zooey

Interesting take on it DI. What are some examples of what you consider actual FRFR speakers?

duncann is right, you've compensated for pad on/off with a gain block, so the only way you'd hear a difference is if your input signal was [a] hot enough to clip the A/D convertor with the pad off, and not so hot that it still clips with the pad on. That seems to me a pretty narrow window to get smoking-gun level proof. I believe it's also been officially said the Helix has a lot of headroom on the front end, so clipping there isn't super likely in the first place. Maybe DI can confirm or deny that. In any case, I'm pragmatic about such things. If I thought I heard input clipping, I'd try engaging the pad, see if that helped. It's definitely been officially said that Helix has very low noise input circuitry, so leaving the pad on isn't such a terrible idea. Neither input noise or overload has been a real issue for me, so as I said, I use it for another purpose entirely.

I have a CyberTwin, and presence, which is programmable per CT patch, is after the loop. PITA for integrating w other gear. Have to say though, it was my main rig for years, but I haven't used it more then a few minutes in a fair while :)

Since the pad is before conversion, no, a -6dB gain block is NOT the same. You'd still be hitting the converter just as hard. Personally, just me, I leave pad control global, turn it on for my hotter guitar, and off for the quieter​ one. It's not perfect compensation, but better than not doing that. Or as duncann said, you could leave it on globally to pad the convertors, and use a gain block to boost as appropriate. If you have different patches per guitar, you'd probably set it per patch instead.

Most browsers have a setting where it asks you each time. I find that easiest, since I'm not always downloading the same kinda of files.

Yes.

Thanks, just thought you had an interesting take on how these two very capable devices were best used. Really enjoying Helix myself, wish I was also thinking about how I like the Kemper I don't have :)

One thing I've thought about but haven't gotten around to actually trying is a boost whose amount you can control with a knob on your mic stand. Folks here suggested this thing, looks good: http://this1smyne.com/shop/me-mini-expression-pedal/

Massimo, what about Helix and Kemper makes them seem better for those situations to you?

What I meant by cutting low end before the distortion is to somehow remove some lows before the drive stages. There are different ways to do that. In some amps, the bass control is before the distortion, so you could just turn that down. In some amps it's after, so you'd need to add an EQ somewhere before the amp, and use either low cut, or turn down a low band of EQ. Some drive pedals cut low and/or high end before their own distortion, for the same reason I'm suggesting it before the amp. You can use one for that purpose, with its gain pretty low, or not. The cool thing about Helix is that you can try all this stuff easily and at no cost once you have one! Hope this helps. Feel free to ask further if it's not making sense.

Big thread here. He makes patches for other platforms too I think, including Fractal.

IMO the best way to tighten up low end on any context is to cut low end before the distortion, and if you want, boost some back in afterwards.

Reaper is great, very capable DAW, but if you're new to the DAW world, you might find the free version of Studio One easier to get your head around. I think it's called Studio One Prime.

The 2204 Mod also has a pre-the-amp mid​ boost built in, adjustable gain and frequency.

So none of the people hearing this play in a band context?

Yeah, but that's the function of the cab or IR, to emulate that response. What's the point of the built in cabs not doing​ that without additional processing that's not the default?

Interesting bug, if it is one. And it goes away after restart? (Can't see the rest of the thread from here, on my phone.)

You could pretty reasonably argue that this isn't a science experiment, it's a musical instrument, so the built in cabs should sound closer to what people typically want to hear without fairly radical processing, that's also not the default. What's the purpose of that not being the case?

Just to be clear for troubleshooting, are you saying you hear FX and routing changes, but not changes to amps or cabs? Or do ALL changes get ignored sonically?

I know folks are just joshin', but either Line 6 is immune to everything we say - not something we want - or they hate conversations like this. They just might already know we want a release, ASAP but relatively bug-free. Ya think? I know how it feels when people are hounding me for my deliverables...

Just going off the name 'plex delay', try Transistor Tape, it's an Echoplex. For multi-tap, if that's actually what you're after, there are 4 and 6 tap versions. You might also find Bucket Brigade, Adriatic, Memory Man, and Vintage Digital interesting as character effects.

What sorts of patterns or non-patterns are you doing with multi-tap that regular delays can't do?

Out of curiosity, what sorts of stuff are you doing with multi-tap delays? Random-sounding spacing? Repeats at the same level then gone? Just wondering.

Would love that, and on the pedal too, really only use the editor for backing up and IR management.

DBRs are​ quite a bit cheaper than DXRs, and 700 vs 1100 Watts.