Kilrahi

Flip. I try to make a joke and choose a safe esoteric instrument . . . and this happens. Bottom line, your bassoon sounds WAY better than anything my guitar has ever done.

This article indicates plywood: https://www.premierguitar.com/articles/27205-line-6-introduces-the-powercab-112-and-112-plus

I have no idea what it's made out of. I only know it sounds awesome. BUT . . . if you didn't already know this it's important that you do, the Powercab+ essentially give you an extra block - it's like turning your 6 block Stomp into a 7 blocker, so to me that's a big, big, BIG reason to get one.

I'll see that bet and raise you a . . . kids walked in as I'm typing. Nevermind.

I don't think that that's what people are saying. At least what I'm saying is MUSIC matters MORE, and music has always been about amazing rhythms that sound beautiful. I've heard "Sweet Child of Mine" played by Slash with his gear and it's amazing tonal bliss - and I've tried to recreate it from time to time and it's awesome and it's part of WHY I love the HX line. BUT . . . I also heard a version played once on a cheap Boss Katana and it wasn't set at all to sound like Guns and Roses - the guitar playing it was a Strat. It sounded AMAZING. It gets worse though. I also once heard it played on an acoustic guitar by Slash . . . . and that became my favorite version ever. I also once heard it played on a frickin' trumpet! It was also worth hearing. That's what I think everyone is saying. A good song should sound good and be worth listening to no matter what gear you have (with some caveats - I'm assuming, for example, you don't play through a completely non functional amp). Caveat: Virtually nothing sounds good played on a bassoon.

I agree the subtle difference between DSP limits and block limit is easy to miss. I missed it too, and I read up a lot of stuff. It's just not always easy to catch EVERYTHING. It's rare that the DSP runs out before the blocks do, but it does happen. Usually it's the reverse though, I have plenty of DSP available, and my blocks are gone. That's the bummer to me.

Helix CAN have an FX slot. It doesn't have to. Considering it can max out at 32 blocks if you have enough DSP, you'll be fine. Also, yes, it accepts midi control.

I prefer to use the HX purely as the input device. I set Native to capture unprocessed signal. I usually have a signal path in the HX close to what I want so my mind stays sharp, but none of that is captured in my DAW. I then use Native for everything else. It's far easier this way. You can create multiple versions, test changes on the fly, it's insane.

Well . . . the simple answer is . . . no. There's not an easy way, in fact I'd say it's impossible, to create a patch that is perfect in all situations. Now, I love hearing my patches through headphones. I do it all the time, but as soon as I need to play it through my FRFR it sounds like crap. So typically I have to adjust again when I'm switching over. Likewise, a patch I created on my FRFR also needs tweaked on headphones. I don't gig even close to as much as I wish, but the same rules apply there. If you're going to gig, you should always test your patches as close to gig volume as you can. That's just the name of the game.

Yeah . . . I don't blame people who love owning them. Me personally, if I had the money, time, space, and strength . . . I STILL don't think I'd be buying traditional amps. I'm not exaggerating when I say that it doesn't do anything for me and I don't see the point. However, I would buy WAY more guitars . . . which if I'm being honest with myself is probably equally pointless, or dubious at best. It just gives me a lot more joy though than an amp.

Well, it was good Kumbaya moment while it lasted . . .

Also, make sure you use the mono version of the LA Studio Comp for your above signal chain. The mono is about 7% DSP usage and the stereo is 14%. Another good thing to check is that your distortion block was also mono. When I was first using the Stomp, a lot of signal chains I thought weren't possible had to do more with me thinking more grandiose than what I needed and not knowing how the Stomp worked. An amp/cab block sums everything to mono. This means that sticking anything stereo before an amp/cab block is most of the time completely pointless. If you end your signal chain with a stereo block then it starts to introduce stereo, so if I wanted stereo I used it for the final block AND whatever other blocks it was really essential for. Once I knew that, I quit grabbing stereo phasers, stereo compressors, stereo overdrives, and quit chewing up massive amounts of DSP before I even get to my amp block - which then destroyed all of my alleged creativity anyway.

Honestly, that was a pretty good derailment. Music philosophy is a civilized intelligent thing to be going over. It's especially fascinating that it's contained at the tail end of a firmware thread. Could it be that Line 6's TRUE PURPOSE with 2.8 is to bring guitarists, and by extension, the world together again? Perhaps this delay is a clever master plan in disguise. So what should be the next topic? Tasty wheat? \

Maybe. There is a lot of luck too, though. I have known quite a few talented songwriters who worked their guts out and went no where.

Oddly enough, yeah. Test it and tell me what you think. I heard someone explain that it's because the dual cabs hard pan left and right in stereo though I'm not personally sure why. It's also true you can mix and match different types of cabs if you go single. Because of the six block limit, whenever possible I go combined amp/cab. If that don't work dual cab, but there are some times that only a separate amp and cab block will do.

