recall Snapshot 6. Recall Snapshot 6 and set the switch to recall Snapshot 2. Finally, you recall Snapshot 2 and set the switch to recall Snapshot 1. Now, you go back to Snapshot 1 and begin pressing the switch. Each successive press recalls the assigned Snapshot and you would cycle Snapshot 1 > 3 > 6 > 2 > 1 > 3 > 6 > 2 and so on for each switch press. NOTE: this assumes that the Snapshot Edits global is set to Recall. If it's set to Discard, you'd have to save the preset after each set in order for the changes to stick Global MIDI Control of Knobs 1-6, <PAGE/PAGE>, and Preset Save Helix Floor, Helix Rack, Helix LT, HX Effects, HX Stomp, HX Stomp XL Instead of manually having to assign parameters to incoming MIDI CC messages, Knobs 1-6 for any block on the Home screen (Knobs 1-3 on HX Effects, HX Stomp, or HX Stomp XL) respond to new global MIDI CCs. This turns any programmable MIDI keyboard or tabletop controller into a simple way to edit blocks without having to reach down (for those of you who can't be bothered to use Pedal Edit Mode). In addition, sending Helix/HX a CC74 message will save any changes to the preset. IMPORTANT! We ran out of reserved Global CCs and unfortunately had to steal five user-assignable CCs for this feature. Any parameters you've assigned to CC77-CC81 will have to be remapped. Sorry 'bout that. Other Changes and Improvements in 3.15 Bypass Assign > EXP Pedal 1/2 now has a new Behavior parameter to control how bypassing is handled. The default value "Toggle" behaves as this feature always has - bringing the pedal past threshold will toggle the block's bypass state from what it is currently (i.e. enable if currently bypassed and vice versa). "Toe Down" and "Heel Down" always bypass the block at the designated position, regardless of the block's starting state. So with "Heel Down" selected, the block will always enable when you cross the Position threshold and bypass when you return below it The max delay time for several Delay > Legacy models has been increased from 2 seconds to 2.5 seconds Numerous additional minor improvements to Delay > Legacy models Delay > Multitap 6 has been optimized to use less than half the DSP as in pre-3.15 builds MIDI CC69 values are now transmitted upon snapshot change We ran out of reserved Global CCs and unfortunately had to steal five user-assignable CCs for MIDI control of Knobs 1-6 and <PAGE/PAGE>. Any parameters you've assigned to CC77-CC81 will have to be remapped Encoder ballistics have been improved. For parameters with hundreds of values, you can now go from Min to Max in a couple of turns HX Stomp XL only: Global Settings > Footswitches > Snapshot Mode adds a third value—Toggle, like the one in HX Effects and POD Go. This remembers whether Preset Mode is in Preset or Snapshot mode and allows for toggling between Stomp and Snapshot mode via the MODE switch Bug Fixes in 3.15 Amp/Preamp > Das Benzin Lead channel output was set to -36dB instead of -24dB—FIXED Amp/Preamp > Voltage Queen's Master volume only affected one side of the push/pull power amp—FIXED Distortion > Ampeg Scrambler's oversampling wasn't fully implemented—FIXED IR names with more than 54 characters couldn't be copied or exported from HX Edit HX Stomp, HX Stomp XL, HX Effects only: Pressing TAP to reset LFOs now properly works on switch press, not release—FIXED HX Stomp, HX Stomp XL only: Some Preamp blocks would display an Amp block icon in the inspector header—FIXED HX Stomp XL only: Command Center > HX Snapshot commands assigned to Hold would not function properly on FS1 and FS4—FIXED HX Edit only: In rare cases, dragging in an IR from the list to the signal flow could sometimes create a None block instead of an Impulse Response block—FIXED HX Edit only: While Spillover is active, dragging a block across path A/B could occasionally fail—FIXED HX Edit only: After moving a block with Spillover active, changing a block from mono to stereo could occasionally fail—FIXED HX Edit only: While Spillover is active, the bypass state appearance of blocks could occasionally not match that of the hardware—FIXED HX Edit only: DSP allocation of poly pitch blocks could occasionally not match that of the hardware—FIXED HX Edit only: IRs with names longer than 54 characters couldn't be copied or exported—FIXED HX Edit only: When saving a favorite, the Enter key on extended QWERTY keypads was inoperable—FIXED HX Edit only: Snapshot-controlled Command Center changes would sometimes not be maintained across copy/paste or preset export/import—FIXED Known Issues in 3.15 Copy/pasted blocks retain their favorited status after overwriting an existing favorite When a snapshot is reloaded, a duplicate PC message is not transmitted, regardless of the Global Settings > MIDI/Tempo > Duplicate PC Send setting In some cases, the current Variax tone knob's position may not be recalled across preset changes Delay > Ducked Delay's ducking is inactive if DynAttack is maxed out at 2.000s When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 to save changes in Pedal Edit mode does not save snapshot-controlled parameters After changing a different delay's Time parameter from ms to note values, selecting Delay > Tesselator causes its Knob 1 parameter label changes from "First" to "Time 1" When Delay > Tesselator and Ratchet's Operation is set to "Mute All," the entire path is muted, regardless of whether the block is active or bypassed
  16. 1.30 for POD Go and POD Go Wireless is now available:
  17. Digital_Igloo

    POD Go 1.30

    POD Go 1.30 (released October 5, 2021) includes a new amp, new effects, new features, improvements, and bug fixes and is recommended for all users of POD Go and POD Go Wireless. Here's a video if you're in a hurry. How do I update to 1.30? Connect POD Go/POD Go Wireless to your computer and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer, updating POD Go Edit, and updating the firmware. I updated but why don't I see [Model X]? POD Go Edit can't magically see new models added to your POD Go hardware; you MUST update POD Go Edit to 1.30 as well. Here's a link: macOS: https://line6.com/software/readeula.html?rid=10708 Windows: https://line6.com/software/readeula.html?rid=10709 My POD Go is at version 1.XX. Can I go straight to 1.30? Yes. Anything else I should know? Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 1.30 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK! While holding footswitches C and D, turn on POD Go/POD Go Wireless. New Amp in 1.30 Mandarin Rocker, based on* the Orange® Rockerverb 100 MKIII (Dirty Channel). NOTE: We decided to slightly alter the model so that at lower settings, the Drive knob's taper exhibits a smoother transition into distortion. New Effects in 1.30 Distortion > Ratatouille Dist (Mono, Stereo), based on* the 1984 Pro Co RAT. Turns out our Vermin Dist model was broken. Sorry! We were going to replace it completely but a bunch of people had presets with the old version. On top of that, we found out our RAT's LM308 chip had crapped out since we modeled it last so we decided to get it into perfect working order and start from scratch. Gain—Sets the amount of distortion Filter—Sets the amount of high cut (low pass) filter applied to the distortion, basically letting more treble through (lower values) or filtering it out (higher values) Level—Sets the overall level of the block Modulation > Retro Reel (Mono, Stereo), Line 6 Original effect that simulates playing a signal back from an analog tape machine. This signal can be distorted, filtered to sound older or more lo-fi, and modulated with wow and flutter. Wow Fluttr—Determines how much warbly tape sound is heard Saturation—Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone Low Cut—Determines the frequency of the Low Cut (High Pass) filter. At higher settings, can provide a lo-fi effect High Cut—Determines the frequency of the High Cut (Low Pass) filter. At lower settings, can provide the natural high-end roll-off of old tape Tape Speed—Changes both the rate of the modulation applied by the Wow Fluttr control and the filtering response of the analog tape emulation Level—Sets the overall level of the block Texture—Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion Delay > Euclidean