Guitarmaniac64

No you have to create a user at Line 6 ideascale so other users can vote up the idea https://line6.ideascale.com/ But first SEARCH on ideascale if someone else have already posted the same idea You see the search option above, the categorys Then post a link to ideascale here so everyone who hangs here will be aware of that idea. So if noone else have posted your idea enter you pedal name there and you will see if someone else wanted that pedal aswell so vote that pedal up instead of create a double post. Most people dont get that so the ideascale is full of double post. And while your there look in the Helix column and vote up things you want to be added in Helix and again use the search column

Well those arent guesses they came from Line 6 employers they hang here and on TGP and the big FB Helix group quite frequently. However i copy the 3 first from Helix-Help Page It is really true and no guesses i have also read somewhere about the Doom and Epic and Badonk (which is a new version of the Big Bottom) how they came to life but i have lost that info!! But i could try to dig it up i might have save it on a textfile or as an offline webpage when i got some time off. The Litigator info is taken from TGP "the huge 3000 pages Line Helix thread" where you can find very useful information about both amps and effects posted from line 6 coders and also from users of course For instance there is a post about what all parameters on 2 of the new Reverbs that was released in 2.50 is doing from a Line 6 coder named Sam Whang. Also how the Double Track works (from the same coder) And what is the setting is to mimic a real world Dallas Rangemaster (as it has more controls than what you find on a real renagemaster it has only ONE knob and NO it is not the default setting that mimic the real world rangemaster) (The one knob from the rangemaster is the Drive knob on the model. We added the bass and treble knobs to be able to tailor the sound to your liking. For the closest to the real world pedal, set the bass knob at 5 and the treble at 10. This pedal is usually used right off the guitar, so it can sound very different when used first in the chain as opposed to later in your signal path due to the input impedance of the circuit. But if you want to put it wherever you want or just want to tweak the tone a little we decided to make sure you can tune the voicing to your tastes.) Here is the info about Litigator from Ben Adrian taken from TGP Line 6 Helix thread.. (I'm pleased and surprised by the "Litigator" reception. I have to admit, it's fun to see the response when the amp is behind the virtual curtain. So, if you like the model and don't want to ruin the magic, you should stop reading. We had talked about modeling a smooth-overdriving, easy to play, mid-gain, high dollar boutique amp for a long time. However, they can be expensive and hard to find. When you do find one, people get nervous that it will be partially disassembled and probed. The "Litigator" was born out of two scenarios; one, I came from the world of building pedals and doing a lot of tube amp repairs and mods, and two, I was not constrained by making a model that matched a real world amp. I asked myself, "what would I do if someone brought me an amp and wanted me to mod it into something smooth and boutique-y?" So I took a schematic for an amp that we had modeled and I drew out the mods on paper. Yes, it started from a Fender place like so many of the boutique amps. I made the "mods" in the digital world, and it wasn't right. It didn't sound bad, but it didn't sound like I imagined that it would sound. I was disappointed in myself. So, I went a little further. I moved the tonestack to a different location later in the circuit. I also messed with tone stack cap values and ranges. Plus, I remembered that I wasn't constrained by the real world. I was able to dig into the low pass and high pass filtering before each of the gain stages. I was able to have the drive knob adjust frequency responses in various places in the circuit. Most importantly, I could fine tune the knees of how the individual tube stages entered clipping. I tuned the power amp to make it distort in an idealized way. Finally, I adjusted the sag so that it reacted in a way that was pleasing to me, not just matching what happened in a physical circuit. So, the amp is not based on any specific amp. It's a circuit I dreamed up based on a heavily modded Fender and then hammered on and tweaked until we all liked playing it around the office. It wouldn't be impossible to make in the physical world, but it might get a little messy. I removed a lot of the noise and irregularities that people find unpleasant, but I was able to add just enough of the wrong things so they enhance without being a distraction. It's like a vintage amp with movie magic color correction and hyped depth of field. I usually operate in a very objective world. If you like a physical amp, I hope that you like the model of the amp. If you don't like a certain physical amp, then I would not expect you to enjoy the model. I would say that a normal amp model is 95% objective and 5% subjective. The "Litigator" is pretty much 50/50. To be totally frank, I'm generally not a fan of the type of amp that this model is based on. I can sometimes make blues lawyer or yacht rock jokes in private. It's not that I don't respect the musicality, it's just that it's not my world or my wheelhouse. I was expecting to not really like this amp model when I was finished. However, even I couldn't stop playing it when I was done. I kind of sick-burned myself When it was built into test builds here at Line 6, many other people couldn't stop playing it. It's pretty much the highest compliment when I hear these stories.) Here is the HX Reverb info taken from TGP from . (Hey everyone, ever since the new reverbs came out I've wanted to make a post explaining some of the controls more in-depth. Here are some parameter descriptions for the Ganymede and Glitz reverbs. Sorry it took a while but I hope some of this helps, and let me know if there are other questions I may be able to help with. Glitz Reverb The Glitz reverb is Helix's take of the modern modulated reverb sound. There are oscillators in the pre-delay sections as well as near the end of the reverb algorithm. For the latter, there is crossover where everything above the set frequency is modulated to get that glistening sound int the mix without getting too much in the way of the core tone. Controls Rundown: (excludes non-specialized controls, unless modified for this specific effect) Decay: The Decay control controls the amount of damping within the reverb algorithms, and such that as this is set higher the longer the reverb will last. (Note: Our Decay parameter has a 0-10 nondescript unit, and not a time value, as the decay is very organically tied to the reverb voicing.) PreDelay: The