Well yeah, you already have a good grasp of what's going on. Too complex a chain and that's what the full Helix is for. One amp two separated cabs is your best bet on Stomp, but it's still block and DSP heavy.

I admit I'm not in the business of earning money off this. It's just my passion and hobby, so maybe that changes your perspective. However, for me this is what guitar gear has always been - a tool for my hobby. I can't even fathom looking at it with resale value as a high priority. Now, I DO sell things again when I'm done. I got a pretty good amount of cash back when I sold my HD 500x. If you tried to call it an investment the return was abysmal, but it was totally worth selling when I knew I was ready for something different. Even with those happy surprises, I will continue to buy all of my guitar gear with the assumption that it's salvage value is zero.

Yeah, it'll work. I don't have THAT specific device, but I've used similar stuff and had the Stomp color it up. The limitations are the Stomp's 6 blocks (though IMO you really shouldn't do TOO much to a vocal) and the limits of what the Stomp's effects can do to a voice. They were designed for guitar, so while that doesn't mean you can't apply them to vocal, what works great for intended medium doesn't always knock it out of the park for another.

That seems pretty impossible to believe. I'd be very curious to see the supporting stuff for that. Also, just as a side note, it can't include all types of signals, since an optical cable literally uses light to send its signals. The below seems to break it down - maybe you were exaggerating with the whole "walking" thing, but I took you literally. http://scienceline.ucsb.edu/getkey.php?key=2910

I think there's a balance, but the point is still true that almost any song played good can sound good on any reasonable rig. That doesn't mean that certain tweaks won't take it from good to legendary. If we're pretending to be scientific, I'd say 80% skill, 20% gear.

Cutting through the back and forth with another view ... I think the power supply sucks. Look, even if it were ALL true that there was no other way (which I can believe) but to adopt that brick ... Who decided to make the cord itself shorter than a shoe lace? I dare one person, ANY person to reply that they would NOT prefer the cord length be longer.

Also, if anyone missed it, the above is what TRUE transparency looks like. That is most definitely not how a Walmart or Sony would answer. It'd sound something like: "Good idea on updating the manual! At Sony we are always striving to improve. Keep sending your suggestions our way. We are ALWAYS listening." It is polite, but tells you literally nothing of importance.

I don't know. When people don't get it I'm confused too, but rd2rk has been around here long enough to see the endless advice to "Cut, cut, cut, and cut!" some more. If it was going to work for him it would have done so already. Best thing is to give him advice if possible on another alternative.

Considering how much the manual bugs you I guess I can understand that that ONE thread would drive you nuts, but there's plenty of other threads on here that make it clear it ain't happening in Spring. Hell, the fact it's past Spring makes it clear. Beyond that, what exactly are you proposing we, the fans, do? No matter how you toss it, dice it, or slice it, it's completely out of my hands. I'm WAY stoked to get the update, and I would have loved for it to come out on time, but because I think that: A. Line 6's estimate of Spring 2019 was their best good faith estimate at the time. B. They're probably a bit disappointed themselves they missed it. C. They REALLY were trying . . . Because of ALL those things I named above, I just don't get the point in dog piling on them. What does pissing all over them accomplish? Like seriously, what does it do? Especially when there are plenty of other people bitching at them, there's no reason I need to pick up a torch. I am just going to sit back and continue to play my guitar. Maybe I'll write a song about it called, "Patience and Pitchforks." I'm not questioning your credentials, and I'm sure you're solid at your job, but I've been nothing but impressed by Line 6's community interaction. The ONLY site that the Helix L6 staff has kind of been radio silence on is this one - and even that's stepped up lately. They're constantly interacting and giving updates that it's SOON . . . and that if they were any more specific it would be an out and out lie because what happens is each day they go in hoping it MIGHT be it - and then a new bug rears its head. They do have a bit of an edge to their responses if you try to pick a fight - that's part of their feel and has been for quite some time. I like it. It's fun. Some won't, but it's still a legitimate style. They're kind of like Wendy's where if you ask them over Twitter for a free side of fries they tell you to go *?!$@! yourself for free instead. Meanwhile McDonalds pretends like free fries are a perfectly reasonable request and they wish they could do it (you know, the standard BS that most companies give rather than tell it like it is).

Hmmmm . . . I really loved the FRFR result which was why I bailed on the tube approach. WAIT! Stick with me! With that said, my first advice would be that if you already loved the Eganator use it - I mean, you had a connection with it! That's the most important part. Still, I ALMOST bought the DT25 back in the day. I was very close because it was just an amazing idea and more importantly, sound (IMO). If I hadn't fallen for the flat response system, that's the amp I'd own. Especially once 2.8 comes out in 2027, it'll be sweet what you can do with it.