Delay (Mono, Stereo), Line 6 Original delay based on Euclidean algorithms. Creates multitap patterns by setting the length of the pattern (Steps) and the number of taps (Fill) in the pattern. The Euclidean algorithm spaces taps as evenly as possible throughout the pattern, resulting in rhythms from traditional to highly complex. Settle in because this one'll require diagrams and charts and whatnot. Step Time—Sets the time between steps. The total delay time is Time x Steps, so [Time: 1/16 x Steps: 8] is a 1/2-note. Press the knob to toggle between ms/sec and note values Feedback—Controls the overall number of repeats heard for the entire sequence. If you want to hear all fills in the sequence only once, set to 0% Steps—Determines the number of steps in the sequence (1-16; see diagram below) Fill—The number of active taps, whose spacing is set by Euclidean algorithms (1-16, see diagram below). If Fill is higher than Steps, the extra taps are ignored Rotate—Rotates all fills forward by the same amount (0-15; see diagram below). Used If you like the sound of a repeat pattern but want the fills and gaps shifted forward Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Low Cut—Applies a low cut (high pass) filter to the fills, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When on, delay repeats continue to ring out after the block is bypassed I was told there'd be no math! Sorry. If you'd like to read more about Euclidean rhythms, check this out: https://splice.com/blog/euclidean-rhythms/ Or if you'd like to know more about Euclidean math, see ya' in a semester or two! https://en.wikipedia.org/wiki/Euclidean_algorithm Reverb > Dynamic Hall (Mono, Stereo), Line 6 Original hall reverb Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity) TIP: Assign a second stomp switch to toggle between a lower Decay value and Infinity. Label it "ForEVER ever?" Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals Room Size—Sets the size of the hall (10, 20, or 30 meters). NOTE: This parameter actually changes the algorithm so you'll hear a small bump when changing it. Therefore, we don't recommend assigning Room Size to snapshots or other controllers Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal Low Freq—Sets the frequency below which the Low Gain parameter is applied Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When on, reverb decay continues to ring out after the block is bypassed Reverb > Hot Springs (Mono, Stereo), Line 6 Original spring reverb Dwell—Adjusts the strength of the signal sent into the spring tank. Higher values result in a longer decay Spring Count—Sets how many springs are in the tank (1, 2, or 3, and numerous values in between) Drip—Adjusts the intensity of the spring reverb, or how much "ploink" you might hear Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Trails—When on, reverb decay continues to ring out after the block is bypassed *NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development. New Features in 1.30 User Model Defaults 1.30 lets you save any amp, cab, or effect block's settings as default, so every time you call that model up, it sounds exactly the way you want it. Or, if you want to revert it to factory default, you can do that too. Editing/saving a User Default does not affect any existing instances of the model currently in use in your presets. From Edit view, choose any effect, amp, or cab and tweak it exactly how you like it. Press ACTION and then User Default. From POD Go Edit, right-click (Mac: control-click) the block icon and select "User Default." Customizable Stomp Switches POD Go 1.30 adds the ability to customize the LED colors and onscreen labeling of stomp switches. Press <PAGE and PAGE> to open the main MENU and then press Knob 1 (Bypass/Control). Turn the Upper Knob to select the desired block and then turn Knob 2 (Switch[Controller]) to select FS1 ~ FS6. Press ACTION and then Knob 3 (Customize). Use the Upper Knob and Knob 4 (Character) to rename the Stomp switch. Turn Knob 3 (Switch LED) to choose the desired color for the switch. Press Knob 5 (OK) when finished. Customizable Snapshot Switches Switches in Snapshot Footswitch Mode can now have custom labels and colors. From Play View, press the Upper Knob to open the Preset List. Press Knob 5 (Rename Snapshot). Use the Upper Knob and Knob 4 (Character) to rename the Snapshot. Turn Knob 3 (Switch LED) to choose the desired color for the switch. Press Knob 5 (OK) when finished. On Play view, when in Snapshot footswitch mode, custom snapshot names appear in the boxes with smaller camera icons: Global Settings > Ins/Outs > Volume Knob Prior to 1.30, POD Go’s Volume Knob only controlled the Main Outs (and Phones out, of course). Now you can choose whether it controls the Main Outs, Amp Out, or both. IMPORTANT: When connecting POD Go's AMP OUT to the input of a guitar or bass amp, we strongly recommend leaving Global Settings > In/Outs > Volume Knob to "Main Outs," as turning the Volume knob with any other setting will be like adding many boost pedals or attenuators between POD Go and your amp; that is, it'll probably sound totally wrong. Only set this to "Amp Out" or "Both" when connecting the Amp Out to a full-range, flat response (FRFR) speaker, studio monitor, or similar playback system. Global Settings > Switches/Pedals > FS7/8 Function Prior to 1.30, POD Go’s Footswitch 7/8 jack supported an expression pedal or two additional stomp switches. You can now assign them to Bank Up/Down, Preset Up/Down, or Snapshot Up/Down, so you can leave POD Go in Stomp mode (with all 6 stomps) and still navigate presets and snapshots from external switches. Wireless Transmitter Updating via POD Go Edit POD Go Wireless can now update a connected G10T or G10T II via POD Go Edit. Bug Fixes in 1.30 Changing Wah or Volume/Pan models could could inadvertently change the block's bypass state–FIXED In some cases, the 6 Switch Looper would not reflect the proper states in Play View—FIXED In rare cases, some graphic anomalies could appear on the LCD—FIXED If a Modulation > Deluxe Phaser (set to 2 Stage) was moved, it could freeze POD Go—FIXED If an Amp > Agua 51 block is set with Bass to 0.0 and Mid to 10.0, it could cease processing audio—FIXED In rare cases, repeated, incessant reordering of blocks via POD Go Edit could cause POD Go to freeze—FIXED In certain cases, exiting footswitch modes could cause the display to inadvertently change from Play view to Edit view—FIXED In certain circumstances, loading a preset with specific Delay > Legacy models could cause them to behave as Authentic instead of Transparent—FIXED Many other minor fixes and improvements Known Issues in 1.30 If many parameters are assigned to the expression pedal, POD Go Edit may fail to reflect some parameters' correct Min and Max values In some cases, loading a .WAV file into the currently active IR slot can cause the block to cease passing audio until a different IR location is selected When Modulation > Chorus' WavShape is set to "Saw Up" or "Saw Down," the block collapses the signal to mono when after the Amp block A minor thump may be heard when loading a Distortion > Kinky Boost, Dhyana Drive, or Tycoctavia Fuzz In rare cases, if Delay > Glitch Delay is in the active preset, performing a firmware update can cause POD Go to freeze on the splash screen Renamed footswitch assignments that are at the character limit and also contain special characters may cause lines to temporarily appear along the bottom of the screen when toggled. Please shorten the customized name by 1 character to avoid this as a temporary workaround until this is addressed in a future release. POD Go Edit—After copying/pasting an Input or Output block “Failed to undo edit buffer: …" can appear POD GO Edit—Adjusting some parameters can fail to display the preset name in a dirty state (italics)
  18. Helix/HX 3.11 is out now with important bug fixes. READ THE RELEASE NOTES! https://line6.com/support/page/kb/effects-controllers/helix/helix-310311-release-notes-r969/
  19. Helix/HX Firmware 3.10, Helix Native 3.10, and HX Edit 3.10 are now available for download. READ THE RELEASE NOTES! https://line6.com/support/page/kb/effects-controllers/helix/helix-310-release-notes-r969/
