GlennDeLaune

Ah Ha!! There is the magic of Helix.This opens up a whle new world of ideas. Thanks a bunch.

I use this for the song Stranglehold. I need to be able to assign a simple delay to the expression pedal. I need it to control the feedback AND the Delay Mix. So, when the expression pedal is in heel position the feedback is Zero and the Mix is Zero. Then when I bring the pedal up to toe position it brings up the feedback AND the Delay Mix at the same time. How would I do this?? For the life of me I can't figure that out.

250ms was just a guess going by ear. Even the factory presets have a lag between them though. You can surely hear the gap right??. It's defenitely noticable. Are they ever going to be seemless??

Well I finally got my hands on my Helix and I like it very much. Sorry if this has been asked before but. . . I just have a question about the lag time between presets. Is that going to be addressed soon?? I surely hope so. It's almost 250ms.

OK, I think I understand and Thank you for the direction. Sad thing is, my Helix arrives the day AFTER I leave on a 14 day Holiday. Bad Timing on my part!! I've been told my "timing is impecable". Not in ths case. I have to say . . Thank you Line 6 for all of your past support. I continue to use your products Live and in the Studio and I look forward to diving in deep into Helix.

So just to clarify, not even my own custom IR's from my own gear will be embedded in the patch? So all of the Line6 Cab samples ( that are included in the Helix unit) ARE embedded in the patch?

If you create a preset and you use a custom IR for the cab (from your personal collection), is that custom cab IR saved in the patch? Or does the end user have to have the same Cab IR to recreate the patch as it was intended to be heard?

Easiest way is to use a Parametric EQ. Turn the Mix up very high and use a narrow Q. Then use the Frequency to find the offending high fizz. Once you find it, turn the Mix down and you will hear the fizz dissapear. Careful though, don't take too much away. Those amps in th real world have lots of "top end tube sizzle". You don't want to kill that too much or it will start to sound muffled in a mix.

Hey razo, welcome. Unfortunately iPhone ear pieces won't cut it. If your going to use headphones to build your tones you'll need some Good Quality Enclosed Ear Headphones. The best way to "build your presets" would be to wait till you get your amp. Hook up the HD500X and turn your amp up to GIG Volume and start from there. Just start with the amp model of your choice and NO FX, then once you get your sound then you can start adding FX little by little. Once you build a nice patch that you're satisfied with you can use that as sort of a "template" for more of your own patches.

:) Thanks.

That's where I oredered mine from.

Can anyone tell me the dimensions of the Helix, Trying to have my board made. Height, Width, Depth please. Thank you.

Guy from Brazil broke his Drive knob on the HD500x and is asking me for help because he doesn't speak english. I told him I'd try to get him the inifo he is needing. He is asking what the spec are on the Pot for the Drive in the HD500x. He sent me a picture of his problem. Any help would be appreciated.

You should be able do accomplish this via MIDI. The JVM can learn MIDI CC messages from the POD. I used to do this same thing with my JVM 205H. It works very well. All you do is this: (after you connect a MIDI cable from the POD to the JVM) 1) On the POD, navigate to a channel other than the one you are trying to currently set. 2) on the JVM go to the first channel you want to set up and press the "Footswitch MIDI Program" button until is is blinking. At that the JVM is ready to accept the MIDI message from the POD 3) press the pedal on the POD you want to activate the channel the JVM is currently on. The MIDI switch in the JVM will blink fast and then that's it. You can now call up that channel on the JVM by pressing the pedal you assigned on the POD. Step one is very important.

You guys should watch this demo.

Yes I use L&R outs of the POD into my recording interface. I always record in stereo L&R. Balenced XLR is always better Live but honestly . . . . Shhhhhh, . . . .Wait for it . . . . . .I've just been using good quality 1/4in. guitar cables in all of my recordings you guys have seen & heard for years. I only use Balanced XLR's in concert!!

- when to use one: under what circumstances (clean vs dirty vs full distortion) Usually on a clean to moderate gain patch. Not really good for Gainy or Lead sounds because it removes the dynamics of your playing style. - where in the signal path Always at the begining of the chain, usually right after your volume block. - how to set the parameters Here are my custom settings for the Boost Comp: Drive-39, Bass-50, Comp-38, Treble-39, Output-69 - and which one to use My Go Too Comp in the HD series is the Boost Comp. Just do some experimenting with it and "Hear" how it works. That's the best way to learn.

