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Posts posted by mileskb

  1. 1.  Two 1/4" to RCA from Helix Left and Right out to iLoud

    2.  Helix connected to PC via USB, select Helix as default audio.


    Guitar to Guitar in on Helix. and you should be able to play along with tracks, record, whatever.. all coming out the iLoud


    3.  Send 1 out of Helix to the rear "guitar in" on Fender ( 1/4" > 1/4" )

    4.  Line Outs of Fender to Return 1 and 2 on Helix.  (Two 1/4" > 1/4")

    5.  Plug a dummy jack into the headphone jack of the Fender to mute the speaker.


    Use send and return or loop blocks on Helix to add Fender to the path of choice.  





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  2. 19 minutes ago, silverhead said:

    I'm not sure there's any way to bypass the Fender amp speaker like theOP wants to do, short of physically disconnecting it. Also, the OP has the '15' model of the amp; seems only the '30' model has the Line Outs. 


    Short answer: leave the Fender behind and learn to love Helix. There are far better sounds in there than you're likely to get from the Fender, although there will be a learning curve.


    EDIT: Be careful with the volume levels. I looked briefly at the iloud monitors jpg. I can't tell how large the speaker is but if less then 6"  I think Helix could blow them up pretty easily. To get the best out of Helix you should consider upgrading your monitors.


    To mute the amp speakers he need only plug something into the headphone jack.   I agree that he should be able to get tones he likes from the Helix, but that wasn't what he asked.


    FWIW.. the iLoud speakers are designed to be studio monitors.  I haven't used them, but they look really good on paper.  Certainly enough for a home studio.



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  3. What I would do is set the Fender aside for a moment, just while you get everything else hooked up.

    Hook the Helix up to the PC and plug the powered speakers in the helix as well...   


    Make sure as was mentioned the Helix is the PC's audio device.   You should now be able to play back from the PC or play your guitar, all coming through the powered speakers.


    Now... just add the Fender into one of the loops on the Helix via the line in and line outs on the Fender.   


    Now you have it all.

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  4. On 7/12/2016 at 5:48 AM, jasdadgad said:



    What is the difference between an IR from Ownhammer or 3Sigma and the "built-in" cab sims on the Helix?


    Were the Helix cab sims captured using a technique other than impulse response?


    If so, why?  People seem to prefer external IR's to the built-in cabs.






    I respond to this so often that I'm beginning to annoy myself.  It's all about axis !!!!  The helix cabs do not provide any ability to change the axis/mic position other than distance.  If you happen to like the sound of the helix cabs, it's probably because you like whatever axis (my guess is just off center, or maybe multi-mic).   This is a common spot that live sound guys use, so it's a familiar sound.   Easy to love it.   If however, you like the sound of certain cabs with the mic near the middle or edge of the cone...  or a combination of axis' and mics then really the only way to get there is with 3rd party IR's.     It's really that simple.  They all sound great.  But do they sound "right" for you?


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  5. On 4/21/2018 at 9:55 AM, rd2rk said:

    I bought into the "lifetime upgrades" scam that Gibson perpetrated on us.

    I was very happy that Bandlab had resurrected Cakewalk, but I want to see Bandlab's contributions to the product before I contribute to Bandlab.

    If they fix the bugs and add value in some significant way, I'll be happy to donate.


    The initial release still loses my MIDI routings and Control Surfaces, and still sometimes crashes when adding/deleting VSTs. These are problems I didn't have while I was trying out Reaper. The one real change I noticed was in the procedure for inserting "Soft Synth" tracks, and that has a bug! Not a good start, but It might have to do with the way it works with projects created with the original product vs projects created from scratch with the new version, I haven't gotten around to trying that yet.



    If you get a chance and can download the free version, I'd like to hear what you think (maybe message me as it's not really "helix related").   I know it starts a bit quicker than my install of Sonar and you can run it side-by-side no harm no foul.  The only issue I have seen is that sometimes the install fails and you need to just execute the .exe files it downloaded.  That has more to do with virus protection and firewalls I think than anything else..     I will say this..  using the Helix as the interface, doing NO optimization for latency or anything really,  I had NO latency issues.   I loaded up a project and was recording 4 tracks while playing back 8 tracks...   I should probably try it in Sonar too, but I'm pretty sure I had to adjust for Latency that last time I tried it in Sonar on the SAME PC...    Anyway... they did tidy up some under-the-hood stuff.  

    I hope the mods here don't jump me, it's just with so many getting into recording either with the Helix or Native...  you don't usually get access to professional DAW software, no restrictions etc..   It's an opportunity I just had to share.


  6. Just to add on, especially if you are not using any of the helix effects, you always could set the source as USB 7/8 in your DAW and you have the RAW signal of whatever device is plugged into the helix.