  20. POD Go and POD Go Edit 1.21 are now available. New amps and effects! PLEASE READ THE RELEASE NOTES!
  21. Digital_Igloo

    POD Go 1.21

    POD Go 1.21 (released March 25, 2021) includes new amps, new cabs, new effects, and bug fixes and is recommended for all POD Go and POD Go Wireless users. POD Go 1.22 (released June 1, 2021) includes G10T and G10T II wireless transmitter updating from POD Go Wireless and additional important bug fixes: Full support for macOS 11 Big Sur Global Settings > Ins/Outs > Guitar In Pad would not be remembered across power cycles—FIXED Clicking tap tempo from within POD Go Edit for an extended period of time could sometimes cause POD Go to freeze—FIXED In POD Go Edit, the EQ > Acoustic Sim block did not display an X icon to delete the block—FIXED How do I update to 1.22? STEP 1—Install POD Go Edit 1.22 FIRST! Log onto line6.com, download, and install POD Go Edit 1.22: macOS: https://line6.com/software/readeula.html?rid=10571 Windows 7/8/10: https://line6.com/software/readeula.html?rid=10572 STEP 2—Update POD Go/POD Go Wireless AFTER Installing POD Go Edit 1.22 Shut down any programs that use audio or connect to your POD Go device, like DAWs, iTunes, Spotify, video games, etc. Disable the sleep timer on your computer. The update will fail if your computer goes to sleep during the process. If you are using a laptop, plug it in, or ensure it has enough battery life to complete the update without shutting down. Connect POD Go or POD Go Wireless to your Mac or PC via USB and turn it on. Launch POD Go Edit 1.22. Click the gear at the bottom of the window, then click "Check for Updates". Log into your Line 6 account. A dialog panel appears, reading "An update is available for your POD Go. Would you like to update now?" Click "Update now." POD Go Edit asks if you want to create a backup of your existing user presets. Click "OK" and then "Create Backup." Once the backup is completed, click "OK." Carefully read the End User License Agreement (haaa hahaha!) and click "OK." Click "Update." Please keep POD GO Edit in focus throughout the entire update. Once the update is complete, POD Go restarts automatically. Click "Back to POD Go Edit". New Amps in 1.21 US Princess, based on* the Fender® Princeton Reverb Das Benzin Mega, based on* the Mega channel of the Diezel VH4 Das Benzin Lead, based on* the Lead channel of the Diezel VH4 New Cabs in 1.21 1x10 US Princess, based on* the Fender® Princeton Reverb cab 1x12 US Princess, based on* the Fender® Princeton Reverb with a 12" Alnico Blue driver New Effects in 1.21 Distortion > Horizon Drive, based on* the Horizon Devices Precision Drive. Includes an extra Gate Range parameter that, when set to "Extended," drops the gate's threshold down to -90dB Distortion > Swedish Chainsaw, based on* the BOSS® HM-2 Heavy Metal Distortion (Made in Japan black label) Distortion > Pocket Fuzz, inspired by* the Jordan Boss Tone fuzz Distortion > Bighorn Fuzz, based on* the 1973 Electro-Harmonix® Ram's Head Big Muff Pi Distortion > Ballistic Fuzz, based on* the Euthymia ICBM fuzz Dynamics > Horizon Gate, based on* the Horizon Devices Precision Drive's gate circuit. Includes an extra Gate Range parameter that, when set to "Extended," drops the gate's threshold down to -90dB. Works best before an amp EQ > Acoustic Sim, based on* the BOSS® AC-2 Acoustic Simulator. Includes an extra Shimmer parameter that imparts some motion to the harmonics, reminiscent of how a string's vibration tends to affect the other strings. Just like the original, works best with single-coil pickups. Can be used alone or in conjunction with an acoustic IR Delay > Glitch Delay, Line 6 Original performance delay that lets you freely manipulate the repeats' behavior in real-time Time—Sets the delay time; press the knob to toggle between ms/sec and note values Delay Div—Divides the delay time into smaller increments 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 Feedback—Controls the overall number of repeats heard for the entire sequence SliceFdbk—Controls the number of repeats heard for individual slices. At higher values, you could call this "Super Chaotic Feedback" Shuffle—Determines the likelihood of repeats shuffling/reordering Octaves—Determines the likelihood of repeats playing back an octave higher or lower Reverse—Determines the likelihood of repeats playing backward Seq Drift—Determines the likelihood of the entire sequence changing every time it loops around. When set to 0%, the same sequence loops forever. TIP: Assign this parameter to a footswitch set to toggle between a higher number and 0%. If you hear a random sequence you want to maintain, press the switch to set Seq Drift to 0%, and it'll repeat that way indefinitely Smoothing—Higher values apply smoothing between slices and can give a synth-pad type quality, lower values maintain transients. Or set it just high enough to avoid pops and clicks Trails—When on, delay repeats continue to ring out after the block is bypassed *NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development. Changes and Improvements in 1.21 Support for macOS 11 Big Sur Audio communication is now more stable when using the class-compliant driver in macOS EQ > Low/High Shelf's High Freq parameter now goes down to 400Hz Bug Fixes in 1.21/1.22 With an external expression pedal connected, EXP 1 and EXP 2 could become swapped under certain conditions—FIXED If Global Settings > Switches/Pedals > Snapshot Mode is set to "Auto Return" and Up/Down Switches is set to "Presets," pressing Up or Down would not correctly exit Snapshot mode In rare cases, attempting to swap footswitches (by holding two stomps) while the model list or preset list was open could result in a freeze–FIXED In rare cases, audio could be lost after updating via Line 6 Updater. Updating via POD Go Edit would not exhibit this behavior—FIXED In some cases, after exiting 6 Switch Looper mode, stomp switch LEDs could fail to light properly until pressed—FIXED In rare cases, snapshot selection could not properly recall a block's bypass/enable state—FIXED Dynamics > LA Studio Comp's level could drop if placed after an input boost, which is then toggled on and off—FIXED In some cases, None and Looper categories in the model list could fail to update the display—FIXED In some cases, pressing the expression pedal toe switch could not properly bypass/enable assigned blocks—FIXED With very low Delay settings, Pitch/Synth > Simple Pitch and Dual Pitch could exhibit metallic artifacts—FIXED A minor pop could be heard when selecting different IRs while signal was present—FIXED In rare cases, restoring from a backup could sometimes cause the unit to freeze—FIXED In some cases, selecting a preset would not properly recall the active expression pedal (EXP 1 or EXP 2)—FIXED Importing IRs immediately after launching POD Go Edit could sometimes result in an error message—FIXED Transmitting MIDI CC60 or CC61 to control POD Go's looper could sometimes cause POD Go to freeze—FIXED When Global Settings > Switches/Pedals > FS Auto Assign was set to "Off," selecting a different effect category could sometimes cause the footswitch to display the previous category's color—FIXED Various graphical glitches—FIXED Many other minor fixes and improvements New in 1.22 POD Go Wireless can now update a connected G10T and G10T II wireless transmitter from POD Go Edit New in 1.22 Full support for macOS 11 Big Sur New in 1.22 Global Settings > Ins/Outs > Guitar In Pad would not be remembered across power cycles—FIXED New in 1.22 Clicking tap tempo from within POD Go Edit for an extended period of time could sometimes cause POD Go to freeze—FIXED New in 1.22 In POD Go Edit, the EQ > Acoustic Sim block did not display an X icon to delete the block—FIXED Known Issues in 1.22 Importing a .WAV file into the current empty slot of an Impulse Response block can cause POD Go to stop passing audio. WORKAROUND: Select a different IR and then reselect the new one; audio should resume
