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Everything posted by Kilrahi

  1. Stomp works great for this. Just follow the 4 cable connection instructions in the manual. Use the fx and and return blocks. There are presets in the Stomp you can use to follow the format.
  2. Absolutely. After a great deal of experimentation, as you can see above, in my opinion the best approach is: Helix signal path: 1. Set up a path 1 and path two signal. Path 1 is your dry effects. Set the exist for path 1 to be the 1/4 left main out. 2. After the cab block attach a path 1b split that feeds into path 2. 3. In path two, apply your various wet effects in stereo. Set path 2 to exit the Helix out the XLR sends. Firehawk: 1. Create an internal preset that's basically a big fat zero. No amp or cab, no EQ. Nothing. Save this as a core preset. Mine is titled "Helix W/D/W." 2. Attach a standard 1/4 cable from the Helix 1/4 left main out into the "guitar in" on the Firehawk. 3. Attach a left and right XLR cable from the Helix's XLR's out into the FIrehawk's monitor ins. Dial in your volumes to taste. The nice thing about this setup is you can, and probably should, do most of your balancing in the Helix. However, in a pinch you do have independent volume controls on the Firehawk that can also be used for adjusting your wet and dry paths. Also, YES, this approach does turn on all of Helix's speakers. The monitor ins have volume limiters to keep the smaller stereo speakers from blowing out, but this is OK. Wet effect sounds should be lower than the main dry. It works great and they're still capable of a great deal of oomph.
  3. Kilrahi

    Helix Stomp

    Alternatively there is, in my opinion, in "easier" way simply because the cable is more common. Edit: I realize you said you don't have the Spider V software, but that's available free online as a download. Alternatively, it looks like factory presets 32a - 32d were left blank. If they are truly blank, those should work. With the PC editor you can go into the Spider V and disable all effects and amps essentially creating a "blank" chain. Save this to a preset (in my 20 watt I saved it to the "bass" preset). Doing this basically puts the amp into flat response mode. You can then plug your guitar into your Stomp, and your Stomp's output directly into the guitar in of the Spider 5 without any problem. Doing it this way opens up other possibilities too, such as plugging an MP3 player into the auxiliary in on the Spider V.
  4. Understandable. As suggested above, if you search custom tone there are various user's attempts at mimicking an EHX Freeze Pedal. I would recommend you give some of them a try. However, between you and me, while I found some of them impressive, I was never satisfied with them, and the EHX Freeze remains one of the remaining pedals I still own. I dream of Line 6 one day adding one as an option, but until they do, I will keep using the trusty Freeze pedal.
  5. There's nothing wrong with "complaining" about a product you bought. Human history is proof that doing so often improves products. Clearly the car analogy is not really applicable here - this is something that can be changed with software. Hardware changes (like cruise control) are always prohibitively expensive for free, but in this case, the hardware is powerful enough to do it. The costs involved are not going to be exceptionally high (because software just isn't guys - that's why the biz is so profitable and why companies like Microsoft, Apple, Android, Sony, Line 6, and on and on are always rolling out software updates with new improved features because it takes the same product and for a relatively small investment makes it retain or gain relevance!) ESPECIALLY if said software tweak actually makes your product more desirable (which in this case, you have to be proud of being full of lollipop if you honestly argue a Stomp that has more blocks isn't a better buy). There IS a point where if you are angry and mad enough about stuff that was made crystal clear to you when you bought it that it makes you look . . . whiny at best? I am NOT saying that's what I think delok25 looks like, but I have personally been annoyed by how much people complain about some things that they knowingly went into. So I get to some degree telling Stomp users that are foaming at the mouth over 6 blocks to take a chill pill. Besides, the proof is in the result! Eight blocks is coming! Is it as good as what I envisioned? Hell no. Will it cover and solve most of the issues I ever ran into with the Stomp . . .absolutely, because the number one problem was FX blocks eating up the damn available blocks. At the end of the day I went on and got a full Helix and haven't looked back . . . much . . . but still, this is a win I say. The Stomp will be a lot better with 8 blocks than 6. Clearly it was doable.
  6. I'm kind of confused about what you're running into here. So are you trying to plug your guitar straight into the Firehawk, and then the Firehawk straight into an amp? You wouldn't generally want to use an amp block for that. Some questions I have: 1. What is your setup? Is it like I described above? 2. What did you do to remove the amp/cab block in the Firehawk?
  7. Kilrahi

