Lachdanan0121

49 minutes ago, cruisinon2 said:

 

Lol... one would hope that they'd have a better reason than that. Everything gets pirated... unless we want to roll back the clock to 1882, software piracy will be with us forever. 

I completely agree. 

15 minutes ago, cruisinon2 said:

 

Hmmm... wonder why they'd sit on it? Selling 1's and 0's is the best margin on earth... there's no "thing" to build.  After you recoup the initial development costs and the advertising, it's essentially pure profit. Unless there's some fundamental flaw that they can't get rid of, but that would seem unlikely. Weird...

I wonder this as well.

I also read that they won't release it due to fear of piracy.

However, this could all be nonsense.  But I would think that if they have the AXE FX II/III, its basically hardware running software - software that (in theory) should be able to run on PC/Mac. Much in the same way as Helix. 

They do have the FAS FX reverb plugin, but the regular download price of it is half of Helix Native, and all you get are the reverbs.  Its tempting when they have the price on sale, but I have enough reverb plugins I don't really need it. Plus the HX reverbs are quite nice, and if they just add a few more flavors of those, then there is even less of a reason to get FAS FX reverb. Sorry I am starting to ramble.

1 hour ago, wilkinsi said:

 

And this is one of the reasons why I'm happy I ditched Boss in favour of Line 6.

Yea it really makes me happy that I chose Helix over the competition.  Knowing that the Helix hardware that all of us own still has a good bit of growing to do, and updates to them over the next few years to flesh all this out really makes me smile.  (Native gets them as well)

Native in itself is one reason why I will stay with Helix. I use it a lot, and for us mixing engineers, or even recording guitarists, it is a fantastic expansion to the Helix lineup. I read there is a Fractal Axe FX VST, but they won't release it, and its been that way for years. 

At The Gear Page - helix thread... It was stated that the firmware coming this week will be main for the core software, updates that allow longer support for Helix instead of releasing a Helix succesor.

I am not a bass player per say, but I do compose/mix bass guitar. I think the Helix could use just a couple more bass amps/cab variation.

That said Helix had a drought of bass content at launch, then it got an update that expanded the options for Bass quite nicely. I don't expect it in the next couple of updates (I would prefer if they add new models it is more HX reverbs, and high gain amps in the next couple of updates) though I think the Helix lineup could use one more Bass centric update at some point

2 hours ago, codamedia said:

A 20K cut does not mean everything above 20K is removed and every below it remains... There are a number of ways cuts are implemented... the most common is a slope. Without knowing the details of the cut (or putting it on an analyzer) one can only guess. (two different EQ's can have two completely different slopes)

 

Let's assume a 12db cut at 20K for these examples.

1. If the cut begins at 2/3's of an octave, the slope will begin around 12K until it reaches the full 12db cut at 20K  (2/3 octave slope is very common)
2. It the cut begins at 1 octave, the slope will begin around 10K
3. If the cut begins at 2 octaves, the slope will begin around 5k

At 20 years old you are not likely to hear a full 20K... 16k is more realistic. BUT... if you understand how the slope works, you will definitely hear the high end beginning to roll off because it's likely starting at 12K. If it's a 2 octave slope, even the oldest and most tired ears will notice the roll off beginning at 5K.

 

Summary: You need to know 3 numbers to know what is happening with a filter. 1: The frequency 2: The amount of cut 3: The slope ratio.

When you don't know one or more of these numbers it really does become a matter of "twist the knobs until it sound good" :) There is nothing wrong with that, you don't need to know what spices were used for something to taste good :) 

 

This is exactly what I was thinking as well. In Fabfilter Pro Q2 when I high cut at 16khz, the slope will start at lower frequency. That depends on the steepness of the cut, and even on steep ones this still occurs.

At 20 years it is highly unlikely you can hear 19khz much less 20khz. Most children can barely hear anywhere near 20khz.

I am 33, I tested myself, and had a hearing test done at 31. I can hear just above 18khz, but I start to top out long before I reach 19khz. However, the hearing test did state that my hearing was well above average for my age. Especially for a guitarist, and extra especially since I do Metal as well. Most people top out at 17khz before they turn 30 years old.

