henricus1180

Not sure about 'at a glance', but where you have multiple assignments for a given switch, you can see them all by touching (not pressing) the switch multiple times. Each touch will show a different assignment. Where it controls a parameter rather than a bypass, when it highlights the block, it shows the parameter assignment instead of just highlighting the block. Apologies if I am stating the obvious here, and not exactly answering the question, but I couldn't see that process mentioned in any of the previous comments, so maybe not everyone knows it.

The Stadium manual implies that the ASIO Settings in the DAW should allow buffer size to be selected. I'm using Ableton (in Windows) and the Stadium ASIO settings in there show the buffer fixed at 64, with no option to change it. This is fine for recording, but it might be good to be able to increase it for playback where latency is less significant. Is this just Ableton, or is the Stadium manual misleading?

Can someone please confirm that the USB-C interface is USB 2.0 and not something higher than that? I'd like to use a 1.8m cable, which will be fine for USB 2.0, but not (I think) for USB 3.0. I've looked in the USB Audio section of the manual, but I can't see anywhere that it specifies this.

I had a go at doing this a while ago, but I couldn't find any category in the Command Center that provided a metronome command (I thought maybe Utility would, but that just has Save, Mute All and Stopwatch). So I just swap to More Mode and use FS3. If anyone knows where to find a metronome command in Command Center, then I'd be glad to know too.

Thanks, but I've already seen that somewhere else (it's also similar to the wording in the Help text), and it doesn't properly explain what I was seeing (or hearing, rather). However, I think I've worked it out, at least in principle. If the values are treated as if they were frequencies - so 0 equates to a low frequency and 10 to a high one - then the behaviour does actually make sense: In the HP Filter parameter, a zero value will let through most frequencies, whereas in the LP Filter it will attenuate them. Conversely, a 10 in the HP Filter will attenuate most frequencies (they have to be higher than whatever 10 equates to in order to pass through it), whereas in the LP Filter it will allow most frequencies through (pretty much everything is going to be lower than that high value). So in my tests, HP Filter 0 and LP Filter 10 had the least (if any) effect on the output, whereas HP Filter 10 and LP Filter 0 silenced the output even before the last step. This then explains what I described in my original post: - With both values set to 0, the HP Filter is effectively neutral but the LP Filter is at its most severe, so the output loses more and more treble until there is nothing left. - With both values set to 10, the situation is reversed, and the LP Filter does nothing, but the HP Filter gradually squeezes out the bass until there is nothing left. - With both set to 5, both filters are in play, but neither is so extreme as to attenuate everything, and to some extent they cancel each other out. Essentially then, it seems as if the values work in opposite directions for the two parameters, and I guess the simplest way to use them would be to have one set to its 'neutral' value (so 0 for HP Filter and 10 for LP Filter) and the other set to whatever you want to create the sweep you are looking for. It would still be good to get some confirmation of this, and maybe an explanation as to why we have values 0 to 10 rather than actual frequencies in Hz.

I'm struggling to make sense of HP Filter and LP Filter parameters for Tesselator. The Help text implies they are frequencies, but the values are 0 to 10, rather than Hz. It also sort of implies they may be intensities, with HP Filter dumping more bass and LP Filter dumping more treble as the values approach 10. But with both values set to 0, I find that the output almost disappears by the time it gets to the last step, and it seems to be filtering towards bass (but it is difficult to tell), which would fit with the values corresponding to frequencies in some way. (Is the frequency range determined dynamically by the effect?) With both values set to 10, I find the converse, with the steps tending towards treble, but still almost disappearing with a stable pitch (but not so much when the pitch itself increases to +12 semitones). 5 seems to be a more neutral value where the output is audible through all the steps, but there still seems to be some filtering going on. I've tried various combinations of values, but I can't get to a state where I feel I have reverse-engineered the behaviour of these parameters into a specification, so I'm stuck with plain old trial and error when it comes to setting up my Tesselator snapshots. Please could someone put me out of my misery and tell me what the values actually mean, so I can properly predict their behaviour. Thank you.

OK, thanks for getting back to me. The manual implies that the Shutdown button is only available once you have ejected the card, which is what confused me. Thanks again for your help.

OK, that makes sense. But...the manual says you need to do this to exit the Maintenance screen. So what do I do instead once the Backup has been created? Do I go through the dialog to eject the card, then just leave it in place? Or is there a way to bypass that dialog? (I don't want to start this process until I know how to get out of it, so apologies if it is obvious in practice.) Thanks

I raised my own ticket with Line 6 to confirm it affects Ableton, and their response confirms the workaround provided by Silverhead: This is a bug with the additional USB audio busses (all after 1/2) -The workaround is to have a track or tracks with the "previous" USB busses armed in addition to the other USB outputs. For example : -USB 3-4 and 5-6 will not record without USB 1-2 armed, USB 7-8 needs to have all previous USB tracks armed in order to record in the DAW -this will be fixed in a future update -but we cannot provide any timescale for firmware updates and which fixes will be included in the next update Best regards Line 6 /Ampeg Support Europe

OK, thanks very much for your help.

OK, thanks for getting back to me. I have a sort of workaround whereby I add an extra (empty) path to my Stadium Preset, with the Input Block set to Instrument 1 and the Output Block set to USB 1/2 (with Global Ins/Outs for USB 1/2 changed to Direct Out). This lets me record a DI track from the empty path, while monitoring with the effects on the other path (Output still set to Matrix). I then change the USB 1/2 settings back, and re-amp immediately to get an initial version of a 'wet' track. This does seem a bit of a 'miss' though. There is a whole section of the manual dedicated to using USB7 or 8 for direct out in parallel with a stereo effected output on 1/2. It surprises me that there isn't more reference to this issue when I search for it, which makes me wonder if it only happens with specific use cases. Do you have any feedback from Line 6 for your bug report on either the scope of the issue (does it really affect everyone, or just particular DAWs etc), or the timescales of a fix? Thanks again, H

I have the same issue but in Ableton Live, and the workaround doesn't work for me - I already had a track armed for 1/2, as I wanted to capture both the DI and the effects on separate tracks as described in the manual. The effected track from 1/2 records fine, but there is nothing on the DI track from 7. I have checked the Global Settings>Ins/Outs has 'Re-amp Src Out USB 7' set to Inst 1, and my guitar is plugged into Instrument 1. Ableton's Audio settings are using the ASIO config, and 7&8 are set up for Mono inputs. Input Channel is set to 7 for the DI track.