zooey

The 4038 Ribbon is by far the warmest/least trebly mic in the box. If amp treble and presence are at zero with that mic, and most cabs are still too bright, especially with the filtering you mention, then the problem is elsewhere, probably your monitoring.

That assumes every effect is true bypass, even ancient ones that predate the concept. However, I still think a global option to find the first active block and use its real-world impedence or ignore activeness (current behavior I think) would be best. Options on each effect to set their impedence and/or make them true bypass or not would be too much.

Snapshots are part of each preset. If you restored your presets from backups you made before the upgrade, any snapshots they contain pretty much have to come with. Do you mean you don't see them on the footswitches where they used to be? There are global settings for how the footswitches are laid out.

Hah, will check it out when I get a chance, me and that thing are Not Friends at this point. Always seems completely fuzzed out to me, like that's all you'd use it for (except I probably wouldn't) and it's my impression that some people use it for actual music. Also, the oscillator just seems like an unrelated intrusion that doesn't respond to the music at all. So.

Agree, great idea, put it up on IdeaScale, I'd vote it up.

On behalf of the antique musicians squad, which I don't actually speak for in the slightest, what they said :)

No, but RCF is a well respected brand. I hate to say this, but that dealer is not. I've almost bought stuff from them myself, just didn't work out, but I've since checked them on resellerratings.com, not pretty. Caveat emptor.

Have him try an actual EQ instead of the filters in the cab block. An EQ has a steeper roll-off than the cab filter, may be able to remove some of the highs he doesn't like while still leaving enough mid-highs to sound and feel good. Maybe.

Don't know about those speakers, but as far as Behringer goes, they're owned by Music Group, "a holding company based in the City of Makati, Metro Manila, Philippines. It is chaired by Uli Behringer, founder of Behringer", and its other companies include .Midas, Klark Teknik, Turbosound, TC Electronic, and Tannoy. It's generally thought that Behringer quality and design sophistication has been improved greatly by cross-pollination with those pretty well respected audio makers. See here for more info.

Any chance the global EQ is bypassed?

Ping @Frank Ritchotte, tell him what's up. Maybe they can work out a loaner. Happened to me :)

Haven't had a chance to try it, but those IRs are big in their original form, must have some ambience tail to them. I wonder if Helix is unable to convert them to its 2048-sample format, or if the way it does that happens to give you that result. Maybe try truncating them manually with other software first?

Interesting saga there Mark. Would you consider putting that patch up on Custom Tone? Would love to check it out, sounds like I'd enjoy :)

Maybe post it here if you're sure it's free, see if it works for anyone else?

Just to say it, if you think there is a hardware problem after you've done your best troubleshooting to narrow it down, contact Line 6 customer support. This does seem like pilot error, not a defect, but super has been simply stellar in my and many other folks'experience, at least see what they say.

High (and low) cuts are pretty normal. You can do that in the cab or IR block, or with the low/hi cut EQ or a parametric. The cuts in the EQs are steeper, which sometimes feels better to me, sometimes not. I'd suggest NOT using the global EQ got this, for two reasons. First, the main purpose of it is to compensate for different rooms, do you may want to reserve it for that purpose. Second, if you ever play really different instruments, like electric vs acoustic, you'll want that kind of overall tone shaping to be per preset, not global, because it's really only for electric guitar.

I've seen NONE of that from Line 6, here or anywhere else, ZERO. Which is not something I can say for some others here, though the general tone is mostly quite friendly and reasonable. And just to say it, Line 6 customer support has been nothing but 100% amazing, in my and many others' experience.

