Elephantstomp

The problem was caused by my Shure GLXD16 (wireless). A broken cable caused the "too much gain phenomenon". My HX-Stomp works flawless since I used a new cable. Could´t find it out so easy because the issue occured sporadically. I hope you get this problem solved!

Hello, true, you´re right. But the already existing idea EQ Cut filters FULL frequency spectrum AND adjustable db/8va Adjustable high and low pass slopes for cabs and ir's doesn´t clearly mention to include it in the cab block. That´s what I am hoping for. Would be sad if it gets just implemented in EQ block (sad for HX Stomp users). What should I do?

Hello, to reduce harshness I use a hi-cut. Because the cab block´s hi-cut curve is to wide it cuts off too much wanted frequency of my tone. So I use a separate EQ block. Kind of a waste with limited blocks (HX Stomp). Same for lo-cut. A perfect situation would be to be able to choose from different curves for hi/lo-cut within the cab block: -6dB, -12dB, -18dB, -24db/Oct. But I would always go with the steepest curve (-24dB/Oct) for a most narrow cut. Thanks & please vote UP :-) https://line6.ideascale.com/c/idea/90122

Hello rd2rk, (wrote r2d2 first...) Your presets worked without a flaw. (You´re suggested global setting changes made no difference). I used them as a base to recreate my presets. But after recreating the switching was buggy again. But this time I found out what it caused and guess this is definetely a bug. So... In my old buggy "main preset" there were those commands: PRESET A FS1: Snaphot 1 FS2: Preset 101 (fancy sound) FS3: Snaphot 3 PRESET B (Used for fancy sound due to limited blocks in HX-Stomp) FS1: Preset 100 (for easy return to PRESET A) FS2: Preset 100 (for easy return to PRESET A) FS3: Preset 100 (for easy return to PRESET A) I used all three switches here to just step somewhere to go back. But exactly this brought up the bug. More precise: In PRESET B should be just one "Preset 100 (for easy return to PRESET A)" and it has to be on the same FS in both presets (like it was in yours). Or at least it must not be on a position where a Snaphot is in PRESET A. Otherwise it is buggy. Puh, can you follow? A bit tricky to explain. More strange: It only worked with your presets. When I reduced my PRESET B to one return button, it could´t be fixed. On the other hand, when I put three return buttons in your PRESET B the bug came up as well. An stays, even though you correct it later. Strange things... Anyways, I used your presets as a foundation and fixed returnall my buggy presets (one return!). Now I can switch everything on press (not release). That´s so satisfying and on point changes happen in all my presets finally. Thank you so much for your support!!!

rd2rk, thanks for joining the challenge! I already re-created those presets with same results. When using your Test SS Chng.hlx "linked in one direction" switching works fine. BUT when you go back and forth between dedicated presets this malfunction comes up on your preset as well (at least on my system). Could you please try the following: In Test SS Chng.hlx: command-center, FS2: HX-Preset: 121 (or whatever you like) Then create a new preset with just: command-center, FS1: HX-Preset: 120 (or wherer Test SS Chng.hlx is) Now go back and forth between those presets and try if switching happens on press. On my Stomp when I switch (within Test SS Chng.hlx) between snapshot 1 and 3, the switching happens on release when going from snapshot 3 to 1. I got the feeling this malfunction just occures when presets are linked in both directions with command-centers HX-preset command. You could as well try my attached files: Test SS Chng on 120 Destination on 121 Thanks a lot! Destination.hlx Test SS Chng.hlx