But I do take care of my ears. I have become quite vigilant about it since I became an adult. I am not a touring musician, so I think that has a lot to do with not losing as much being a musician. I am also pretty particular who I go see live, cause I am not a people person, and don't care for large crowds, or long drives. (good shows rarely come to NW Louisiana)

5 hours ago, GuitarjonSDS said:

It's interesting to me to see what people like!

I didn't really like the Lepou one at all since the low end doesn't seem to have any real definition.

Yea its quite tubby, but I think a nice OD pedal in front, and some judicious low cut it might help it enough. It had a sporadic, but noticeable spacial quality to it. I think that with adjustments like these it could help trim the fat of that sporadic-ness. It is the one we liked the least out of the ones we did like. 

I am not a Lepou user either, I mainly use Helix Native + Waves + Fabfilter.  But for a free amp-sim, and that could be coloring my opinion, its not too bad. (if that low end tubb can be tamed)

LOL of course this is all just from watching a video shootout online too. Not that I have ever used most of these amp sims/modelers.    

Speaking subjectively with preference of tone...

I didn't really care for the hardware amp head. 

I only liked 3 of the 14 options.

First is Axe FX III - that sounds pretty damn good. 

Second is Helix Native - sounds good, but I would have adjusted parameters a little more to get a slightly more pronounced, but tighter bass, and slightly more high end. 

Third is that Lepou plugin - that sounded pretty good, but I would personally have to tame the low end tub a good bit on that one. 

Once adjusted I think the Lepou, and HX Native would sound great as one L, and one R for a nice dynamic of rhythm guitars. 

My girlfriend liked the same 3 options I liked, but she also liked the hardware amp head too. 

2 hours ago, crowdx55 said:

So I looked at a video about re-amping and in the tutorial it says to use USB 7 for output and USB 8 to record the track back, in my daw Studio One I am not seeing that as an option. Is there something I am missing?

On Helix hardware USB output 7 is default for dry guitar track, USB output 8 default is dry mic input.

If you want to ReAmp using Helix hardware you set the input on the Helix to one of these 3 settings: USB3&4, USB5&6, and USB7&8.   

Then on the output of helix hardware set it to USB1&2.  Then in your DAW you set a channel to record USB input 1&2.   That will record your ReAmped guitar signal.  You can also use USB3&4, USB5&6,  Just make sure your outputs of your DAW match the inputs of your Helix, and the outputs of your Helix match the inputs of your DAW.

1 hour ago, crowdx55 said:

To update, I went ahead and ordered the Rack Helix, I liked the sounds in Native but to use in realtime in my daw I would have to disable all other plugins in a music project to bring latency low enough to play realtime. My thought is that I can record tracks with the Helix rack and re-amp any raw track at a later date if needed.

Your thought is correct. 

I will add to it and say when you record, you can always record the wet track too.  The Helix gives you the ability to send to the DAW the wet (effected signal) as well as the Dry signal (for ReAmping) at the same time.

Personally I only send the dry track, cause I love to automate with Helix Native. 

25 minutes ago, crowdx55 said:

So I actually monitor through a Babyface Pro, the 11Rack was routed via digital out to spdif (adapter) into the Babyface Pro. I am leaning towards the hardware unit of the Helix, considering for $99 I can also buy the Native it seems like a better deal.  Something I have found with the Native software is the input needs adjusting quite often with downloaded presets, will this be the same with the hardware unit? Also does the rack version have all the same hardware as the foot pedal minus the foot switch? e.g. looper?
Also is the Helix a lot deeper than the Elevenrack? I would like to be able to swap the units, I know the Helix is taller but from pictures it seems like it is also deeper?

Yes the Helix Rack has everything the floor version does except the foot switches, and exp pedal. You can cover that with the optional floor controller, and expression pedals. 