  7. On 4/16/2018 at 3:13 PM, zooey said:

    Opcode's Studio Vision? Way way way ahead of its time, first "sequencer" I'm aware of that also handled audio side by side w midi. It had features that afaik still aren't available in modern DAWs, like independent looping of different tracks for different numbers of bars, loop each of them an independent number of times then continue...



    I believe Cakewalk may have been first, because I was already using Cakewalk when Vision came out and I vaguely remember checking it out.  But in any case, the two of them lit the fire for everything that followed.   I did not realize they had the independent looping thing.  It was being done by others, but I'm not sure as well.  There was a product Acid that did independent looping and I was a Beta tester for "Wings for Digital Audio" which had something similar as well.  I always wondered why Opcode didn't go further then they did, because they were MAC based if I recall.  Pro Tools came out of the blue almost years later...  and I remember everyone jumping like it was something new.. and yet those of us using Cakewalk were like "what's the fuss, been doin that for years."..    Yes Pro Tools actually started just a couple years after Cakewalk and Opcode, but it seemed like it wasn't until the mid-90's that it all of a sudden HIT....

  8. I've been using Sonar since the Cakewalk days... before it had numbers...   as on DOS.  (damn I'm old).   While known for quirks, to be honest, those quirks were generally configuration issues.  I was recording 8 tracks CD-quality audio on a 386 machine..  yes... not even 486 yet..   (watching anyone under the age of 30 frantically typing DOS and 386 machines into google).


    Cakewalk may not be for the timid, but trust me...  if you can think it, it can do it.   Honestly, after all these years, I haven't tapped into all the features ever.  But, there have been many times when something came up, and sure enough...  Cakewalk had that functionality to pull it off.   I just had to look it up in one of Anderton's books, or later hit up the forums.  In many ways it's like the Helix.  You can jump in and start recording, or as many have, dive in and record and produce Emmy and Grammy-winning works of art.   


    I guess I'm most excited for my next recording project because of the proof-of-concept that led me to post about this here.  Native is so seamless...   I brought up a dry track, set it up to loop, and then just went on an adventure in Native selecting amps and effects and adjusting mic placement and and and and..   Now, in the end, I would likely end up using higher end reverbs and delays and such... but being able to work on a part and basically "spin the wheel" to "see what it sounds like with this or that" is really amazing.  


    I'm sure Native is fine in other DAW's, but for those who want to get their feet wet with a professional proven DAW, this is one heck of an opportunity.  I have no skin in this, I'm just super stoked that Bandlab has made this available.

  9. Cakewalk By BandLab is here. Free. Available for Windows now. [4/4/2018]

    You can read about it here. Cakewalk By BandLab Announcement


    Not sure how many folks used Sonar, but if people are looking for a power DAW to use Native, Cakewalk (now by Bandlab) is free.  I don't know what their future plans are as they have to make money somehow, but for those of us that have been using Cakewalk for 25+ years, this is great news.   

    I just wanted to share that Native works well in this new version of Cakewalk..    really well.    at least for me.  Also, this is NOT a stripped down version.  This is the full-blown, top-o-line Platinum version they have released.  

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  10. And remember, as EACH block has a level control...  you can use the expression pedal to control the "volume" in places that were essentially impossible or at the very least very difficult in the real world.    

    I you are controlling volume for leads...  you might increase gain, cut amp volume, boost the mids and upper mids, and bring some echo in to the mix...   you can do that all at the same time on a switch or controller.   


    I personally see the volume block as a wasted block.   


  11. Is you're using a desktop and it's a bother, you can use a Chrome extension called Web Override.  I posted a hack recently in another thread about the black bar.  

    free app... just a minute or so to rid yourself of the issue.  Unfortunately, no hack for mobile devices as of yet.

  12. The black bar is definitely a feature.  If you check out the forum providers site, it's not turned on for them.   I can sorta see where it's tolerable on a desktop, and maybe a place to stash all those pinned threads at the top, but on the responsive mobile site...  it's a no go.


    Someone needs to use a RESPONSIVE DESIGN CHECKER before implementing things.  

  13. Probably gonna get spanked for this... but for the Black Bar..   if you use Chrome (and you should) add the Web Override extension.


    URL = https://line6.com/ 

    CSS =  #_elev_io ._bzf50 {width: 0; height: 0;margin-right: -40px;}  


    And FWIW... I really like the new forum with the exception of the black bar help thingy.




  14. Bottom line, both 3rd party IR's and Line6 Cabs (IR's) sound fantastic.   However, if you are trying to get the sound of an AC30 with a sm57 off access about half way up the cone and a km84 in the room...  well, that's just not going to happen with the Helix cabs.. generally speaking.    But you could get that exact IR from a 3rd party.  


    I'm not sure why there always has to be a "better"... there isn't.  It's which is the one you need/what are you trying to accomplish.  