  22. Helix/HX 3.10 (released April 15, 2021) includes a new amp, new effects, new features, improvements, and bug fixes and is recommended for all users. Helix/HX Firmware 3.11 (released April 27, 2021) includes additional important bug fixes: HX Stomp, HX Stomp XL only—If a custom label is not assigned, tapping a stomp switch with multiple assignments would display "MULTIPLE [X]" instead of displaying its assignments—FIXED HX Stomp, HX Stomp XL only—Stomp mode footswitches would not follow the Global Settings > Displays > LED Ring Brightness value—FIXED HX Stomp XL only—The colors for Distortion and Reverb boxes on Play view were reversed—FIXED Receiving a MIDI CC67 could cause Helix LT to freeze—FIXED In some cases, a MIDI snapshot (CC69) message could fail to be recognized if sent immediately after a PC message—FIXED Helix Native/HX Edit 3.11 (released June 1, 2021) includes important fixes: Full support for macOS 11 Big Sur HX Stomp/HX Stomp XL only—Renamed snapshots would not appear in HX Edit's Command Center window—FIXED HX Stomp only—On rare occasions after restoring from a backup, HX Stomp's Input block could appear as "None"—FIXED How do I update to 3.11? Any chance you've already updated HX Edit to 3.01 (released on Feb 2, 2021) or 3.10 (released on April 15, 2021)? If so, just connect Helix/HX to your computer via USB and launch HX Edit. The software will walk you through the entire procedure, including backing everything up to your computer. I updated but why don't I see [Model X]? HX Edit can't magically see new models added to your Helix/HX hardware; you must update HX Edit at well. Here's a link: macOS: https://line6.com/software/readeula.html?rid=10574 Windows: https://line6.com/software/readeula.html?rid=10576 My Helix/HX is at version X.XX. Can I go straight to 3.11? Absolutely, but note that if you're starting with a version lower than 2.80, the update will appear to happen twice. This is normal. Anything else I should know? Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your Helix/HX firmware to 3.11 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK! Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp HX Stomp XL: While holding footswitches C & D, turn on HX Stomp New Amp in 3.10 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Mandarin Rocker, based on* the Orange® Rockerverb 100 MKIII (Dirty Channel). NOTE: We decided to slightly alter the model so that at lower settings, the Drive knob's taper exhibits a smoother transition into distortion. New Effects in 3.10 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL Distortion > Ratatouille Dist (Mono, Stereo), based on* the 1984 Pro Co RAT. Turns out our Vermin Dist model was broken. Sorry! We were going to replace it completely but a bunch of people had presets with the old version. On top of that, we found out our RAT's LM308 chip had crapped out since we modeled it last so we decided to get it into perfect working order and start from scratch. Gain—Sets the amount of distortion Filter—Sets the amount of high cut (low pass) filter applied to the distortion, basically letting more treble through (lower values) or filtering it out (higher values) Level—Sets the overall level of the block Modulation > Retro Reel (Mono, Stereo), Line 6 Original effect that simulates playing a signal back from an analog tape machine. This signal can be distorted, filtered to sound older or more lo-fi, and modulated with wow and flutter. TIP: Helix Native users should definitely try Retro Reel on all sorts of tracks—vocals, drums, keyboards, strings, busses, effects returns, you name it. Anything that needs a bit more punch or vibe. Wow Fluttr—Determines how much warbly tape sound is heard Saturation—Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone Low Cut—Determines the frequency of the Low Cut (High Pass) filter. At higher settings, can provide a lo-fi effect High Cut—Determines the frequency of the High Cut (Low Pass) filter. At lower settings, can provide the natural high-end roll-off of old tape Tape Speed—Changes both the rate of the modulation applied by the Wow Fluttr control and the filtering response of the analog tape emulation Level—Sets the overall level of the block Texture—Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion Delay > Euclidean Delay (Mono, Stereo), Line 6 Original delay based on Euclidean algorithms. Creates multitap patterns by setting the length of the pattern (Steps) and the number of taps (Fill) in the pattern. The Euclidean algorithm spaces taps as evenly as possible throughout the pattern, resulting in rhythms from traditional to highly complex. Settle in because this one'll require diagrams and charts and whatnot. TIP: Add two Euclidean Delays in parallel (with different settings) for interesting polyrhythm patterns. When using a stereo playback system, try panning Paths A and B in the Mixer to L100 and R100. Step Time—Sets the time between steps. The total delay time is Time x Steps, so [Time: 1/16 x Steps: 8] is a 1/2-note. Press the knob to toggle between ms/sec and note values Feedback—Controls the overall number of repeats heard for the entire sequence. If you want to hear all fills in the sequence only once, set to 0% Steps—Determines the number of steps in the sequence (1-16; see diagram below) Fill—The number of active taps, whose spacing is set by Euclidean algorithms (1-16, see diagram below). If Fill is higher than Steps, the extra taps are ignored Rotate—Rotates all fills forward by the same amount (0-15; see diagram below). Used If you like the sound of a repeat pattern but want the fills and gaps shifted forward Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Low Cut—Applies a low cut (high pass) filter to the fills, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When on, delay repeats continue to ring out after the block is bypassed I was told there'd be no math! Sorry. If you'd like to read more about Euclidean rhythms, check this out: https://splice.com/blog/euclidean-rhythms/ Or if you'd like to know more about Euclidean math, see ya' in a semester or two! https://en.wikipedia.org/wiki/Euclidean_algorithm Reverb > Dynamic Hall (Mono, Stereo), Line 6 Original hall reverb Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity) TIP: Assign a second stomp switch to toggle between a lower Decay value and Infinity. Label it "ForEVER ever?" Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals Room Size—Sets the size of the hall (10, 20, or 30 meters). NOTE: This parameter actually changes the algorithm so you'll hear a small bump when changing it. Therefore, we don't recommend assigning Room Size to snapshots or other controllers Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal Low Freq—Sets the frequency below which the Low Gain parameter is applied Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When on, reverb decay continues to ring out after the block is bypassed Reverb > Hot Springs (Mono, Stereo), Line 6 Original spring reverb Dwell—Adjusts the strength of the signal sent into the spring tank. Higher values result in a longer decay Spring Count—Sets how many springs are in the tank (1, 2, or 3, and numerous values in between) Drip—Adjusts the intensity of the spring reverb, or how much "ploink" you might hear Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Trails—When on, reverb decay continues to ring out after the block is bypassed *NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development. New Features in 3.10 Increased Oversampling Throughout Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL Oversampling has been increased across the board, resulting in higher fidelity, fewer aliasing artifacts, and smoother decay trails, especially when running multiple distortion stages or with higher gain tones. Many people might not notice a difference, but those highly sensitive to aliasing will appreciate 3.10's smoother response. Amp and effects models have been optimized to accommodate these improvements without increasing DSP usage. Customizable Stomp Switches HX Stomp, HX Stomp XL [Feature already in Helix Floor, Helix Rack/Control, Helix LT, and HX Effects] As long as something is assigned to a stomp switch (bypass one or more blocks, toggle parameter Min/Max, or Command Center command), switches in Stomp Footswitch Mode can now have custom labels and colors. This is especially helpful when multiple blocks, controls, or commands are assigned to the same switch. Touch a stomp mode footswitch to select it and from either the Bypass Assign or Command Center menu, press PAGE> and then Customize. Use the Upper Knob and Knob 2 (Character) to name the stomp. Press PAGE> and turn Knob 3 (Switch LED) to choose a custom color. When set to "Auto" (the default), the switch reflects its assignment (Delays are green, Filters are purple, Commands are white, etc.) When finished, press <PAGE and Knob 3 (OK). Customizable Snapshot Switches HX Stomp, HX Stomp XL [Feature already in Helix Floor, Helix Rack/Control, Helix LT, and HX Effects] Switches in Snapshot Footswitch Mode can now have custom labels and colors. From Play View, press the Upper Knob to open the Preset List. Turn Knob 2 (Snapshot) to select the snapshot you want to rename and press ACTION. Press Rename Snapshot. Use the Upper Knob and Knob 2 (Character) to name the stomp. Press PAGE> and turn Knob 3 (Switch LED) to choose a custom color. When set to "Auto" (the default), the switch is white When finished, press <PAGE and Knob 3 (OK). Tuner Trails Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL Don't sleep on this one: The Tuner screen has a new "Trails" parameter. When set to "On," delay repeats and reverbs' decay continue to ring out and even the Looper keeps running when the tuner is engaged. No more awkward "everyone's staring at me because my B string went wonky." Expanded 3.0 Models Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL 3.0 added a boatload of new creative effects and after collecting feedback from users, we've added new parameters to some of them to help expand their flexibility and fun factor. IMPORTANT! These new parameters won't show up in your existing presets; they'll only appear if you remove the block (or change the model and reload it). Also, if you've saved any of the following models' defaults, they will need to be re-tweaked and saved again. Delay > Poly Sustain Auto EQ— Determines how much compensation EQ is applied to the sustained signal. If the sustained signal sounds too harsh when pitched up (or dull when pitched down), adjust this setting to taste. The higher the value, the more EQ is applied at the shift end points; when set to 0.0, no compensation EQ is applied Operation—Determines what happens to your signal when Poly Sustain is turned on (remember, it's bypassed by default) "Mute All"—When Poly Sustain is on, THE ENTIRE PATH IS MUTED "Dry Kill"—When Poly Sustain is on, only the sustained signal is heard. TIP: With Poly Sustain on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the sustained signal in and out by switching between the two values "Normal" (default)—When Poly Sustain is on, both the dry and sustained signals are heard. This is how Poly Sustain behaved in Firmware 3.0; that is, you're able to jam on top of the sustained drone Delay > Glitch Delay Pitch—Determines the likelihood of repeats changing pitch, based on the new Interval 1 and Interval 2 settings (In 3.0, the repeats were fixed to an octave below and above). Was called "Octaves" in 3.0 Interval 1—Sets the pitch of some repeats, the likelihood of which is determined by the Pitch parameter (from an octave down to an octave up) Interval 2—Sets the pitch of other repeats, the likelihood of which is determined by the Pitch parameter (from an octave down to an octave up) Low Cut—Applies a low cut (or high pass) filter to the slices, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the slices, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Pitch/Synth > 12 String PluckType—Optimizes the 12 String emulation for specific types of playing styles. We've also improved the onset detection and 12 String now uses less DSP Looper > Shuffling Looper Pitch—Determines the likelihood of your slices changing pitch, based on the new Interval 1 and Interval 2 settings (In 3.0, the repeats were fixed to an octave below and above). Was called "Octaves" in 3.0 Interval 1—Sets the pitch of some slices, the likelihood of which is determined by the Pitch parameter (from an octave down to an octave up) Interval 2—Sets the pitch of other slices, the likelihood of which is determined by the Pitch parameter (from an octave down to an octave up) Instant Command Wait Time Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL On the Command Center page, Instant commands (lightning bolt icon) have a new "Wait Time" parameter, letting you delay certain events by up to 1000ms. This is to help Helix/HX control older MIDI gear that may behave incorrectly when receiving multiple commands very close together. Unless you specifically need to delay a message, leave this set to "0 ms." New and Improved MIDI Implementation Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL MIDI Snapshot changes on CC69 that are received during preset loads will now be buffered and executed once the preset load is finished. This means that you can send a MIDI Snapshot change immediately after a PC message to effectively load a preset with a different Snapshot than it was saved with Bank/Preset/Snapshot Up and Down messages how properly work via incoming FS1/FS7 emulation MIDI messages FS1/2/3 emulation MIDI messages can now be momentary for HX Stomp (values 64-127 = press; values 0-63 = release) Stomp switch emulation MIDI messages now work while in preset or snapshot footswitch mode New MIDI message (Helix Floor/Rack/LT/HX Stomp XL): CC71 engages the MODE switch New MIDI message: CC 72 value 64-127 = next preset, value 0-63 = previous preset New MIDI message (Helix LT, HX Stomp, HX Stomp XL): CC 73 toggles between Play and Edit views Other Changes and Improvements in 3.10 HX Edit and Helix Native now add support for macOS 11 Big Sur Helix Floor and Rack/Control only: The scribble strip above FS6 (MODE) now displays which mode is currently active—Preset or Stomp. You can still hold FS6 to engage hands-free Pedal Edit mode On the Controller Assign page, turning Knob 2 (Controller) no longer resets the Min Value and Max Value Bug Fixes in 3.10/3.11 3.10 Pressing the Bank Down switch would skip banks in certain situations–FIXED 3.10 When Tuner View is active while Spillover is engaged, changing presets can sometimes cause audio output to stop—FIXED 3.10 The tuner screen and gain reduction meters could sometimes appear laggy—FIXED 3.10 In rare cases, an Impulse Response block's IR Select parameter can be reset to 1 after moving any other block to Path 2A—FIXED 3.10 HX Effects, HX Stomp, and HX Stomp XL only—Poly Pitch and Poly Sustain blocks could continue processing audio when the unit is in DSP Bypass—FIXED 3.10 The Agua 51 model could stop processing audio when its Bass parameter is set to 0.0 and its Mid parameter set to 10.0—FIXED 3.10 The Essex A30 model could stop passing audio after roughly 2 minutes when its drive parameter is set to 10.0—FIXED 3.10 In some cases, Command Center > HX Looper commands would not function while in Preset Spillover mode—FIXED 3.10 The Filter > Legacy > Slow Filter Mode parameter would be fixed on Up even when set to Down—FIXED 3.10 Delay > Cosmos Echo could exhibit a "ramp up" sound when enabled—FIXED 3.10 HX Effects only—Pressing and holding FS1+FS4 to cycle through Bank, Preset, and Snapshot Up/Down could inadvertently continue cycling through banks—FIXED 3.10 Many other minor fixes and improvements New in 3.11 HX Stomp, HX Stomp XL only—If a custom label is not assigned, tapping a stomp switch with multiple assignments would display "MULTIPLE [X]" instead of displaying its assignments—FIXED New in 3.11 HX Stomp, HX Stomp XL only—Stomp mode footswitches would not follow the Global Settings > Displays > LED Ring Brightness value—FIXED New in 3.11 HX Stomp XL only—The colors for Distortion and Reverb boxes on Play view were reversed—FIXED New in 3.11 Receiving a MIDI CC67 could cause Helix LT to freeze—FIXED New in 3.11 In some cases, a MIDI snapshot (CC69) message could fail to be recognized if sent immediately after a PC message—FIXED New in 3.11 (Helix Native/HX Edit) HX Stomp/HX Stomp XL only—Renamed snapshots would not appear in HX Edit's Command Center window—FIXED New in 3.11 (Helix Native/HX Edit) HX Stomp only—On rare occasions after restoring from a backup, HX Stomp's Input block could appear as "None"—FIXED Known Issues in 3.10/3.11 User model defaults for Delay > Poly Sustain, Delay > Glitch Delay, Pitch/Synth > 12 String, and Looper > Shuffling Looper have been reset due to each model's new parameters—FIXED Helix Native's performance can be laggy in new M1-based Apple computers As Delay > Poly Sustain, Delay > Glitch Delay, Pitch/Synth > 12 String, and Looper > Shuffling Looper models have been updated, any existing user defaults for these models will need to be re-tweaked and saved again In rare cases, after importing a .WAV file into the 'Empty' slot of an Impulse Response block set to the same index, all audio output can stop Helix Floor/Rack/LT and HX Stomp only—Sending more than one MIDI program change messages one after another can sometimes cause HX Edit to lose connection Helix LT only—FS1 and FS7 do not transmit Command Center messages HX Stomp and XL only—Quickly scrolling across the signal flow view immediately after booting can sometimes cause HX Stomp/XL to freeze HX Stomp and XL only—In rare cases, after restoring a 3.01 backup, parallel presets' blocks may be shifted one position to the right Impulse responses with names consisting of more than 54 characters cannot be copied or exported
  23. HX Edit 3.01 is now available. Sure, it fixes some bugs, but it will also drastically improve the firmware update process when we drop 3.10. So do it. DO IT NOW. https://line6.com/software/
  24. If FS3 is assigned to Tap/Tuner, it should totally work in both Stomp and Scroll mode. Just checked and it's working fine here with 3.01. If it's not working for you, try a backup, reset, and restore.
