loopinit

Glitz=Big Sky Bloom Ganymede=RV6 Modulated Searchlights=Big Sky Cloud Double Tank=Big Sky Plate Mod Plateaux=Big Sky Shimmer

:lol: :lol: :lol:

So weird. All of a suddn it works again. Maybe it was a low voltage brown out.

I used my Telecaster and Gibson, and it is the same with both. I tried the auxilliary input and it's the same problem using a different input.

Help! I was practicing my setlist and walked away for five minutes. When I came back and rocked my expression pedal back up, my guitar signal was barely audible, and there is a HUGE amount of white noise like a ground loop within Helix. I reset the firmware and it's in the stock presets too. I restored my presets and IRs, and it's still there. I changed my guitar cable, it's still there. I also changed from XLR output into my JBL PRX monitor, to my Yamaha HS5 studio monitors. It's still there. It's affecting the guitar signal coming from the 1/4" and XLR outputs. I route my audio from the computer into Helix and back out through the 1/4" outputs, but the digital audio isn't affected.

Well I hope your poop was more productive than your reply to my question. Thanks!

I was doing some acoustic looping just now, and had 5 layers recorded. I stopped the loop to listen to youtube through my studio monitors (Helix USB was routed to my computer as usual). Upon playback, youtube audio sounded like my 5 inch cones were both blown. I immediately freaked out before thinking there's no way they both blew at once. So I changed to another preset and they sound fine again. Has anyone else had this problem?

It's in Customtone now.

I forgot to load my patch into Customtone, so here once again, is a preset I EQ'd for my Telecaster. https://line6.com/customtone/tone/3030830/ My base tone is clean with the boost activated. For down parts of our songs, I cut the boost to lay back in the mix. I mostly use one delay per song, so my notes stay articulate. But I cut that during down parts as well. When I breakup the amp I turn off the boost, to maintain consistent volume in FOH. The Klon gives me a little more grit at the same volume. The Teemah gives me a bit more perceived volume because of the midrange boost in it, but it should be the same level. During solos I'll reactivate the clean boost. I emulated studio double tracking with a 3.5ms delay to thicken the tone (minus the variations of real double tracking-Line 6, where ya at with that effect?) I mapped a bunch of stuff into the ambient swell switch, but I'm not quite happy with it yet, I think that has to do with the quality of the delays in Helix. That's fine by me though, the quality of the amps is what drew me to it anyway. The IR's are the Redwirez 4038 ribbon with 12" distance, and a 57 on the edge of the cap. So you'll have to find those in the free Redwirez pack. Let me know what you think after you check it out. I have to go to work, I'll download a sound sample when I get back though.

I use the editor because it's much easier to program tones. I don't want to have anything to adjust at a gig. I did learn how to use it enough to be adept at fixing problems on the fly, but that's it. I'm kind of worried about failure now, I'm calling Sweetwater today.

When I get a chance, I'll send the signal to an RTA, and see how much 10 carves out. I spend much more time playing lead guitar on Sundays than I do behind the soundboard at my church. I'm fairly certain the parametric EQ on our Midas M32 can be as narrow as 40 though, I'll look tomorrow. I need to start focusing on mixing a lot more, as I begin buying the recording components of my studio. My experience in DAWS is limited to the Recording classes I took during my couple of years of Music Production in college, so if you someone with your experience tells me the numbers aren't standardized, I'll take your word for it. FWIW, the standard 7 band EQ in Pro Tools only goes up to 10, so I suppose you are correct that I should focus on what my ears tell me. My professor told me the same thing constantly, haha. I'm in the process of selling gear, so I can pick up a pair of Avantone Pro Abbeys. Then I will feel much more at ease with tweaking my presets from home.

When editing, use snapshots so you can quickly revert to the last parameter. Snapshots automatically saves your settings, so this will increase the speed which you tweak at.

Use the compressor with a ratio of 2:1 to 4:1, and raise the gain to raise your noise floor. I personally believe it's much better to use multiple stages of light compression, than it is to use ratios higher than 4:1 in only one compression block. I also recommend placing a noise gate immediately after the compressor to remove the white noise artifacts created from a higher noise floor.

Line 6 uses nominal values of 1 to 10 in most of the adjustable settings. This leads me to wonder if a "Q" of 10 would actually be 10, or if it would be a higher number. If I am going to use the parametric EQ for cutting, there is no way I can carve out frequencies with a Quality parameter that wide. In my experience, cutting with a "Q" any wider than 14 will remove far too much of my essential frequencies. I just got my Helix last week, and the potential is making me all warm inside. But not knowing this is messing with my equalizing OCD.