    Two helix stomps

    It's VERY close. Technically a Helix LT can have technically have up to 32 blocks as long as you have the DSP for it. The HX Effects and HX Stomp can have a total of 12. Helix LT can have four discrete paths. HX Effects and Stomp pretty much have two (though you can stick the Stomp inside an HX Effects path, and due to its internal routing create a unique signal chain that really the LT couldn't do - not sure if it would be better, but it is definitely different). Your rig is more travel friendly (not that the LT is bad). It all just depends on what you want to do. I've never come anywhere close to needing 32 blocks. Bottom line, you will have a powerful rig.
  8. Kilrahi

    The future of Helix

    Which breaks my greasy heart. MP3s did a real number on our culture. Convinced us digital was inferior (when actually, it's that inferior digital is inferior). CDs blow the sound of vinyl out of the water. Always have and always will, but the story about the Emperor having no clothes is as true today as it was when first told.
  9. No, they're not. The Y is creating a hard right channel and another separate hard left. The other is creating two seperate paths of left AND right. They are not the same thing.
  10. It can seem that way, but after thinking about it not really. Isn't the A/B creating exact duplicate signals, while the other is hard panning them to the left and right?
  11. Additionally, it depends on how your acoustic instrument is amplified. A lot of people's acoustics have piezo pickups, which for some sound too duck like for them to enjoy. If you find yourself in that situation, then applying an acoustic IR (recorded in a studio setting with a microphone, not a piezo output) can reduce some of that quacking feel. It's all subjective though. I have a few instruments that I think their plugged in output is perfectly fine (granted they aren't piezo) and I never add IRs to those.
  12. Very true . . . and that would be hard for me to wrap my head around. I just meant in terms of the Helix application, it's pretty easy peasy.
  13. It used to for me too, but it's really not that complex. It's basically a process of knowing what command your Stomp wants, and sending THAT. So in your case you'd be buying a midi controller that can do CC values (Morningstar, DMC Micro) and assigning a value to each button. In your case, your midi controller would need to send the following to the Stomp: 1. CC #71, Value 2 (This would put your Stomp in preset mode). 2. CC #71, Value 3 (This would put your Stomp in snapshot mode). Simple as that.
  14. Random tidbit into my personal life here, but I'd never messed around with the Boss CS-1. Tonight I decided to mess around with both Helix models of it and holy lollipop. I get what people talk about when they say it colors it some, but I don't care - it sounded like it colored it in a good way to me. Thumbs up to this thread for causing me to explore new options, and in the legacy section no less.
  15. Yeah when I used the Stomp I never touched putting real pedals in the FX loop unless they were delay, modulation, or reverb. Distortion/compression pedals happily sat in front of it.
  16. There are a couple of bass amps modeled in the unit. My small 20 watt even came with a bass preset. I don't get the impression you should be trying to blow the doors off the walls with one of these things while connecting a bass, so if you were to use it with bass it should probably be for quieter bedroom scenarios.
  17. Q2. Just how "improved" the Helix sounds are to the Spider is open for debate. I've seen blind tests where people thought they knew and got it wrong. In my personal opinion, as a Helix owner, the Helix models are CLOSER to the amps they modeled, and it behaves MORE like a real amp. However, do I actually think the Helix sounds are objectively superior to the Spider? Uhhh . . . no. Does a Strat sound superior to a Les Paul? That's personal preference, both are sound. I think in this case, it's personal preference as well. To me the Helix's edge is its routing power eclipses the Spider, and as I said earlier, it has models and tonal options that make it behave far more like an old school amp that you might already love. That's why I own a Helix, and it's my favorite piece of gear. What's the perfect amp? That depends on where you fall. If you are an FRFR player, which is still the minority, the perfect amp might be the Powercab. The Spider V will work as a decent FRFR machine if you turn off all of the internal amps, cabs, and effects. There are a lot of great options out there though depending on budget. If you are a traditional tube amp player and you just don't think anything compares, then the perfect amp/cab depends on your real world favorite since you'll largely be using the Helix only for effects. Also, if that's your plan, I'd strongly advise you look at an HX Effects before getting a full Helix. Q3. I don't give a lollipop about tube amps. Tons of people would die for theirs. Ultimately it doesn't matter what I or them think . . . you need to test out a setup and see which tugs at your heart strings.