  15. I like that heaps Miles! I wanted to do the same but I couldnt find any clear cartridges for my laber maker :(


    Id love it if Line 6 maybe released something that looked in line with the boards asthetics. Would be cool if they also made the lines/font glow in the dark but im just clutching straws here now hahahah!


    Thanks for the pic bro <3


    It's actually White Text on Black Tape.   I believe they do make glow in the dark too.

  16. Hey everyone!


    I was sure I saw someone on here asking for something like this and realised that such a thing didn't exist so I've gone and made one.

    This is a printable PDF cheat sheet that has all the blocks in Helix arranged by type with descriptions of what they are modelled on.


    I've included all the stuff that will supposedly be in the 2.50 update but obviously I'll have to change/update it when that comes out for 100% accuracy. Let me know if I've made any balls-ups and I'll fix them.

    I've also noted which update things were added to Helix by because I thought it was interesting to see just how much stuff has been added to Helix through updates so far - spoiler: it's a LOT of stuff.






    06/2/18 - attached v2 file.


    Did you purposely password protect it?   I can't even print it... only open it.

  17. I have been thinking about how I use my Helix and just wanted to put this out there and see how other people feel about it. Rather than Line6 adding a "Legacy" category I would much rather they maintain the current effect categories, e.g. "Modulation", Distortion, Delay, etc. and just append the legacy effect's name with an asterisk, a different color or font, or some other way of indicating that they are legacy. This makes much more sense to me than for example adding a "Legacy" list.


    I am just considering how I use my Helix and when I, for example, go looking for a distortion effect, I would prefer to see all of them in one place, HX and legacy, and be able to select the one that best fits my needs. Having to go into a separate master list - "Legacy",  just seems like a poor way to navigate for effects spread out across many categories and will probably make them less likely to be used. Ultimately as long as a legacy effect is differentiated visually from an HX effect, I don't mind it being in the current set of block lists it pertains to(Distortion, Mod, etc.) along with all of my other HX effects. Don't want to come off as sounding critical here about this fantastic update, I am very grateful for the addition of the legacy effects. I am just wondering if the method for navigating to the new "Legacy" effects could be improved upon. I think they will get more usage if they appear, clearly marked, in the same lists as the HX effects, and be much simpler to navigate to. It will also be much simpler to compare similar effects if they are all in one list, e.g. distortions, rather than to have to jump to a completely separate category to listen to the legacy distortions.


    I guess I am proposing that the Legacy category be eliminated and that Legacy effects just be clearly indicated in some other manner but included in the existing categories of HX effects. How are other folks feeling about this?


    Update: Added this to IdeaScale.



    I'm with'ya on this.  When I'm looking/ auditioning a reverb, delay or whatever, I not only don't I care if it's legacy or whatever... I generally have no idea nor do I care.  I'm scrolling through listening...  now I apparently have two lists to scroll through instead of one.   It's not a big deal, just seems silly to me.  If (like me) you never owned one of the Legacy devices, having them on a separate list seems like a pointless concept.  They are all models.  

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  18. My experience with power ratings on devices.... TEST IT.   I don't trust ANY numbers or ratings any more.  I have a separate battery I use on my boat that I plug stuff into like cell phones and fans and whatnot.   If I followed the ratings...  I would never bothered buying the battery.  Same thing happened with my little electric inflatable boat...  I bought a small agm motorcycle battery and can run the thing for several hour...    the "rating" says I should only get a couple hours at the most in optimal conditions.


    Much like setting up audio systems...  all the math in the world is fun... but you don't really know what you have until you power it up.

  19. To continue your hijack, lead boosts shouldn't be a problem. I generally boost by about 3 dB and when we play live, I do soundcheck at my normal levels and just ask the sound engineer to leave me a little extra headroom. That way I can kick in the boost without distorting the preamps on the board and it still gets louder like it's supposed to. They don't need to touch the fader and they aren't freaking out because I'm clipping suddenly.


    While I see you've worked this out with your sound guy...  a great way to lollipop off a sound guy and have him bury you in the mix (at least until he calms down) is to have a lead boost.   A better use of your time would be a setlist with notes.    A proper lead boost (not the only way of course) is you punch up the upper mids and NOT TOUCH the fader. Again, things have changed over the years due to the quality of gear we have to work with.  Imagine what happens when you get a sound guy that knows your tune...  knows when the lead kicks in and punches the upper mids a bit just as you kick the boost (the one he doesn't know about ) in...    Or worse..  he knows about it, which is generally the case the first time you use it..  and ends up what I do most of the time which is keep my hand on the fader to pull the boost out enough and make the eq change at the same time so it sounds smooth.  It's a little awkward cause if the guitarist also changed his tone with the lead boost I kinda have to hear it to know where he goes in the mix exactly... although I'll get it close right off... it's just extra work for no reason.  

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