The Helix Rack is NOT as deep as the 11r.  The 11r is a two space rack that is about 10, or so inches deep. The Helix rack is 3 rack space that is about 7, to 8 inches deep. 

As far as I am aware you need some type of midi ( or floor controller/exp pedal) for the looper. 

Unfortunately there is no manual input adjustment, like in Helix Native in the hardware.  This is a much requested feature, along with clip indicators on the individual blocks, so hopefully it will come in some form in a later update.  Snapshots did! 

However you can change your impedance, and there is an input "pad" which reduces signal by a set amount. Also as long as you don't go Helix LT (go Helix, or Helix Rack) you get a pretty nice vocal mic pre that provides phantom power. 

Also the hardware monitoring is no different with the Babyface Pro, its not adding any perceptive latency when you direct monitor.  Its going through your computer to use Helix Native, then coming back out which is what is creating the noticeable round trip latency. 

Leo Moracchioli is using Helix, and so is his other guitarist.  I want to say they both used the Variax Shuriken setups with their Helix setups with their 2018 ventures.

He is one of the most amazing multi-instrumentalist I have ever seen, and quite possibly the best cover artist I have ever come across. 

I came across this not too long ago.

https://www.sweetwater.com/insync/secrets-sustain-pickup-position-matters/

Figure it would be some interesting reading for the OP.

Also yeah David Gilmour is a great example. I have always loved the tone, and sustain of the guitar in the solo of Another Brick in the Wall pt2. (studio album version)

With the Eleven Rack you were monitoring with the Rack itself, while recording your wet tone, or your dry tone. 

Now if you are still using your Eleven Rack and trying to monitor what you hear in Helix Native, then what you are experiencing is system throughput latency. This is why it doesn't feel right.  Both the Eleven Rack, and the Helix have perceptively 0 latency when using them to process, and monitor. The benefit of the Helix hardware for you would be to have that same preset you have in Native as a wet monitor while you record your dry track.  You can probably get somewhere close with making similar patches on the 11R, and just record the dry track, and using Native solely to ReAmp.  

If you had the Helix hardware you could have the same preset in both Native, and in the Hardware that you can wet monitor with 0 latency. Record dry track through usb 7, then ReAmp that dry track with Helix Native, using the same preset you have in your hardware, and you will get the exact same sound.  This is the way I do it (although I automate a lot in Native) But I use my Helix Rack as my audio interface, and my 0 latency wet monitor. 

Presets are easily transferable to both (hardware, and Native), just make sure you have your IRs in the same slots on both. 

Btw I came from the 11R as well.  I still have it. Its my backup system. 

31 minutes ago, cruisinon2 said:

The amount of gain will always be a factor, and a compressor can add some sustain too, but much of it boils down to the guitar... some ring forever, some don't, and other gear can only do so much. Exactly where you play the note on the fretboard will factor in as well. If possible, try playing that note on a lower string, farther up on the neck. Strings with more mass will vibrate longer. 

This, neck-thru, or set-necks have more sustain (generally speaking) than bolt on.

Check your pick up height as well. Closer to the strings can lend more vol on attack, but moving them a little further away from the strings can increase sustain. This is due to the magnetic pull from the pickups on the metal strings.

You can also get things like E-bow or other electronic "picks" to do something similar. Then there are the sustainiac pickup systems.

11 hours ago, BigRalphN said:

I agree with more classic clean stuff. Enough with the high gain. Bring more classic rock okdrr uses in and see sales increase.A Tone King Imperial would be amazing. A good amp needs to clean up and a couple if the high gains do that beautifully.  But I still find clean slightly sounds lacking. True clean. Tons of slightly clean there. 

No, not enough with the high gain.

Enough with the Marshalls. We could still use more high gain options. 

2 hours ago, njglover said:

USB 1&2 are for the effected signal. After that, you have to specify where the direct signal is being sent, so make sure you've set that up on the Helix or you may not get any signal to those because, well, it isn't sending any signal there.

 Even with the default Helix setting the Dry guitar should come through usb 7, and dry vocals through usb 8.

Not a bad little track at all. Some parts have some really nice things going for it.