amount of pre-delay time between the dry and wet sound. This is modified compared to the Legacy reverbs as the delay time is very slightly modulated with the Rate and Depth parameters. More modulation effect gives the effect of being in room with moving and spinning walls. Note: If you want a less boozy reverb, this modulation can be nullified if the PreDelay is set to zero Delay: The amount delay time before the latter modulation oscillator. Rate: The speed of the modulations for all oscillators in the reverb. This is interactive through different sections of the reverb algorithm. This can be set to tap tempo values as well. Depth: the depth of the modulations for all oscillators. This is interactive through different sections of the reverb Xover: The crossover will set the frequency where the later modulations will take effect. Everything below will only have the modulations from the early sections of the effect, and above will have the extra modulation. This and the Mod Mix param can be used to completely transform the voice of the Glitz Reverb. This is a parameter where experimentation is highly encouraged! Mod Mix: the amount of extra-modulated vs non-extra modulated sounds. This does come after the crossover section, so that your voicing for this reverb is highly dependent on the Xover parameter. Ganymede The Ganymede came from our desire to have a much more ambient reverb tone that defies the limitations of modeling a physical space. For the tone of this reverb, we took inspiration from the classic hardware-based reverbs of yesteryear, while breaking their boundaries with today’s powerful DSP potential. The result is a reverb that is fun to use with its highly interactive parameters which has a classic tone that can take you on a journey far, far away. Controls Rundown: (excludes non-specialized controls, unless modified for this specific effect) Decay: The Ganymede’s decay parameter responds very dynamically to how you play. The higher that this is set the reverb gets exponentially more diffuse as well as longer. At 10 the reverb has an almost auto-pad effect with an incredibly long sustain. Tone: This works to voice the Ganymede from bright to dark, but it is wired in such a way you can also use it to change your existing decay’s tone as well. This is really fun to use with expression pedals or snapshots. Modulation: The amount of modulation within the algorithm. This is also a control that gets really interesting as you control it dynamically, as any changes in this parameter has after-effects on higher Decay settings.) And here is the info about Double Track from the same coder (Sam Hwang) who wrote about HX Reverbs .. (Hello! I'm Sam, one of the sound designers here at line 6. I'm not the most active on forums (not super experienced in posting... ) since so many of our line 6 friends here are usually better spoken than myself. I've worked on quite a few models for the Helix, and first of all I want to state that I love how much great and useful feedback our community provides for something we are so passionate about. We will keep doing our best to help you all love what you do more freely and easily! that said, I wanted to give a bit of an in-depth rundown specifically for the Double Take double tracker. The Double Take is a new double tracking effect made specifically for the Helix. Having spent a lot of time listening to a plethora of double tracked instruments, we found that the way a part is performed has a huge effect on how the layered tracks would feel. With this in mind, we wanted to make a new double track effect that responds dynamically with the way the player performs, adding the real-world dimension and depth you would get from having multiple recordings of a single part. This led to a whole new design from the ground up, with a lot of tuning available for the amount and types of variation between the doubled voices. This makes for the ability to have an incredibly realistic sounding and feeling double tracker with the ability to shape the feel at your finger(and foot-)tips. Doubles The main "Doubles" knob controls the number of double tracks into the mix from one to four generated voices, and in the stereo versions, the dry signal is assigned to a specified pan location. (Dry signal is underlined) 1 = Left and Right 2 = Left, Center, Right 3 = Left, Left, Right, Right 4 = Left, Left, Center, Right, Right Note: as each extra voice is added, there is a post-effect level compensation such that the overall dB of the remains about uniform. You can make up this change with the two output knobs if you want the same level hitting whatever you send the doubled tracks in to. Also since these are hard pans, you an also use the "stereo width" block to control how wide this effect is in the stereo field. Slop The Slop knob controls the amount of the slight variations in timing and pitch you would hear from each of the doubled voices. The variations are what we like to call "Defined Randomness" as this amount and timing is directly coupled with the dynamics of the original part. This knob controls the heart of this effect, as it will define the voices from tight and refined at low settings and all the way to(too?) wild and dynamic at max. With this knob you can set such that a softer touch there isn't much change to the original performance, but the harder you dig in, the more the doubled voices' strings stretch, slap around, and become widely de-correlated. Sensitivity This knob controls the sensitivity of the slop feature. The lower this parameter is set there will be less dynamic behavior from the voices. This can be viewed more or less like a threshold or input gain of a compressor, but specifically for the slop's detection algorithm. Source (Stereo only) The Double take can have a true stereo path. This parameter determines how the input signal is processed by the effect. Mono: Input will be summed to mono then processed by the Double Take True Stereo: Each side will be sent as a true stereo path, and each extra voice will be sent to the side of the source pan. Left Only: Only the left input will be sent into the Double Take Right Only: Only the right input will be sent into the Double Take Dry and Wet Levels Instead of a This controls the level of the original dry signal as it passes through the effect. Note the Dry Level Location above. Note: In "True Stereo" mode, the dry signal for the right will only be used for the doubles and will not pass through the effect. In "Right Only" mode, the Right channel will be sent to the left or center according to the Doubles parameter. Personally, I like to put it either after my amp and cab if I'm using the stereo version, or in mono right in front of the rig just after my guitar... but I'm sure all you lovelies will find some more amazing uses! Hope you guys found this informative and it helps you have fun. sorry for the long post :X thank you.)

