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    Teknomage, Storyteller, Musician, Maker, Fashionista
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  1. Although I've been building experimental media machines since not long after MIDI was introduced in the late 1980s, I more recently found Pete Brown's Unofficial Windows 10 Audio Workstation Guide a pretty useful reference, and transferred what I learned from that to Win 11. So yes, it is Win 11 stripped of all non-essential apps and processes, and while the argument could be made there negligible improvements, the fact is Microsoft maintains and patches 10 while focusing development on improving 11. https://devblogs.microsoft.com/windows-music-dev/unofficial-windows-10-audio-workstation-build-and-tweak-guide-part-1/ And Sweetwater has a Windows 11 specific is fairly useful too. https://www.sweetwater.com/sweetcare/articles/windows-11-pc-optimization-for-recording/ Most of my hacking focus right is returning to work on an unique Integral Guitar Controller technology my father and I were working on before he died, with one prototype Windows IoT and the other ELK Audio Linux, basically a purpose-built tablet DAW that thinks its a guitar. The real point is that apart from stating how I could obviously roll back the update, none of you has shown an inclination to be particularly helpful, so thanks, moving on.
  2. Thank you for responding. I know I can always roll back the update. This is the first and only problem I have had using Win 11 since its release and it has proven better at memory management and stability under load, particularly running multiple instances of DAW plugins in Reaper, Ableton, and Ardour than Win 10.
  3. I've opened a ticket about this but want to hear from any other Windows 11 based DAW users who may have ran into the same issue. The latest Windows 11 Pro 64-bit OS update a couple of days ago caused a hole in security due to Line 6 driver incompatibility on my hardware DAW, a DELL XPS 8940, 11th Gen Intel i9-11900K processor (8-Core, 16M Cache, 3.5GHz to 5.3GHz), with 64GB RAM, running Windows 11 Pro 64-bit. Its a stripped down system optimized for audio production. The OS Memory Integrity switch cannot be toggled to on due to conflicts with these Line 6 drivers. (see screen caps attached) I6Helix_AvsFilter.sys I6HXStomp_AvsFilter.sys (for some reason has 2 instances) I6PodHd2_AvsFilter.sys I have related problem on a Surface Book 2 laptop that I previously used as a DAW and uninstalled all Line 6 software on but it did not successful remove all Line 6 drivers, specifically the I6HXStomp_AvsFilter.sys file which I cannot find to manually remove. I have parsed through Microsoft documents for deleting unruly drivers but the system still thinks the driver is installed.
  4. I am speculating on the use of a Powercab 112+ with a second Powercab 112 for more enhanced stereo separation in complement with XLR Stereo Out for the house, and would like to hear from anyone else that has experimented with using stereo amp configurations. What follows is based on using two standard analog amp + speaker combinations. While this can benefit typical spatial, modulation, time delay effects stereo imaging, my greater priority is use of expression pedals to morph from one timbral effect to another, smoothly across time and space. This will sometimes be morphing from a mono center to a shocking contrast in stereo as well as the movement of one mono timbre to an added or different effect across space. Though the effects possible at the time were much simpler, I personally attended Grateful Dead, Pink Floyd, Yes, and Emerson, lake, and Palmer concerts where experiments with stereo sound were very effective, noticed and discussed for a long time afterwards. While most progressive made use of stereo separation on albums it was Jimi Hendrix use on Electric Ladyland that had a huge impact on me on a more visceral level with his bouncing distorted echo from one speaker to another while also changing the effects used on it. Since I extensively use MIDI Guitar controllers, a more contemporary example s Arturia Pigments soft synth which lets me morph between distinctly different engines and filters, or morph from two version of a sound, from a straight to an arpeggiated version of that sound. Then there is the Arturia PolyBrute analog synth's polyphonic morphing ability where within a preset you can smoothly flex from one complex timbre to a radically different one. I use HX Stomp multi effects and Powercab Modelling to sculpt the feel and sound out of synthesizers to make them more recognizably guitar-like in expression.
  5. I have a unique MIDI Guitar Controller that I use hardware and software synthesizers with and pedalboard built around an HX Stomp. Can a frequency divider be used as the last part of the signal chain to send Mids and Highs to a Powercab Plus and the Lows to a powered bass cabinet, such as a Hartke HD150 · Bass Combo?
  6. Does the signal from a Fishman Fluence SSS 6-string set benefit from a buffer before the HX Stomp?
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