About the Cali Texas Amp model in general.  I have come to really like it. I am a metal head, but I compose all different kinds of music, and I just love the way this Cali Texas amp model (especially clean channel) works with the Deranger Treble booster that came in the same update.  I can get a nice tone that blends a few tones like Clapton, and Gilmour, with bit of my own flare to it when I use my Dean Zelinsky Taglaire.

6 hours ago, jmp22684 said:

You're*

 

 

Hehehe. 

 

Maybe line 6 could add a grammar block to automatically correct output variances.

Touche'  you got me there.  I missed an apostrophe, and an "e".... oh my!

However the sarcastic point remains.

Its something to love. The fact that people focus more on grammar & spelling than the message even if clear as day, especially if rubbed the wrong way, and everyone is. Oh well, moving on.

12 minutes ago, bsd512 said:

Multiple splits and merges within a path.

 

This too. I didn't mention it in my first post. But this would definitely open up more tonal opportunities, and functionality of the unit as a whole.

Definitely a +1 from me.

Any DAW should do this as long as you have correct drivers installed, and it setup properly in your audio/ASIO settings.

I don't use those DAWs, I use FL studio, but I can very easily and intuitively (using FL studio's wonderful mixer) to use any of the channels. Matter of fact I never record USB 1&2. I usually only record USB 7 (dry guitar), and USB 8 (dry vocals). Then ReAmp in my DAW using Native, or other plugins. 

2 minutes ago, cruisinon2 said:

I love these threads... to much of this! Not enough of that! If only there was that other thing! 

 

... and the tuner still sucks. ;)

Glad your entertained. 

16 hours ago, rzumwalt said:

 

Yes, but I don't think of the Placater Clean and Texas Ch 1 as very vintage sounding, although I admit its a pretty subjective term. And I think Line 6's goal with the Marshalls is to say, "Hey, remember when you and your idiot friends put together that crappy garage band in high school and you spent all your money on the loudest amp possible and all you managed to do was get the cops called on your friend's lame house party that weekend his parents were out of town?...No?...Well, here's three more Marshall models...now do you remember?" 

There are plenty of vintage sounding amps in the Helix for me atm, what I (and many other metal players using Helix) could use more of is some modern high gain amps. I am not saying that I wouldn't mind more vintage sounding amps in later updates, however high-gain is where their focus should be in my opinion for the next update, or even two. 

Lets hope L6 gives it a rest with the Marshalls for a while.

27 minutes ago, BAmartin said:

 

I bet my personal fortune you're kidding... more clean amps???? Seriously??? You've got them all!!!!!

Bring the mean, ballsy, angry and obnoxious for the elderly High Gain Monsters!!!!! Diezel VH4, Randall Satan, EVH 5150 III, Engl E530, Diezel Herbert, Mesa Triple Recto!!!! And a Boss Ph1r Phaser... 

This, we just recently got Matchless, Placater clean ch, and Texas cali clean channels.  Before that we got some good mid gain, and early break up level amps. 

What we could use is some love for the high gain. I would love more Engl, Diezel, or Randall Satan.  But honestly I would like some more esoteric models (or at least some that aren't found in a lot of other modellers) like Diamond amps, and the Cartographer we got a while back. As well as some more Line6 originals that cover the entire spectrum from clean, chime, slight breakup, mid gain, and heavy monsters. 

I personally hope it isn't yet another Marshall.   We have more than enough in the Helix for now,  like almost a dozen compared to 1 Engl amp, and 1 Deizel amp.

I don't know about what to expect.

I just have some personal hopes/desires on the subject. 

They are in no particular order:

A couple new flavors of HX reverbs. 

A new high gain amp, or two - An Engl, Diezel, Randall Satan, Bogner XTC etc.

Some new L6 Original models

Metering - Input/output and some clip indicators on blocks. 

I would like to see some surprise distortion pedals, and some new compressors as well, maybe a new delay. 

I think a transient-shaper would be really cool too...

I would be happy with even one of those things above, thrilled if there were two.