  18. I prefer the full range choice for a lot of the reasons given above. If done right, you have a much wider palette of sounds. Without a doubt, for acoustic guitar you want the full range sound. However, for a lot of posters it screwed with their heads. Classic cabs weren't full range, and we've gotten used to hearing that. Plus, players never gave them much thought. They chose the cab they loved, and plugged in. I saw many players grab the original Spider V, assume that there was no sculpting needed with the sound, and then be perplexed and confused by all the high sonic frequencies that came through it. They'd call the amp crap and move on. The classic mode is designed for those people who just want to plug and play. There's no shame in either approach. In my opinion, the classic mode is easier to dial in, but the full range takes it to another level in the right hands. Try it out and see which you prefer. It's always great to have options.
  19. Check out the preset given in this post:
  20. Line 6 clearly knew some people would worry it's a problem because right in their instructions they point out that the little MOFO WILL get hot. Don't worry about it though.
  21. There's a lot of opinion that has to be sorted through. What very few people know and understand is that the Firehawk's cabs are also impulse responses. So this belief going around that impulse responses are some sort of secret sauce that Line 6 stubbornly refuses to use themselves is not at all accurate. Nevertheless, even with real cabs, preferences abound. What that means is preferences for impulse responses abound too. What one person might adore (Line 6's cabs) another might prefer someone else's. So it's always been possible that if you don't prefer Line 6's you might enjoy another companies cab models. Further, the Firehawk is an older budget device, and impulse responses have improved since then. The Strymon Iridium arguably has far higher quality cab models than the Firehawk FX, but also costs a decent chunk of change. At that price, you're nearing the cost of an HX Stomp, which, in my opinion, is better than the Firehawk or the Iridium combined or separate. Does the Firehawk FX play well with 3rd party impulse response loaders? Yes. Can it improve the sound if you pick the right one? Absolutely. Is it worth it? That's something only you can decide.
  22. In my opinion, a lot of people obsess over the impedance circuit far more than it really warrants. Most of the time I leave it to auto. My tone is crafted elsewhere. I think it works great. Some people raise it to the ceiling and love it, some people lower it and love it. Some people do a little of everything. Ultimately it's just another parameter and as you noticed with the Arbitrator fuzz, it does seem to sound best at 10k in some situations . Is there any harm in setting it at that lower level? Not really . . . as long as you like it. Generally speaking (and I'm riffing straight from the manual here) lower numbers reduce some of the higher frequencies, gain, and lead to a softer feel. Higher values give more frequency range, higher gain, tighter feel. All of those generalizations are irrelevant though if one you manually increase the impedance, or set it to auto, and there is a loud popping rendering the whole thing unusable. I personally think there are enough other options within the Stomp to impact gain, tightness, etc., and so if I have to mess with the impedance to make a pedal I love work then I will. That's why the parameter is there for me, and there's no need to lose sleep over it. Bottom line is - as long as you LOVE the tone that comes from using that pedal with the Stomp, if you have to lower the impedance to make it work every single time - DO IT - no biggie. The first law of sound design still applies - if it sounds great it is great.
  23. This is just my take on it, but in my opinion, when practicing through a Stomp on headphones, it was better to create headphones presets that closely, but not identically, matched the Just to weigh in, I found it was way more useful with the Stomp to separate performance/live presets from headphone practicing presets. I would try to make my headphone presets mimic the more complex live one as close as possible so that the practicing was useful for the real performance, but it was just easier and more enjoyable to keep them separate as rd2rk suggested. In that case, I'd personally switch to the amp/cab block (you preserve a block - granted if you are an IR fan you have to split them out) and then use an FX block to stick your delay and reverb pedals in. In fact, you can even split up the loops and put one on path A and one on path B which can sound pretty glorious at times and is worth playing around with.
  24. You found a creative solution to mitigate what was happening. Nice job on that. However, you do somewhat answer your own question. Whatever you do to fix the problem, if you decide to keep the pedals there is no magic default setting that will work short of deciding to create ALL your presets with that manually adjusted the Z setting like you did. From your own experience, the pedals react uniquely to all sorts of amps and gear, and since the Stomp is a very complex little pedal designed to mimic a huge variety of types of gear, some settings will work well with your pedals, and some won't. Only you can know what those are and ensure your settings are always setup for it.
  25. Early this year I was curious about the same thing, and reached out to the guy who created those estimates. If I remember right, he said that in his opinion it was no more than 4%.
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