Rocco_Crocco

Awesome shortcut, indeed. Thanks for the tip!

I am new to the Helix and, since there's more than one way to skin a cat, I was wondering how each of you add a solo boost to your patches. I am coming from the HD500X and I would always add a studio EQ at the end of the chain and turn the master gain up to +5dB, then assign that to a footswitch. Easy peasy. There seems to be many more options for the Helix. -EQ -- Which one suits this application best? -Gain block -- where in the chain? -Volume block -- where in the chain? -Multiple parameters assigned to a switch, such as a boost to an amps mids and a reduction in bass along with a channel volume increase plus some delay? -Are there any ideas I am missing?

I bought his HD500X patches and they were disappointing. The were not nearly as bright as the demo video made them sound.

Well it's good to know they got some of them right. I am lucky in that the vast majority of my plinkiness has disappeared since I filed the piezo surround. Others are not so lucky.

well said!!!

Are we sure that the problem is not universal? Those that don't have the problem... do you palm mute (metal style) with the Strat or Lester bridge PU engaged with a hi-gain amp?

And 3rd party IRs.

Good info. Thanks!

Hi Arislaf... I have a HD500X and am intrigued by the Torpedo Cab. Do you have one? Can you set it up so that when you switch patches on the POD the CAB will automatically switch to the desired IR? I could imagine that I could just find one good IR and stick with it for all patches. Is this what you do? Any other downsides I may not have thought of?

Thanks. I did all that. I bought the Audiobox and now everything is fine.

Thanks. I bought what you recommended last night. Much better. Only proplem is I am supposed to get Studio One with it as part of the deal. There is no CD in the package, and when I went to register the Audiobox online, I got a message that the serial number for my unit has already been registered. LOL it must've been a return. Back it goes to GC today for an exchange. Did you buy yours recently? Did it come with a Studio One CD or did you get link to download it when you registered it? My free Reaper is going to expire next month so a free DAW is for me.

I don't know how they are not loud enough. They just aren't. The speakers are dimed and are not loud.

I need decent LOUD sound card. The one I have now just doesn't get loud enough. I am running Windows 10 into JBL LSR305 5 Inch Powered Studio Monitors. When I use my POD HD500X as an audio interface the sound gets plenty loud, but I don't want to keep the POD on just to use it's sound card. Budget is about $100. Thanks!

I play each of my patches along with the same song coming out of my studio monitors as loud as I can. Then only slight tweaks are necessary at rehearsal.

psarkissian, there are many people who have the plink problem. Telling MK that it is easier to EQ the plink out than to rewrite the firmware is insulting... easier for who? I have a hard time believing that anyone serious about purchasing a Variax who palm-mutes would ever consider buying one after reading this thread. Your "valued" customers have sent them your service centers to get the problem sorted eventually get them back and are told there was never anything wrong with their guitars. What kind of way is this to do business? I had two JTV's... the first one had the plink. I had returned it for other issues that should not have gotten past QC. The replacement I received also had the plink. Two out of two of my guitars had the plinking issue. A 100% failure rate. After much frustration, I was able to take steps to fix the plinking issue (from your defective product) myself, oh BTW probably voiding my warranty. I am probably risking getting banned here but your attitude has been unprofessional and the way Line 6 has handled this mess by ignoring and denying the issues at hand sucks.

404 error on the link in the OP.

I wonder if the low E plinks ;)

Thanks! Just renamed my setlists. God forbid I read the manual LOL.

I wonder if the delay is rooted in the scribble script issue. The new Helixes may be sitting at the warehouse waiting to have the screens replaced. I'll bet L6 is PO'd at the manufacturer.

I would like to be able to.. print setlists in Edit. rename setlists both in Edit and on the physical unit.

Looks like Zzounds has them in stock now. http://www.zzounds.com/item--LINHELIXFB

So do these work for the 500X or 500 only?

Yup it is definitely interesting. I guess it reacts more like a guitar amp. I am really not happy using my FRFR with my HD500X, and this amp looks good. It is an old design. It actually has a slot inside the amp to place the old bean style POD to connect it to the power section of the amp.