Pretty much doubt this has to do with the LT, and more to do with monitoring and context. Ideally, build your patches using the same monitor you're using with your band, and at similar volume levels. The speaker and volume you're hearing makes a surprising amount of difference in what things sound like, which in turn makes a huge difference in how you're going to set up your patches. You want your patch-building and band contexts to be pretty similar if possible. When you build patches, make sure you're standing away from your monitor, like at least 6 feet as a random number. Most FRFR/monitor speakers are much harsher closer than that, and the low and high drivers won't have room to blend together, which will tend to make you build patches that sound full and rich in your basement, but have too much bottom and not enough treble to cut through in a live mix. I'm super guilty of this myself. Many people try to leave the global EQ flat, so it's available to adjust for different room environments. Most or all of your general EQ should be in your patches themselves. You have various EQ types, dedicated hi/low-cut filters, and filters on the cab or IR block available. no need for the global, and it's generally thought to be counterproductive. Using EQ on individual patches rather than globally is especially important if you have radically different instruments, like electric and acoustic, and/or guitar and bass or other stuff. If this is your first modeler, be aware that it's kind of a different world than a flaming Marshall blowing your pant legs back, more like a mic'd cab in a studio. Doesn't mean you can't do raw and/or exciting tones, or get loud, but getting comfortable in that environment may take some time getting used to it. And don't panic!

Nothing but Gentoo for you, eh sky ;)

Agree, this preamp is bizarrely quiet. If that's because the real world version is, I'd suggest that modeling that aspect of it is unhelpful. It just makes us compensate elsewhere, and achieves nothing.

That what I figured, but thanks for the reassurance anyway :)

This. So much is common between them, really almost everything except how to use plugins, and stuff that's only temporarily different because it's not implemented in Native yet (snapshots etc).

Any chance of a heads-up if that's about the happen DI? I do plan on getting it, but I don't have an immediate need, or an overabundance of uncommitted cash at the moment, so I'm holding off. If the choice at some point became now or $399, I'd jump on it almost certainly.

As DI said though, none of this is news. The whole pricing structure was clearly stated long ago. IMO LT doesn't make that much sense if you're interested in Native. If you don't like the decisions you made, maybe you're still within your return window and can get a do-over.

Yes it is similar to a GUID, only better, because it doesn't rely on some "original source of truth" to issue "the one true ID" for a given file. It depends only on the actual audio in the file, and a specific algorithm to generate the hash from it, which is completely standardized and repeatable, just have to pick one (probably SHA-1, SHA-256, or SHA-512). The current Helix behavior of including the file name in exported IRs as the Title metadata field makes this harder. It means you can't just calculate the hash of the file contents, you have to extract the audio portion of it (or to put it differently, remove all metadata), and hash only that. Building the local database of every IR you have is also complicated by the lack of detailed specs for exactly how Helix does audio conversion. I tried using the sox Sound Exchange app to convert some IRs I had to the stated Helix spec of 16-bit 48kHz mono 20,48 samples, but dithering or some other variable in how Helix does this resulted in tons of low level differences, which might or might not be audible, but absolutely do prevent the hash of those files from being identical to what Helix would export, even after stripping out the Title and all other metadata fields. I haven't tried contacting Line 6 yet to ask for detailed audio conversion specs, I should. As far as making my utility available to others, I'm game. It's a clunky process still, but it definitely is more useful than not having it. Just to be clear though, it doesn't do the hashing thing or build a database of all the IRs you have. It just inventories your patches and IRs, and tells you what IRs are used by what patches. I think at least one other person here has built something similar for their own use. The other thing about it distributing it is that it's written in ColdFusion, which is easy for me because I already have it installed. For non-CF folks (i.e. most everyone) to use it on their own machines, it would need to be packaged up as a one-piece install. I can look into that. The plan though was that it could easily be made available online, so people didn't have to install anything, just hit it in a web browser, but that has other hangs. The main one is that ideally you'd be able to upload a single Helix bundle file to analyze, but bundles (and setlists) are compressed internally using ZLIB, which I haven't worked out how to unpack yet. All of which goes into the "beware the things you have to do before the things you have to do before the things you have to do" pile. Wish I had more time for all this. Wish it was my job even :) I have talked with Jason from Helix Help about contributing to his IR Manager (a file prefix renumbering utility), at least building the Windows executable of it (which I've done), and possibly integrating some of these ideas into it, though they really are pretty separate. Our communication seems to have faded off though, I know he's crazy busy, me too.