  25. The Helix 3.01 update addresses potential severely corrupted audio output. Due to this, we highly recommend updating your Helix family device as soon as possible. This issue may also be experienced on Helix Native; an update for Native is available now at our downloads page. IMPORTANT! Click here for detailed update instructions. New Amps in 3.0 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp US Princess, based on* the Fender® Princeton Reverb Das Benzin Mega, based on* the Mega channel of the Diezel VH4 Das Benzin Lead, based on* the Lead channel of the Diezel VH4 New Cabs in 3.0 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp 1x10 US Princess, based on* the Fender® Princeton Reverb cab 1x12 US Princess, based on* the Fender® Princeton Reverb with a 12" Alnico Blue driver New Effects in 3.0 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp Distortion > Horizon Drive (Mono, Stereo), based on* the Horizon Devices Precision Drive. Includes an extra Gate Range parameter that, when set to "Extended," drops the gate's threshold down to -90dB Distortion > Swedish Chainsaw (Mono, Stereo), based on* the BOSS® HM-2 Heavy Metal Distortion (Made in Japan black label) Distortion > Pocket Fuzz (Mono, Stereo), inspired by* the Jordan Boss Tone fuzz Distortion > Bighorn Fuzz (Mono, Stereo), based on* the 1973 Electro-Harmonix® Ram's Head Big Muff Pi Distortion > Ballistic Fuzz (Mono, Stereo), based on* the Euthymia ICBM fuzz Dynamics > Horizon Gate (Mono, Stereo), based on* the Horizon Devices Precision Drive's gate circuit. Includes an extra Gate Range parameter that, when set to "Extended," drops the gate's threshold down to -90dB. Works best before an amp EQ > Acoustic Sim (Mono, Stereo), based on* the BOSS® AC-2 Acoustic Simulator. Includes an extra Shimmer parameter that imparts some motion to the harmonics, reminiscent of how a string's vibration tends to affect the other strings. Just like the original, works best with single-coil pickups. Can be used alone or in conjunction with an acoustic IR Modulation > Poly Detune (Mono), Line 6 Original. Great for those who avoid traditional chorus pedals Delay > Poly Sustain (Mono), Line 6 Original infinite sustain with a modulated poly pitch engine built in Assign Poly Sustain to a stomp footswitch. By default, Poly Sustain appears bypassed. First play the note or chord you wish to sustain, and then press the footswitch (on) to sustain it indefinitely. Keep playing while the note or chord loops. TIP: Some players may find it easier to change the footswitch mode to Momentary; that way, the note or chord sustains only while you hold the switch on, much like the sustain pedal on a piano. Press the switch again (off), and the sustained note or chord fades out. Interval—Sets the pitch of the sustained note or chord. TIP: This parameter is especially cool for creating massive drones to play over Attack—Sets the speed at which the sustained note or chord fades in Decay—Sets the speed at which the sustained note or chord fades out after bypassing the effect Mod Freq—Sets the speed of the built-in modulation Mod Depth—Sets the depth of the built-in modulation FX Level—Sets the level of the sustained signal RandDpth—Higher values increase the randomization of the section of audio being sustained, resulting in a more natural, but less predictable drone RandSpeed—Controls how fast the randomization wanders Level—Controls the overall output level of the block Delay > Glitch Delay (Mono, Stereo), Line 6 Original performance delay that lets you freely manipulate the repeats' behavior in real-time Time—Sets the delay time; press the knob to toggle between ms/sec and note values Delay Div—Divides the delay time into smaller increments 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 Feedback—Controls the overall number of repeats heard for the entire sequence SliceFdbk—Controls the number of repeats heard for individual slices. At higher values, you could call this "Super Chaotic Feedback" Shuffle—Determines the likelihood of repeats shuffling/reordering Octaves—Determines the likelihood of repeats playing back an octave higher or lower Reverse—Determines the likelihood of repeats playing backward Seq Drift—Determines the likelihood of the entire sequence changing every time it loops around. When set to 0%, the same sequence loops forever. TIP: Assign this parameter to a footswitch set to toggle between a higher number and 0%. If you hear a random sequence you want to maintain, press the switch to set Seq Drift to 0%, and it'll repeat that way indefinitely Smoothing—Higher values apply smoothing between slices and can give a synth-pad type quality, lower values maintain transients. Or set it just high enough to avoid pops and clicks Trails—When on, delay repeats continue to ring out after the block is bypassed Pitch/Synth > Poly Pitch (Mono), Line 6 Original NOTE: Polyphonic pitch engines are designed for shifting complex chords with minimal artifacts at the expense of latency (and our algorithms have lower latency than leading standalone poly pitch pedals). If you're looking to pitch individual notes (such as in a solo), monophonic pitch-shifting is often preferred. See the Tracking parameter below for more information IMPORTANT! 3.0's new poly models are extremely DSP-intensive. Some effects can eat up roughly a quarter of all available DSP on a Helix Floor, Rack, or LT or half (!!!) of all available DSP on HX Stomp or HX Effects. You also can't run more than one on the same path/DSP (unless you're running Helix Native with Hardware Compatibility Mode turned off). Don't say we didn't warn you... Interval—Sets the pitch of the effect in semitones Cents—Sets the pitch of the effect in cents ShiftTime—Determines how long it takes for the signal to ramp up or down to the set pitch when the block is enabled. Press the knob to toggle between ms/Sec and note/beat values. TIP: Want to hit the switch and have Poly Pitch dive bomb and land exactly one bar later? Press the knob to select note values and set ShiftTime to "1/1" ShiftCurve—Determines the trajectory curve of the pitch shift over time. StartSlow values are concave (slower changes to start, speeding up toward the end); StartFast values are convex (the opposite). At the knob's extremes (Start Slow 5 and Start Fast 5), the pitch will actually overshoot a little before settling on the target pitch. The default is "Linear" ReturnTime—Determines how long it takes for the signal to return to normal pitch when the block is bypassed. Press the knob to toggle between ms/Sec and note/beat values ReturnCurv—Determines the trajectory curve when returning to the original pitch. StartSlow values are concave (slower changes to start, speeding up toward the end); StartFast values are convex (the opposite). At the knob's extremes (Start Slow 5 and Start Fast 5), the pitch will actually overshoot a little before settling on the original pitch. The default is "Linear" Tracking—Determines how the poly pitch engine reacts to your playing. Leave this set to "X Stable" (the default, with the fewest artifacts when pitch shifting complex chords) and only select a different setting if you experience too much latency when playing fast lead lines Auto EQ—Determines how much compensation EQ is applied to the shifted signal. If the effected signal sounds too harsh when pitched up (or dull when pitched down), adjust this setting to taste. The higher the value, the more EQ is applied at the shift end points; when set to 0.0, no compensation EQ is applied Mix—Controls the wet/dry mix of the pitch-shift Level—Controls the overall output level of the block Pitch/Synth > Poly Wham (Mono), Line 6 Original. Automatically assigned to EXP 1 and the toe switch toggles it on and off. See Poly Pitch notes above for additional information Pitch/Synth > Poly Capo (Mono), Line 6 Original. A Simpler version of Poly Pitch when you just want to transpose your playing. See Poly Pitch notes above for additional information Pitch/Synth > 12 String (Mono), Line 6 Original 12-string guitar emulation Volume/Pan > Stereo Imager (Stereo), Line 6 Original. Used to increase the apparent stereo width of your signal when connecting Helix to two amps or a stereo playback system; just make sure there aren't any mono blocks after it! Looper > Shuffling Looper (Mono, Stereo), Line 6 Original. Part looper, part sampler, part inspiration generator, part performance instrument, the Shuffling Looper intelligently chops up your playing and gives you real-time