It's a power amp/speaker combo. Anyone ever use one of these? Here's a link to one on eBay.. http://www.ebay.com/itm/Atomic-Reactor-112-18-Watt-Tube-Amplifier-MINT-with-Extras-FREE-SHIPPING-IN-USA-/301805972432?_trksid=p2141725.m3641.l6368 Here's a review from musicradar.com: "If you can, cast your mind back to winter 1998 when Line 6 launched its little kidney bean-shaped amp modeller. The emergence of POD kicked off the desktop digital amp modelling revolution. Now, its presence in the collective mind of guitar players is as accepted as the stalwart 4 x 12 cab. Part of the initial excitement at POD’s arrival was the thought of being able to turn up at a gig with nothing more than your gig bag and the groovy red ‘bean’. A nice idea, but in practice POD just couldn’t provide a realistic ‘guitar-into-amp’ playing experience when wired through a PA. Nor did it perform satisfactorily when plugged into a regular combo because of the way guitar amps impart their tonal signature. Having a new tool for sculpting cool amp tones that was confined to the studio was frustrating for some and, like many players who wanted to use this technology in a live situation, Atomic president Tom King thought he’d simply find an appropriate amp to make his digital modeller loud enough to rehearse and gig with at the guitar store. Unfortunately, in his opinion, the offerings from the developing ‘modelling combos’ were disappointing and underpowered, and the perfect powered monitor for the job was conspicuously absent. After encountering scores of players facing the same problem, King decided to take the only remaining option and commission a custom amp to be built. With the assistance of the tube amp guru and sound audio engineer extraordinaire, Harry Kolbe, the Atomic amplifier idea became reality and the company was born. After the positive feedback at the Summer NAMM 2003 product launch, the Atomic revolution was well underway. To the audience the Atomic Reactor looks much like any other guitar combo. It’s only the player’s eye view that reveals the Reactor’s ingenious design. At the heart of the machine, the Reactor houses an 18-watt valve amplifier with no tone controls at all. Atomic likes to call it “the amp without an opinionâ€, and with this in mind the speaker choice and ported closed back cabinet are designed to amplify any preamp signal without adding any tonal colouring. Guitarists will love the simplicity of the top panel, which offers nothing more taxing to the brain than the power switch and a jack input for your guitar. The only concession to more elaborate connectivity is the inclusion of a stereo effects loop on the rear of the amp. As well as providing an input for any rackmount or floor pedal processors, these sockets also offer true stereo operation when using two Reactor amplifiers simultaneously. Behind the main power switch (there’s no standby) a ventilation grille for the twin EL84 power tubes works in conjunction with a rear-mounted fan to keep the tubes at the correct operating temperature. The noise when idling is extremely low. The really clever bit about the Atomic Reactor is a removable DS-1 cassette or ‘docking unit’, which clips securely into the amplifier via locking handles on either side. This unit will house whichever digital desktop modeller you choose as a partner for the amp. Atomic ensures compatibility with all the currently available models by employing kits comprising a custom face template, custom length mounting screws and the appropriate power cable for each unit. The beauty of this arrangement is that as modellers are continually upgraded and replaced, your faithful Reactor will always be able to accommodate them. Units that won’t fit in the docking bay - such as floormounted pedals and rack mounts - can still be plugged in via the FX-loop return on the rear, and the included blank template will ensure the Atomic looks tidy. Once a digital amp-modeller is loaded into the DS-1 docking unit (which takes about two minutes), it can then be dropped in and out of the amp-top station in seconds - even with the amp powered up. All the wiring remains neatly in the cassette so, should you be lucky enough to own several amp-modelling products, you could potentially invest in a couple more DS-1 docking stations and ‘hot-swap’ ready-loaded units in seconds for maximum versatility. For recording studios this feature is particularly useful, because the Atomic can be mic’d up – potentially offering scores of authentic-sounding amps at a fraction of the price and without the associated expense and storage problems. In use In order to give the Reactor a fair test, we tried it with just about every preamp we could find. Beginning with Line 6’s POD 2.0, the first thing that becomes apparent is that the tone gets rounded out in a pleasing way. Gone is the plastic-sounding sheen that plagues many amp modellers and in its place is a chunky, corky, airy amp sound that breathes new life into the tone. Classic models like Marshall’s JCM 800 sound bigger and truer, while the Boogie, Matchless, Fender and Vox sounds all receive a better platform on which to perform. Alongside the Pod 2.0, the Behringer V-Amp and Vox Tonelab also perform superbly. To our ears, the best-sounding combination was with the Tonelab, which features a valve in its preamp stage. The Reactor seems to help the modellers behave more like the amps they’re trying to emulate, acting like a tone translator to get the intended sound across better. At high volume, the Reactor behaves like a true tube amplifier and fattens up whatever model you put through it. The really exciting thing is that the playing experience becomes a lot more organic, allowing you to play the amp in the same way you would a regular valve combo. At bedroom levels you can’t really hear the benefit of the valves, and we were left wondering why the presence seemed to almost disappear, but crank this thing up and the roar of a valve power stage can turn even the most modest modeller into a monster sounding amp. What’s more you can achieve low volume feedback and get the reactance of the amp to work with you for solos and rhythm sounds. One of the common complaints with some of the big name modelling combos is the lack of clean headroom. Thankfully, there’s no such trouble here. The Atomic has room to spare up top leaving those Vox and Matchless models free to speak loud and clear with all the pristine sparkle and glassy brightness you’d expect."