Hello, I have the following malfunction on HX-Stomp on "specific" presets (snapshot mode). HX-Stomp: 3.5 HX-Edit: 3.51 But this occured since we were given command center. "Specific" means having a preset change on fs2: fs1: snapshot 1 fs2: preset xxx (switches to whichever preset) fs3: snapshot 3 In command-center I set up snapshot changes to happen at press: press: snapshot n release: none Despite those settings snapshot changes happen at release (not on press as intended). When using presets with just snaphot changes (no preset change on fs2) then switching works fine (on press). Something strange (with snaphot and preset-change presets): Sometimes it works as intended right after setting it up, but after a short while it is malfunctioning again). I tried as well: press/release (press: snapshot/ release: none) press/release (press: snapshot/ release: snapshot) press/hold (press: snapshot/ hold: none) press/hold (press: snapshot/ hold: snapshot) All with no succes, or just for a short time (same strange sporadic success). But all in all no success. Attached files: R-FUZZ-S (snaphot changes on press doesn´t work, just on release) R-s-S (snapshot changes on press work fine) Could anyone check my attached presets and check if this can be reproduced? Or better, fixed? If you need more information, please ask. Thanks a lot! R - FUZZ - S.hlx R - s - S.hlx

Hello revans, would you mind explaining how exactly you "set the starting and ending numbers" in the midi baby 3 editor? I have the mb3 now as well and couldn´t get it done to loop back around to the starting number. I like to loop between Hx stomp presets 094 to 106. That would be great :) SOLVED! Got it...I had to choose "count and send" (within midi baby 3 editor). There I found "start and end" for looping presets.

Thanks for the interesting read. I just chose the Y-split and increased 3dB at the merge point at the end of the split. Same volume level now as my presets without split. I am still in honeymoon with HX Stomp since years...amazing! Best

Hello, after a signal split (Y-split) path A became lower in output than it was before. How much lower exactly? How much do I have to increase the output of path A to get it as loud as it would be without the split? And will path A sound exactly the same then? I am going to use path B only in one of three snapshots of a preset and volume-wise just to taste. This preset is mono. Thanks! Edit: I found out it´s -3dB per path (at the merge position). What would be the best split for maintaining path A as it is and having Path B parallel? Would it be the A/B split? (Because it doesn´t mess with volumes. And I have "minus infinity" dB instead of -60dB (bleeding), what would be good to deactivate path B)

Set the global EQ highcut to 10kHz. It seems to be too dull first, but give it a try. PA at venues and IEM sound more beefy and less icepicky. Of course for recordings I deactivate the highcut and set it to taste in the daw.

I found the following midi pedals designed for the HX-Stomp. KG MIDI Controllers – Custom handmade MIDI Controllers You should have a look at his stuff. He builds custom pedals as well and arduino programming to your liking is possible as well. For example: I liked to have nothing else than three CCs for three switches. And this is my favorite (without LEDs):

Hello datacommando, thank you for the reply. The Midi Baby 3 can do alot more than i need. But it would be a perfect solution. I will see...

Hello mattzz, would you build a three switch midi controler for me? A = preset down B = tuner C = preset up Switcher layout: B (elevated switch) A C I have no time, tools and experience to do this :( I am from Berlin. Best regards

Thanks, but isn´t the baby bomb just for guitar cabs? I tested the rolls pm50se at home and rehearsal The signal from HX stomps main out: 0dB (line) caused the rolls to clip. I had to reduce it to -20dB to be fine. But exactly this is anyways mentioned in the specs, as i read afterwards. Rehearsal was a charm with this little box. Dialing in "the band" and "me " to taste for my inears was flawless. So I am back to the inear-monitoring-club and see no need for a wedge on stage anymore now. So long :-)

I thought about outsourcing the IEM routing as well but wanted to try the less equipment as possible way. But if I think about a volume device anyways I should go that way proper. So now I ordered a Rolls pm50se and will try the next days. First i liked the idea of an included limiter (Rolls pm55p) but decided against it. A limiter works best with knowing the impedance of the headphone. But the internal limiter cant be tweaked. I also couldnt find information how well the limiter works. So I decided for the smaller and cheaper box. https://rolls.com/product/PM50se

