boynigel

yes, always

Welp, 3 factory resets later and the problem persists. Hmmm...

i did, but forgot to mention that. maybe i'll try again in a few days. In the meantime i've everything pretty well dialed in so I won't need to use that feature in the near future.

I did the update last night and all seemed good until today when i noticed that the behavior of the 6 physical knobs has changed in that when i push down on a given parameter knob to assign a snapshot-specific parameter, say on a delay or whatever, the number value no longer changes to white (w/brackets) signifying that i'm changing the parameter unique to that snapshot. Hiccup or user error? My quick fix was to do said edits via Edit on my computer, which appears to be unaffected by this issue. Anyone else experience this yet?

I've improved my presets immensely by using Jason Sadites' tips on using his "sweeteners" on a given patch.

Is there a current reference out there somewhere that lists where L6 drew inspiration from for a given L6 Original amp model? The names surely tell you what style they'd be best for, but i'd be curious as to what a given Original draws from. Maybe it's, if amp-x had a baby with amp-z, and so on. just curious if they ever gave up that info.

i was having issues w/pro tools which are now resolved, but when i went to open the Native plugin, it wasn't showing up. digi tech support has told me to delete Native from my plugins folder, which i already did. just now i went and downloaded the latest version of Native but when i try to open the installer it won't open. is this because 3.71 requires an earlier version to be installed first, or is there something else going on here?

dumb question, but just in case... your IEM's aren't slipping out on you, are they? I notice this when i get sweaty and mine slip out a bit, taking bass frequencies with them in the process and leaving all the highs.

hmmm...i'll see if i can recreate the lockup with the LT not connected to the computer, but if i recall correctly, i think it did lock up once at a practice when it wasn't connected to a computer. i could be wrong. that said, i've never had HX Edit crash on me, so maybe we've two different issues? Were your lock-ups triggered by scrolling presets, too quickly, via foot switches like me?

My LT, which is completely up to date as of this writing, locks up if i toggle presets too fast. usually happens after the 5th press or so of the footswitch. appears to be directly related to the foot switches because i can scroll fast via the rotary dial and it won't lock up. this has been a constant through at least the last 2-3 updates.

from what i can tell, galaxies are sort of like channels within a channel, so i'm wondering if this can be done.

I had a feeling this was the case. For me it's 50/50 as to whether i need the block active on all snapshots. TY

Whenever I add an effects block to a given snapshot and save it, it always gets saved as being Active in all my other snapshots by default. Is this by design or am I missing a step? It’s easy enough to go through each snapshot afterwards and simply bypassing the effect and saving it in that state per snapshot, but I'm still wondering if there’s something i'm doing wrong.

Okay, this is a weird one. Easy enough to have solved the problem already, but I’m trying to wrap my head around how/why it happened, and if anyone else has ever experienced this. I’ve a song-specific preset I’ve been using for over a year now. In this patch I have the Courtesan Flange assigned to a foot switch and I engage it 1X in the song for about 2 seconds, and that’s it. Last night at practice when I engaged it, I experienced a roughly 3-4 db volume boost, causing all eyes to fall in my direction when it happened. When I got home, I went over the preset in Edit in an effort to find out what happened. I toggled the Flange on/off while watching every other block in the chain, one at a time, to see if any parameters were somehow getting changed when i engaged the effect. Not surprisingly (because I haven’t touched this preset since I wrote it), none were. My quick fix was to lower the level on the Flange block itself from 0 to -4 db. Maybe when I get home today I’ll delete the block and then recreate it to see if the new iteration can sit at the original 0.0 level setting without startling everyone when engaged

okay, so is that to say that using the L and R XLR's as individual mono outs is indeed a bad idea? If so, would utilizing the combination of the L/mono XLR, with the L/mono 1/4" be a better option until i can get my hands on that adapter?

please see my response to DunedinDragon

i've got a rehearsal tonight for which i'll be using IEM's for the first time. guy doing sound said he'll need two outs from my Helix, preferably XLR. i only mentioned "mono" because that's how all my patches are written. no stereo. His "preferably XLR" request is what prompted my question as to whether there's any reason why a L/mono 1/4" out, along with the L/mono XLR combination would be better for any reason. I'm just wondering if using the two XLR's together in mono would confuse the Helix in some weird way, making it look for a stereo signal that isn't there? It's probably fine but i wanted to check just in case, as i don't want any weirdness with my sound tonight. for whatever reason, he wants 2 feeds. that's all i can tell you unfortunately.

i need to send 2 mono outs from my LT. if all my patches are in mono, is there any reason why i still shouldn't use the L and R XLR outputs together? would i be better off using the L/mono XLR and the L/mono 1/4" instead?

