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mikeolivercgp last won the day on May 3

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About mikeolivercgp

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  1. I had the same positive experience with both the Helix Floor and the Stomp (including backups and restorations of my IRs, global settings, and set lists). It may be my imagination, but every preset I played (including the song presets I used for a recent event) seem to exhibit more clarity. That clarity reminded me of my experience with a BBE Sonic Maximizer (an aural exciter that reduces program material phase cancellation).
  2. Thanks for sharing! Considering that Summer NAMM 2019 starts on July 18, I would really be surprised if 2.8 isn't soon to be released.
  3. For further consideration, if you're changing between "presets", there is no "spillover" on delay or reverb tails. Instead of moving between presets during a song, it's advantageous to create a preset for the song, where in essence you've created a "rig" to be used for a particular song (amps, speakers, fx, etc.). Then use snapshots and stomp switches to manage the rig during the course of the song. For example, I have my Helix configured to show Presets in the top row of foot switches and snapshots in the lower row of foot switches. I create a preset for each song in our setlist (which also gives me the option to establish the tempo for the time-based effects used during that song, which is especially handy since we're always playing to an in-ear click track). I then arrange the order of my presets within a Helix setlist to match our event setlist. This lets me see our band's setlist via the Helix, further aided by naming the preset using the song name and including the starting key as part of the preset name. For each song preset, I use snapshots to manage the features of the 'rig' I've created for that song. I usually name my snapshots to reflect the sections of the song in which those snapshots are used (e.g., Intro/Turn, Verse, Chorus, LeadBrk, etc.). Depending on the needs of the song, I might be using a single snapshot footswitch to change the level and feedback ratio on an overdrive, turn off a chorus effect, change the feedback and level of a delay block, alter the routing level ratio, turn on one amp and turn off another, change to a different speaker IR, and so forth to support that section of the song and to do so "seamlessly" (including delay and reverb spillover if I want it). As a result, I do far less "pedal dancing". Given the name of each snapshot, I also know when I should use that snapshot during the song. I can understand some of the initial frustration in using the Helix because of how presets tend to behave in most other fx units that employ recallable settings. Seeing that Line 6 uses the term "setlist" to describe storage of presets, perhaps it would have been better to refer to Helix presets as "song rigs" or "song presets". It's snapshots and virtual stomp switches that provide seamless preset feature management, Hope this helps -- thanks!
  4. I would be reluctant to attempt that. There’s a big difference between passing parameter data between a Helix device and the HX Edit application versus the consumption of CPU to attend to the demands of A/D & D/A conversion and real-time streaming data capture that would be characteristic of DAW applications and Helix Native (I’m saying this as someone who’s worked for over 30 years in information technology as an application developer). I was only interested in having use of HX Edit in a small form factor that would ride easily inside the flight case containing my Helix Floor. Thanks! :)
  5. Yes, USB (as would also be done if one were using a laptop).
  6. If you’re looking for a solution to use HX Edit while “on-the-road” without resorting to hauling around a laptop, take a look at the various Windows 10 tablets that are < $150. In the accompanying photo, I’m using a NuVision Windows 10 tablet (8.5” x 5”) to run HX Edit that is currently priced at $125. https://www.amazon.com/NuVision-Definition-Touchscreen-Quad-Core-Processor/dp/B071DW87JG
  7. Where would I find Jason’s Jeff Beck preset? I’ve looked through his L6 tone uploads and all of his YouTube videos and have yet to find that item. Thanks!
  8. Some of the 'variation' we experience is also related to the state of one's physical well-being. For example, things sound different when you're tired versus when you're rested. While the proposed concept is 'interesting', frankly, I don't want random preset instability. I need to know that my presets are consistent. Otherwise, I'll be wasting time trying to correct something that's being system-generated. I don't need the Helix to manage my IEM mix, generate a click track, or a host of other "gee whiz, it would be nice if the Helix would make me toast" requested features. I want the Helix to do what seems to do very well, which is provide me with tools to shape the sound of my guitars to serve the needs of respective songs. :)
  9. Am I the only person who finds it "bizarre" that Line 6 personnel will share this information on sites like TGP but they won't share it within the forum they sponsor? This makes no sense (LOL!) :)
  10. I noticed this bullet in the 2.5 release notes: "If a Snapshot has been given a custom switch color, that switch ring now displays a dim color when not active" Where do I go to change snapshot LED colors? (I've looked but haven't found it)
  11. I don't know the extent to which this might be of interest, but I just added a request in IdeaScale for Line 6 to consider adding the Solodallas Shaffer Replica to the Helix dynamics FX group (see http://solodallas.com/the-schaffer-replica). Although this is been part of the magic behind Angus Young's (AC/DC) sound, it's one of those somewhat vintage FX that could find tone-shaping use in other contexts. If you'd like to "vote it up" for Line 6 consideration, here's the URL to the idea I posed in IdeaScale: https://line6.ideascale.com/a/dtd/Add-SOLODALLAS-Shaffer-Replica-to-Helix-FX/921546-23508#idea-tab-comments Thanks!
  12. You're going to have a difficult time anticipating the characteristics of the room and how the PA is tuned to address the Fletcher-Munson phenomenon. For example, two venues at which I play just about every week have FOH line arrays that are RTA-tuned to venues running program mix levels around 92 dB with peaks up to 96 dB. In the case of those venues, the Fletcher-Munson phenomenon has already been addressed. If I've done what someone has already suggested (i.e., "dial in a good sound in a flat response monitor context"), there's nothing I need to do further -- it's going to sound right (for both of those venues, our FOH folks rarely apply any channel EQ on the L/R signals I'm sending them directly from the Helix). Even when playing at other venues through other FOH systems, there's no way I can anticipate in advance either the sonic characteristics of those spaces and/or the FOH levels at which those systems will be operated (furthermore, I have no way of knowing "in advance" the extent to which those systems have been 'tuned' to the room). Again, if I know I have a "decent sound" dialed in a flat-response context, I can at least tell the FOH engineer to start with my channel EQ set flat and go from there.
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