Hello, some news: I decided to use Inear monitoring. I anyways have good conchas (perfect fitting inears). I am able to sacrifice TWO BLOCKS. I know there are other routing options for this, but the following way suits best to me. At the end of the signal chain I put an A/B split to path B with a RETURN (Mono: band mix from FOH or rehearsal mixer without my guitar) and a SEND (stereo: Inear). Path B is not merged to path A again (so it´s not on the main outs). The Inears contain the bandmix from RETURN and my guitar from path A (blended to taste by the A/B split). The volume of my guitar is not going to be adjusted (for Inear), as i dont want to exceed this volume for safety reasons anyway. I adjust the AUXes to RETURN at our rehearsal mixer (Bandsound without guitar). At gigs this will be done by the soundguy. With this setup i can still use the main outs with just my guitar to FOH. To be independent from the soundguy during the gig i could connect a volume knob pedal to RETURN (bandmix) to adjust the volume global for Inear. (I could adjust it in the return block as well, but this would have to be done for all presets. Thats not possible for me on stage on the fly). So far at rehearsal this setup worked very well. In addition and as a safety net I am going the standard way and use one wedge with a complete bandmix provided by the location. Any thoughts for a tiny pedal with a knob (not like a wah...too big) for adjusting the mono line signal (bandmix)? Would this work for me? https://www.vuetec.de/SW53/audio/pegeldaempfung/pegelsteller-variabel/340/pegelsteller-mkp29-mono-xlr3-symmetrisch-i/os?c=1536 Here an overview for different connections: https://www.vuetec.de/SW53/audio/pegeldaempfung/pegelsteller-variabel/ And which cable for the monitormix (from the soundguy) would be most common? TRS/TS/XLR Thanks

As always in life and live things are mixed calculations. I wanted to go direct to one of those wedges to be able to adjust volume on the fly by my own if necessary. Getting a second wedge was never an issue, because we´re just drums, bass, 1x guitar and 1x vocals. But now I see the downsides of my plan. So i am gonna stick with the second wedge with "guitar only" provided by FOH. I prefer mobility at best. Ah and I very like my guitarsound when it comes from my Studimonitors or Rehearsal FRFR or Headphones. So that´s not a general issue for me. It was just a few times when the wedge on stage sounded less prime time. Didn´t care much for the reasons then, because the sound for the audience was fine. Thanks alot for your productive input!

Ah, and I thought the "lollipop guitarsound" from FOH to my wedge is caused by tweakings to be a good part of the bandmix. I always dealt with it, because it´s supposed to be a good monitoring for me, not the best audiophile experience. So if anyone has more hints for "little amplifiers that give me a powered line signal to connect to passive wedges" I am grateful. It´s fine for me to not have the best sound on my personal wedge. The sound from the main outs to FOH (and to audience) will always be good and is anyways out of my control.

Thanks so far! I want to use whatever wedges that are provided by the locations. I won´t have an own wedge as i am traveling with just my guitar and HX-Stomp to gigs. So a monitor with bandsound is always a given by the soundguys. I just like to use a second wedge for guitar only, preferably direct from my HX-Stomp. And for easy transport it should be small or pedal sized. I have the impression that most amps of that kind are designed for using guitarcabs. Something without "guitar amplifier coloration" would be good, as my sound is already done and just needs to get amplified unaltered as possible for "frfr".

Hello, I´d like to connect my HX-Stomp directly to a passive wedge on stage. (I also get a second wedge with the bandmix coming from FOH) There are all kinds of pedalboard amps on the market, but those are designed for 4 to 16Ohm guitar cabs. What kind of smallest amp do I need to power a passive wedge? Are there pedalboard amps for this as well? Or can I use the same pedalamps as for the guitarcabs? Main out left (TRS) to FOH. Send out to wedge: What would be the easiest way to control the volume independent? The Main out volume must not change. Thank you

Yes, it´s about Mode and Tap for me as well. So actually, I´d like to individualize ALL switches. So I´ll stick with my Stomp + external switcher. If it would be possible, I would like to have the five lower switches for presets and snapshots and the upper buttons for preset up/down and tuner.

BUHP! I would like to know this as well. Thanks

Sorry for my late reply now. Somehow I overlooked it. I really appreciate your explanation. Thanks!!!

Aha, thank you :-)

Hello, I wonder which six amps exactly did the catalyst get from HX? Greetings