hkremer

I would like to use the HX Effects to switch a Fender Supersonic 22. It has four foot switches and a 7 pin DIN to control Channel, Normal/Fat, Reverb, and Effects Loop. I found this breakout cable that looks like it might work with the HX: https://btpa.com/AS-SS22-XX.html I haven't use the HX to control an amp yet. Does this look like it would work? I imagine I would have to figure out how the two TRS jacks map to the functions, right? From site: 7 Pin Din to Dual 1/4" Neutrik Black/Nickel TRS Plugs. This cable is meant for utilization with all footswitchable functions on the Fender Supersonic 22 amplifier. It is great for using your pedalboard based switcher (such as the Gigrig G2 and RJM PBC) to control your amps functions. Please enter your desired breakout length for the TRS plugs below. Standard length is 12".

Actually, developers have had access to the M1 dev kit since July 2020, so it's been about 18 months. The second iteration of M1 chips has been released. We have a few. I work on a 16" M1 Max, which is blazingly fast and efficient. No way we're going to run Logic in Rosetta for some random guitar plugin that is merely pretty good. The more developers drag their feet on current technology, the more it's made me appreciate a) the developers who do keep up - Waves, Arturia, Valhalla, etc. b) Logic plugins - reverbs and compressors in particular c) how unbelievably good the Strymon Iridium with a couple dirt boxes in front of it sounds. We often mic guitars, but the Strymon sounds as good or better than mic'd.

Thanks for the offer, I'll see if I can send that later today

Actually, I have this wrong - the PC is being sent to the Bias head, so the amp model is changing according to whatever Snapshot is loading when the preset changes. However, the CC command is not being sent. So I have on Snapshot 1: PC - 2 CC - (gain), 70 So I want to start with a lower gain setting on the amp with Snapshot 1, which loads with the preset, to 70, and another Snapshot sets it to 127. Any idea why the CC isn't sending along with the PC on preset change? It does send when I click to change the snapshot within the preset. Hope this makes sense.

I have the Helix set up to send midi program changes to my Bias Amp to switch amps per snapshot. Problem is, when I switch presets on the HX EFX, I still have to go in and hit a snapshot to send the program change. I would like to change the amp when I change presets. Is there any way to send a PC message on preset change?

This is interesting. I don’t quite understand the electronics, but your description makes sense. On par, yes, but with half the DSP. For me the price is irrelevant. What I’m looking for is compact, which is why I looked at this in the first place. The Helix are too big (for me). So I’m waiting for compact/modern/high DSP. See the Neural Quad Cortex coming out next year. Quad SHARC in a small package. Of course it’s even more expensive than the Helix. If Line6 could do something like that I would be all over it. Currently I’m going HX EFX into a Bias head, and I’m happy with that.

Curious if the sound will suffer due to there being only one vs. two DSP chips. Or does that just cut down on simultaneous blocks etc.

Thanks for the replies. Correct, the difference is when I plug in directly vs. going through a new preset without any blocks. It's a significant difference though, enough that I probably couldn't use these (BIAS Amp) amp settings with anything but the HX EFX because I have to roll off so much treble and gain on the amps. When I set it to digital bypass and I bypass, it's the same increased output and high end gain. When I set it to analog bypass and I hit bypass, it's the actual sound of the amp.

I don't know if HX effects goes somewhere else, I couldn't find it in any list. I've recently noticed that HX Effects process sound pretty significantly without any effects blocks, e.g. on a New Preset with no blocks in it. What's doing that? There's more midrange and highs and it's hotter than on bypass, even pushing the amp into overdrive a bit. So if this is the case, everything else I add is riding on this tone, and I'm compensating for the actual sound of it one way or another. Also, there's no way to get a clean tone in a preset (no blocks turned on). Did I miss a setting, or just not understanding some aspect of it? Thanks

Same here, lots of micro-dropouts. Really sucks because I was starting to get to like this thing even though the USB connector comes unplugged from the unit if you just...touch...it. (so I have it duct taped in, but that's another thread). Anyhow, just ordered a competitors unit to be on the safe side for some upcoming shows.

Got my replacement, and it's not as loose, but still inserts only about halfway. So I'll duct tape it, or maybe loc-tite or something.

Looking at it closely just now, it only inserts about halfway. The lightest tension on the cable pulls it out.

I agree that this is a really poor engineering decision. Micro usb is fine for plugging in a device on your desktop to charge it. But for the rigors of the road and stage? Not even close. Mine just sort of hangs there, easy to wiggle around, and doesn't even insert all the way, maybe 75%. If I move the unit a little bit, it falls out. All that's standing between me and awkward silence is this little "electronics device" connector, unless I duct tape the hell out of it. I like the unit enough that I may do that, or bring it into an electronics shop and have them hardwire a different type of connector. I'll be trying to get a replacement from Sweetwater. Maybe I got a lemon. I'll post the results. For stage, give me big, clutchy, reliable connectors, not consumer electronics stuff.