control over reordering, octave shifting, reversing, and repeating. It's all immense fun (even on vocals, drums, and percussion), but you'll want to familiarize yourself with its controls. IMPORTANT: The Shuffling Looper does not currently respond to Command Center > HX Commands or per-function MIDI commands Add the Shuffling Looper to a preset and assign it to a footswitch. Turn Knob 1 (Slices) to set the number of slices your loop will be chopped into. 8 slices is the default. Press the switch to begin recording. The LED lights red, indicating the loop is recording. At the end of your loop, press the switch. The LED lights green, and the sliced loop sequence immediately plays. During playback, adjust the following knobs (or assign them to controllers, like expression pedals or snapshots): Slices—Changes the number of slices your loop will be chopped into SeqLength—Determines the number of slices in the sequence. This can be changed even after recording a loop Shuffle—Determines the likelihood of slices shuffling/reordering. At 0%, the slices never shuffle; at 100%, they're constantly reshuffling Octave—Determines the likelihood of slices playing back an octave higher or lower Reverse—Determines the likelihood of slices playing backward Repeat—Determines the likelihood of slices repeating Smoothing—Higher values apply smoothing between slices and can give a synth-pad type quality, lower values maintain transients. Or set it just high enough to avoid pops and clicks Seq Drift—Determines the likelihood of the entire slice sequence changing every time it loops around. When set to 0.0, the same sequence repeats forever; when set to 10.0, the sequence changes completely every time it loops TIP: Assign this parameter to a footswitch set to toggle between a higher number and 0%. If you hear a random sequence you want to maintain, press the switch to set Seq Drift to 0%, and it'll repeat that way indefinitely Playback—Sets the looper's playback level Low Cut—Applies a low cut (or high pass) filter to the loop, letting you remove the looper signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the loop, letting you remove the looper signal above a certain frequency Want to change it up? While the loop is playing, press the switch to randomize its slice sequence. Quickly double-press the switch. Playback/recording stops, and the LED lights white, indicating a loop is in memory. Press again to restart. While the loop is playing or stopped, press and hold the switch. The recording is deleted, and the LED lights dim white. *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 3.0 True Preset Spillover Helix Floor, Helix Rack/Control, Helix LT only Despite what some might have you believe, the only digital multieffects units with true preset spillover were the DigiTech GSP1101, 2112, and 2120, and they accomplished this by dedicating a second identical DSP to spillover and only spillover. (Basically, to hear two dynamically allocated presets with absolutely zero gap—not some global reverb or delay smeared to cover the gap—you need enough DSP to run both of them simultaneously.) So... if you're willing to sacrifice half your DSP—that is, COMPLETELY DISABLE PATH 2—you too can have true preset spillover. IMPORTANT! Unfortunately, Looper recording or playback will not currently spill over from one preset to another. Also, note that there may be a slight hiccup when switching between two presets with different impedance values for the Guitar Input. In the Global Settings > Preferences menu, set Preset Spillover to "On." (SHORTCUT: Hold ACTION and press HOME.) A dialog appears, reading "Remove Path 2 to enable preset spillover?" Press Knob 6 (OK). Press HOME. Path 2 has disappeared! You may now switch presets to your heart's delight with true spillover, but note that if Preset A is still spilling over into Preset B (say one of its delay's feedback is making it self-oscillate), switching to Preset C will abruptly cut off Preset A. To return to normal operation with two paths, turn Preset Spillover back to "Off." (SHORTCUT: Hold ACTION and press HOME again.) A dialog appears, reading "The preset must be reloaded. All unsaved changes will be lost!" So if you've made changes to the preset, be sure to save it before turning Spillover off. Press Knob 6 (OK). But but but... I don't wanna lose Path 2 for spillover! Then keep using snapshots. Favorites Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects, HX Stomp If you've dialed in an amp or effects block exactly the way you like it, you can now save its settings as a favorite so it can be added very quickly, complete with bypass state and footswitch assignment. (Favorites in HX Effects do not recall footswitch assignment.) Favorites appear in a new "Favorites" category and can be renamed, reordered, and cleared. From HX Edit, you can use the Export and Import Favorites to create an endless collection of them on your hard drive, and even share them with friends and across devices (where supported). TIP: If you don't want a favorite to be recalled with its footswitch assignment, save the block as a favorite without assigning a footswitch." Choose one of your favorite amps or effects and tweak it exactly how you like it, with or without footswitch assignment. (Favorites in HX Effects do not recall footswitch assignment.) Press ACTION and then press Add to Favorites. The Favorites list appears. If you wish to replace an existing favorite (you get 128 total), select it and press Replace Favorite. If you wish to add a new favorite, select the location where you want to place it and press Add New Favorite. OPTIONAL: While the Favorites list is open, press ACTION. To reorder the selected favorite up or down the list, turn Reorder Favorite (on HX Effects, press Reorder Up or Reorder Down) To rename the selected favorite, press Rename Favorite To clear the selected favorite, press Clear Favorite To clear all favorites, press Clear All Favorites. A dialog appears. Press OK to confirm. All right, so what? Here's what: At any time, select an empty block and turn the joystick (Big Knob on HX Effects or Lower Knob on HX Stomp). All your perfectly-tweaked favorite amps and effects instantly appear, without having to open the model list at all. If you typically keep effect types on the same stomp footswitches, you could conceivably create a brand new preset with all of your favorite stuff—including all footswitch assignments—in less than 10 seconds. Creating tones has never been faster or easier. TIP: If you keep one or more external pedals connected to Helix's FX Loops, add the FX Loop blocks as favorites and then rename them after the real thing. Wait. Did you really name the 3.0 update after the 2004 romantic comedy starring Ben Stiller and Jennifer Aniston that has a dismal rating of 27% on Rotten Tomatoes? Huh. I guess it sounds dumb when you put it that way. User Model Defaults Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects, HX Stomp 3.0 lets you save any amp, cab, or effect block's settings as default, so every time you call that model up, it sounds exactly the way you want it. Or, if you want to revert it to factory default, you can do that too. Editing/saving a User Default does not affect any existing instances of the model currently in use in your presets. Choose any model and tweak it exactly how you like it. Press ACTION and then User Default. From Helix Native or HX Edit, right-click (Mac: control-click) the block icon and select "User Default." Global Settings > Preferences > Auto Impedance Helix Floor, Helix Rack/Control, Helix LT, HX Stomp A new Global Settings > Preference parameter determines how the Guitar In's impedance circuit behaves when Input > In-Z is set to "Auto." When set to "First Block" (the default, and how Helix has worked since the beginning), the impedance circuit reflects the impedance of the first block on Path 1A, regardless of whether it's enabled or bypassed. When set to "First Enabled," the impedance circuit reflects the impedance of the first enabled block on Path 1A. Called "Auto Impedance" because "Sorry-this-took-so-long-we-love-you-Tito83" wouldn't fit. Min/Max Value Indicators Helix Floor, Helix Rack/Control, Helix LT, HX Stomp [Feature already in HX Effects] Parameters assigned to controllers or snapshots now display small white Min Value (below) and Max Value (above) indicators above and below the value bar. You can now see the range of continuous controllers from the Home screen. 