I never use the USB recording method in any of my recordings. I have A/B'd it though and "in the mix" there is no audible difference. It's just so much easier to just go stereo L&R out of the POD and right into a Good Quality Aduio Interface. I am currently using a Focusrite 2i4 and also a Tascam US-2x2. Both record at 24/96 which is what you want when looking for an exrernal audio interface.

Wow, Thank you for that J!! That can really come in handy. I just started with a new sound engineer and he and I will appreciate that printed sheet. Great idea!! Playing this Saturday with the St. Louis Symphony Orchestra at Powell Hall in St. Louis, MO and will definitely use your method. Any of you guys in that area try to come on out!! I'd love to meet some of you out there. We're doing The Music of The Eagles. it's an awesome show!! Thank you Line 6. I am using exclusivley your equipment for these concerts inculding a Variax JTV69 HSS (for acoustic 6 & 12 string, Les Paul & Strat sounds) and a POD HD with the FBV MKII floorboard out front. Oh . . . and also a Line6 G50 Relay Wireless. Great Stuff!! Can't wait to see what you guys (Line 6) are up to next!!

Thank you very much. You asked how I address the volume issues of the patches? Well it depends on the patch set. For example, my "Custom Artists" patches are all created at almost the same volume. I do this when I am programming the patch and I go from one to the next and set the volume level close to the same on each patch. Once i finish creating all of the patches in a set I go back through them one by one and double check the volume level. I set those with the amp volume around 11'oclock. Now for the "Gig Ready" patches I've created, which are my "Standard Patch Set" and my "Direct to Clean Channel Amp or Amp FX Return" patches, those are already optimized for the same volume across the board. Usually each bank will have one patch, usually on the far right bottom switch that will be a lead patch so the volume on that one will be much louder than the others. Since those are lead patches they need to be louder and it took me many months of tweaking them to get them right. Here's how I did that. During the gig I will hit a patch for a certain song and the sound engineer (when I could actually see him) would give me a thumbs up if the patch needed to be louder or a thumbs down if it needed to be lower in volume. Same thing for the lead patches. I want my leads to jump out in the mix. With setting up the patches this way I don't have to rely on the sound engineer to boost my leads. I do it on my own using the patches.

Thank you very much Lee. Don't forget to check out my Custom Variax models that are included as a bonus in that Vintage Pack Custom Patches download file. They're HD models so you'll need to be up to date with your Variax FW.

Most of the time I run stereo XLR right into the FOH and then I split a line off into some QSC K-12's or a clean channel amplifier driving guitar cabs. For those applications I have patches set up using only maybe two or three of the POD's amp models. I always keep the cab's on and pretty much stick with the default parameters except for some special tweaks. The only time I use the "Power Amp Stack" output mode is when I am not running direct to PA but using a trditional guitar amp with a mic'd cab going into a clean channel or the amp's FX return. I have a seperate set of patches for that application but since I'm using the clean power of the amp I still use the POD's amps and cab settings. You would use the "Studio/Direct" output mode and then use the Global EQ Low & High Cut to shape the sound. The sound person would be the best one to tell you how much low's or high's to cut.

First off, Thank you very much Mark. OK here is the reasoning behind my Global EQ settings. I leave that on ALL the time but do have to slightly adjust it for running into a real amp FX return or going direct to PA or going into an FRFR stage monitor. That's the beauty of the Global EQ and in my mind that's what it should be used for. To "Globally" shape your sound to the environment. That said, if you look at my Global EQ settings I'm cutting everything from 85HZ and below with the low cut & low gain and I'm also cutting everything from 8KHZ on up with the High Cut. Then I use the Treble & Presence controls on the amp to add some of that high end back. With those Global EQ settings the treble & presence controls of the amp models work much much better and actually add the "musical" high end sizzle that most tube amps have without it getting too brittle.

Yeah that Orange OR80 model surpirised me too! What's more surprising is how that JC120 model with a stomp in front of it almost approaches that warm, dare I say, "Dumblesque" territory!!

Thank you. Yeah the whole thumb pick things comes from when I was a kid and studied classical music and after that I studied Chet Atkins, Jerry Reed style acoustic "Chiken Pickin". As I got older and started playing rock and hard rock & metal I just stayed with the thumb pick because it felt comfortable.