I’ve just begun experimenting with taming the fizz on overdriven tones. I’ve had pretty good success by using the high cut at 4.6 khz on the amp cab block, sometimes combined with a 9 khz cut using the Hi Lo Cut EQ block, or w/the EQ block by itself (no cab cut). FWIW, my main “dirt” tone is usually via Placater Drity with the gain at 4, w/a Pillars in front of it w/it’s gain set at 3, volume at around 5-6…just so you know I’m not doing “high gain” by any means. For me, I don’t think the global eq is the way because I prefer little or no high cut on my cleans and as far as I know, you can’t toggle global eq on/off via snapshots I’m not looking for specific frequency suggestions as we all use different guitars, pickups, amp models/settings, etc. I’m just looking to see if there are any of you who’ve found other effective methods which I mightn’t haven’t considered…maybe via a different mic model, or some non-conventional method that maybe on paper shouldn’t work, but happens to do a great job. More options are never bad.

Right, and i get that it's a polarizing effect w/most people. I used to run one (rack mount 462) in the effects loop of my Mesa Trem-o-Verb way back in '94, and i probably overused it LOL. Adding to BBE's polarizing reputation is that it slightly boosts the effected signal, and we all perceive louder as being better, right? That said, in small amounts it really can add the little extra "special something" to your sound in certain situations, and that's what i'm hoping to experiment with if i can get a convincing replication of the effect out of the Helix.

Has anyone here had any success in creating the BBE Sonic Maximizer effect with their Helix? I saw a post on the Fractal forum where a guy used an EQ curve to achieve it. From his post: For the 'Lo Contour' (bass) knob, enter the following values for each of the parameters in the first band on the first page of the PEQ block: Freq 1: 50.00 Hz Q1: 0.248 Gain 1: 1.50 dB Frequency 1 Type: Peaking For the 'Process' (treble) control, enter the following values for each of the parameters in the second band on the first page of the PEQ block: Freq 5: 9000 Hz Q5: 0.248 Gain 5: 1.50 dB Frequency 5 Type: Peaking So, I gave it a try using the Helix’s Parametric EQ block, but I wasn’t really hearing it. The EQ in the Helix doesn’t have the ability to select Peaking as on the Fractal…I’m not so sure how much of a factor that would be (or not). To a lesser degree, the Helix would only allow me to input single-digit values for the Q values so I just created two different block settings- one with the Q rounded down to .2, and one rounded up to .3. Then of course there’s BBE’s claim that their “effect” re-aligns the low and high frequencies w/each other so that they arrive at your ear at the same time. Perhaps, or maybe that claim is just hype and it’s really just an EQ curve, which is what brought me here. @craiganderton ?

nope. very polite levels as drummer is going through VDrums.

Late response here having worked back to back double shifts at work. anyway... whatever the problem was, was remedied by a factory reset a couple nights ago. all is good.

okay, here's some clarification...hopefully. from my LT, 1/4" stereo outs going to my DAW's interface for monitoring through my nearfields. then, i wanted to add a floor wedge (FRFR) via the LT's XLR out. why? i'm simply looking to A/B what i'll be hearing through my FRFR at band rehearsals with what i'll be hearing through my nearfields when i practice at home. more an experiment to see how close i can get them. I am NOT using Native in this situation. my DAW gets sound from the LT (via the 1/4" outs) but as soon as i plug in the FRFR via the LT's XLR out, the LT stops sending signal from its 1/4" outs to my DAW's interface (Scarlett 8i6). Output still set to Multi on all patches. In a nutshell i'm looking to send my LT's out, simultaneously, to both my DAW and a single FRFR.

Hello. "defeats" as in my DAW is getting signal via my 1/4" outs, but as soon as i plug in an XLR cable the audio gets cut off to the 1/4" outs. my outputs were already set to Multi