8 Blocks in HX Stomp HX Stomp's simultaneous block count has been increased from six to eight. IMPORTANT! Although HX Stomp now has two additional block locations, this doesn't mean it magically has more DSP horsepower to accommodate those blocks. Don't be surprised if you're not able to fill all eight blocks with exactly what you want, especially considering the new polyphonic pitch models take up a lot more DSP. We've taken note of those who've bemoaned HX Stomp's 6 block limit, and if the same person now complains about running out of DSP with 8 blocks, we're sending hooligans to their home to administer an atomic wedgie. NOTE: It shouldn't come as any surprise, but any presets you make in 3.0 will not be compatible with 2.92 or earlier firmware. Command Center in HX Stomp HX Stomp [Feature already in Helix Floor, Helix Rack/Control, Helix LT, and HX Effects] Why would people expect a stompbox with only three footswitches to also act as a master MIDI controller? Yeah, we don't know either, but enough of you asked for it, and it wasn't exceedingly difficult to add. Press <PAGE and PAGE> together to open the Menu and then press Knob 3 (Command Center). Turn the Upper Knob to select the command source (Instant 1-6, Footswitch 1-5, or EXP 1-2). Turn Knob 1 (Command) to select the type of command you wish to transmit. For information on the types of commands HX Stomp transmits, see the HX Stomp 3.0 Owner's Manual. Wait, does this mean I can use HX Stomp as both an audio interface AND a remote control for YouTube lesson videos by sending QWERTY hotkeys? Yes. Tuner in Helix Native Helix Native now has the same needle and strobe tuner from Helix. Click the tuner icon. From the Type pull-down menu, choose the tuner type: Coarse, Fine, or Strobe. Gain Reduction Meters in Helix Native The following block types display a gain reduction meter in the inspector when selected: Dynamics > Compressor Dynamics > Gate Artist Presets IMPORTANT! Because we never want to overwrite your own presets, upgrading to 3.0 does NOT automatically make these presets visible; there are two methods to restore them: METHOD ONE: Resetting Factory Presets WARNING! Restoring factory presets will completely overwrite your own, so make sure they're backed up first! Make sure you've backed up your presets and turn off Helix/HX. Perform the following procedure: Helix Floor/LT: While holding footswitches 7 and 8 (two leftmost switches on the bottom row), turn on Helix Floor/LT. Wait for "Will restore stock Presets and Setlsts..." to appear and let go Helix Rack/Control: While holding knobs 3 and 4 (two middle knobs below the screen), turn on Helix Rack. Wait for "Will restore stock Presets and Setlsts..." to appear and let go Helix Native: Click the gear icon in the lower left corner, select the Presets/IRs tab, and click "Restore Factory Setlists" HX Effects: While holding footswitches 5 and 6 (two middle switches on the bottom row), turn on HX Effects. Wait for "Will reset Presets..." to appear and let go HX Stomp: While holding footswitches 1 and 2, turn on HX Effects. Wait for "Will reset Presets..." to appear and let go METHOD TWO: Manually Loading 3.0 Factory Setlists via HX Edit WARNING HX Effects/Stomp users! Loading a factory setlist file will completely overwrite your own, so make sure everything's backed up first! WARNING Helix Floor/Rack/LT/Native users! Loading a factory setlist file will completely overwrite the current setlist, so make sure it's backed up first! We strongly recommend you choose an empty (or unwanted) setlist to overwrite. Click here and download the setlist file(s) for your Helix or HX product. Connect Helix/HX to your computer and launch HX Edit 3.0 (or higher). If you have Helix Floor, Rack, LT, or Native, select the Presets tab and click the Setlists pull down to select the setlist you wish to overwrite (see image below). HX Effects and HX Stomp do not have multiple setlist locations, so you can skip this step. Drag the .hls setlist file you downloaded in Step 1 onto the Preset List. Helix 3.0 includes factory presets created by the following artists: Helix Floor, Helix Rack/Control, Helix LT, Helix Native [FACTORY 1 setlist] 13B-14C—Fish (Christina Aguilera) 14D—Jeff Waters (Annihilator) 15A, 15B—Richie Castellano (Blue Öyster Cult) 15C—Robbie Calvo 15D—Ryan "Fluff" Bruce (Dragged Under) 16A-16D—Felix Martin 17A—Mario Quintero (Spotlights) 17B, 17C—Bumblefoot (Sons of Apollo) 17D, 18A—Billy Sheehan (Sons of Apollo, Winery Dogs) 18B—Andy Abad (Jennifer Lopez) 18C-19B—Misha Mansoor (Periphery) 19C—Duke Erikson (Garbage) 19D—Steve Marker (Garbage) 20A—Eric Avery (Garbage) 20B—Bill Kelliher (Mastodon) 20C—John Browne (Monuments) 20D—Olly Steele (Monuments) 21A—Jon Button (The Who) 21B—Trev Lukather (Levara) 21C—Steve Howe (Yes) 21D—Dustin Kensrue (Thrice) 22A—Pete Thorn 22B—Rhett Shull 22C—Jade Puget (A.F.I.) 22D, 23A—Jeff Schroeder (The Smashing Pumpkins) 23B—Graham Coxon (Blur) 23C, 23D—Chris Buck 24A—Lewis Allen (Sam Smith) 24B-25A—Rabea Massaad 25B—Soren Andersen 25C—Devin Townsend 25D, 26A—Nathan Navarro 26B-26D—Vernon Reid 27B—Philip Bynoe 27C—Markus Reuter HX Effects 12A-12D—Julien Baker 13A—Sarah "Noveller" Lipstate 13B, 13C—Steve Stevens 3.0 Owner's Manuals Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects, HX Stomp, HX Edit As it's immensely expensive and complicated to translate Owner's Manuals into the many languages we're required by law to provide, Helix and HX Owner's Manuals have not been updated since 2.X. They've now been updated for 3.0. Helix Floor Helix Rack/Control Helix LT Helix Native You can also access the 3.0 Pilot's Guide from within Helix Native itself. Click the question mark in the lower left corner and select "Pilot's Guide" HX Effects HX Stomp HX Edit—Access the 3.0 Pilot's Guide from within HX Edit itself. Click the question mark in the lower left corner and select "Pilot's Guide" Other Changes and Improvements in 3.0 On HX Stomp, Global Settings > Footswitches > Stomp Select now has an "Off" value. When set this way, neither touching nor pressing will change which block is in focus [value is already in Helix Floor, Rack, and LT] Pitch/Synth > 4 OSC Generator OscFreq parameters now display single Hz resolution between 100 and 1000 Hz HX Edit now lets you restore individual setlists from a backup In HX Edit, Favorites and User Model Defaults can now be restored from a backup, independent of setlists, presets, IRs, and Global Settings Gain reduction meters now also appear for the Input block's noise gate [Helix Floor, Rack, and LT only] Gain reduction meters and signal present indicators are now more responsive Parameter knob ballistics have been improved Parameter slider handles are thinner to accommodate new min/max value indicators Press-turning a knob to assign Snapshot control now requires a bit more turning to minimize accidental assignments New splash screens for Helix Floor/Rack/LT and HX Stomp Bug Fixes in 3.01 In extremely rare cases with specific blocks in a specific order, audio could become severely corrupted–FIXED In certain cases, the Delay > Glitch Delay can exhibit minor pops and clicks when placed on Path 2, regardless of where its Smoothing parameter is set (that is, not the good type of glitchiness)—FIXED Many other minor fixes and improvements Bug Fixes in 3.0 When synced to external MIDI clock or retriggering via TAP, certain models with tremolo circuits' LFO set to square wave would invert the waveform–FIXED If Helix had been left powered on for 24 hours or longer with the same preset active (What? Why?), its reverb blocks could become disabled until selecting another preset—FIXED Many other minor fixes and improvements Known Issues in 3.01 Distortion > Vermin Dist's resonant filter was mapped incorrectly, and is especially apparent at higher gain settings. This will be fixed in 3.10 In the Poly Pitch models, very fast playing may exhibit some minor onset smearing. Additional improvements to the poly pitch engine are forthcoming The Shuffling Looper does not currently respond to Command Center > HX Commands or per-function MIDI commands Variax Model min and max sliders do not automatically update when a Variax is connected After importing a .WAV file into the current 'Empty' slot of an Impulse Response block, all audio output can stop When Tuner View is active while Spillover is engaged, changing presets can sometimes cause audio output to stop Clearing a Split block on Path 2 does not automatically remove its bypass assignment
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