Thanks good job how about adding some more info to the "Line 6 Original" amps? Fatality is a heavily modded Mesa Doom is a JCM800 Preamp into a Hiwatt Poweramp Elektrik is something close to a Bogner Uberschall Litigator is a modded Fender etc etc.

Same as above search ideascale https://line6.ideascale.com/a/ideas/search?templateId=0&query=feedback https://line6.ideascale.com/a/dtd/Helix-Feedbacker/741209-23508#idea-tab-comments

Same as above search on ideascale. https://line6.ideascale.com/a/ideas/search?templateId=0&query=usb+trim

Search ideascale first and then vote up the one who has most votes unless you need some specific that is not in that idea. Here is what you found if you search for metronome on ideascale https://line6.ideascale.com/a/ideas/search?templateId=0&query=metronome Here is the most upvoted. https://line6.ideascale.com/a/dtd/Metronome/791914-23508#idea-tab-comments Unfortanetly people DONT search before they want something in Helix so there is tons of double posts especially for amps and effects instead of voting up existing ones.

Can you look at this when you got some time off? I might have found a bug.

Find a couple of more "name bugs" in the Fremen 2.50 update presets they always appear on the dist block and always on FS 9 for some reason a Minetaur was a Top Secret OD or a Hedgehog D9

This might be a "wrong name" bug On the Fremen preset Cartographer 1 i might found a bug So unless Fremen himself renamed the FS 9 ? (which was assigned to Thriefter Fuzz but showed Teemah under the block) Or later swapped the effect after he saved the Preset i dont know maybe Fremen can confirm if it is so or not?

Well what do you know it ISN'T a bug it's actually an OPTION. If you VERY QUICKLY touch two FS in Snapshot mode you will be asked if you want to copy one snapshot to the other FS you touched.. If you hold your fingers a little bit longer on the FS.s you will be asked if you want to SWAP Snapshot. So it was user error not a bug

He means edit color rings in snapshot mode on the editor (you have to rightclick to access those) that is new for this version it could only be done on the hardware before Also new ( i think?) is that they show you the shortcuts to every snapshot when you change snapshots in the editor after Snapshot 1 you see ctrl +1

Yeah that would be cool can you make one when you got some time over i know of a print company that i can ask if they will print it?

Wow thank you very much any change you can make an A3 version aswell? As that would literarly cover all the backpanel.

Hmm hard i guess Axe - Kemper - Real amp as it sounded soo different much brighter - Amplifier I am probably totally wrong..

Still working on changing order and color those snapshots in that preset package It has happend again 2-3 times that the snapshot have copy itself instead of swapping order so i can now confirm its a bug The annoying thing is i really dont know when its gonna appear. Workaround solution for the last block turn off when either swap (Oh another bug perhaps?) or change snapshot by hitting the FS (I dont want to use the editor other than to rename some of the snapshots for this task as i have to use the unit to colour the rings anyway) is to copy over the same preset again from Fremens bundle and swap the snaps around then color the FS rings then hit save.

Possible bug in FW 2.5.4? Dont know if this have been reported before? I bought Fremens 2.30-2.50 update presets And since i in some cases will use another order of the snapshots then what he had in his presets I wanted to swap those snapshots using the touchfunction on Helix floor footswitches. I also wanted to colour them to my liking. So if he have some snapshots named Crunch,Big Chrunch,Clean.Rythm,Lead1,Lead2 i want to have them in this order Clean,Rythm,Crunch,Big Crunch,Lead1,Lead2. So when i held my fingers on say Big Crunch and Crunch snapshot and the "Swap Snapshot" window appeared on the big screen and i pressed the OK button and look down and see TWO snapshot next to eachoter named Crunch so instead of swapping snapshot it seems to have copy one snapshot. Now that didnt happen always only a few times maybe 3 or 4 and since we had that old bug where the last block in the chain turnes off when you change snapshot which i of course forgot so i had to load in a few presets again and start all over with my "swapping" of snapshots i started to make sure i hit saved twice after i colour and swaped them. Dont know if this is a bug but it sure look like that as i dont know if there is a copy function when you touch two snapshots footswitches at the same time. If it happens again i gonna take a photo of before and after as i never know when it appear. "Edit that last block turn off is a real annoying issue anything you do to alter a preset like volym adjustment (Fremen has been lazy on this topic lately the first one i bought from him i only had to adjust volym on a few presets now many have different volym) seems to activate that bug." But it is just a matter of reloading the preset and make the adjustment colour the rings and save every snapshot again.

Not really funny but i did buy a preset some time ago it had an IR named something like Marshall bla bla after i loaded it in Helix it said something totally different Helix like TDR bla bla (It did belong to Fremen) so yeah basically "some" people steal IR from others rename them and then sell it. So yeah dont trust anyone I am done here hope you all wake up some day but i guess not.

Just that i am old enough and have gained lots of experience over the years (i am almost 60 years old) to NOT TRUST anyone who wants to make money DUH!! Especially with things that is hard to prove And i dont really say Fremen is magnificent did i? No i didn't I just mention the way he capture IR's I should have used "Clark Kent" from ML Soundlab instead as thats what most people got this info from in the first place.

Hmm yeah a checksum dont long either these days but how many would do that? Especially after this messeage? I say NOBODY so they ride pretty safe Anyway you can take any IR you like even freewares as there are some really good ones out there and further tweak it with EQ Comp even the Multicomp to get you where you want sonically

If you make a backup with HX edit after you have imoprted all IR's it will save the IR's aswell so when you load that backup it will put the right IR in the right slot. Cant really comment on DT 770 i use AKG 271 myself when i record and his presets sounds good on those. I also have very old AKG K 340 cans i use for mixing and those also sounds good on my Helix

"The IRs were custom made for the Helix amps used, and I could tell they were well designed." Are you shure did you compare them with any of their regular IR's its as simple as rename an IR and that would fool people a regular MD5 file cheksum would tell if they use their existing IR's. I find it very doubtful that they re captured or redid some of their existing IR's with EQ,Comp,Saturation etc using Daw plugins (Like Fremen does) to make a special sounding IR just for a preset pack.

Not really compare Helix Native to most of the competitors that include many pedals and amps.. Amplitube i think cost 399$ for the full bundle i had a hard time find the full bundle on their website but i found the basic version for 199$ Add to that their custom shop that continue to add new stuff all the time and EVERYTHING is gonna cost money the Mesa bundle ALONE cost 187$ well it says 149$ on their website but its on sale the original price is 187$ So what if you want the Orange amps aswell?Thats another 99$ i found that price on another website as IK was updating as i wrote this And add to that every new version of Amplitube is gonna cost you money so you pretty soon and up to 400$ just with adding a few bundles of amps. Revalver is cheaper but not much if you buy everything that is included in the add on shop. There is some plugins that cost around 100 but they dont have so much amps and effects and stuff like Helix and Amplitube and Revalver has.. Helix Native continue to grow all the time so if you buy a couple of different plugins from say Plugin Alliance or Softube or Mercuriall just to get the amps you want for say 99$-149$ = The usual price for a plugin alliance plugin when it is is not on sale as they almost never have guitar ampmodels when they have discount it is mostle Daw effects but those you can get really cheap when on sale you soon find out 400$ isnt so much for what you get for the price as ALL updates new amps effects and stuff like routings you get for free..

Not true as soon as this came out Line6 guys said it is gonna work on top of the hardware discount

How do you use snapshot in a plugin? Do you use a midipedal board that is hooked up to the computer? Or the helix floor unit?

Petrucci doesnt use active pickups high output yes but not active And the tone he reffered to in that video was from images and words back then JP used exactly the same pickups as Jon had in the video Dimarzio Tone Zone And Air Norton but some say he used a Steve Special in bridge postion on images and words.