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jws1982

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jws1982 last won the day on June 17 2013

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About jws1982

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  1. jws1982

    Foot switch actuators

    Indeed they do. I just replaced the tap tempo switch on my helix floor. It crapped out first. Almost all the line 6 products I've owned over the years have had at least one of their switches start to fail. I love 'em, but I've come to accept it as part of owning Line 6 products. Helix is no different. On Helix Floor, the switches are all on one PCB along with the scribble strips. Remove the two screws per footswitch assembly on the back of the PCB, the ground cable screw on the top-right, disconnect the two ribbon cables, and the board comes right out. Make sure the leave the Helix itself upside down, or the small springs and pads will fall out of the footswitch assemblies. You definitely don't want to lose those. I picked up a 100 pack of the small switches on Amazon for under $10. They're the same as the ones you'd buy from Full Compass. I just solder a new one in when needed.
  2. jws1982

    Different EQ settings L and R with stereo FX loop

    Nope, not unless: 1. Line 6 makes a stereo EQ effect that has separate controls for left and right 2. You split your signal into two chains after the FX return, pan hard L and R, and put an EQ block on both signal chains.
  3. jws1982

    Mono/Stereo Output ???

    Yes they’ll be the same. note that you only need a mono block at the end of the chain to make it mono. Some effects, like post-amp reverbs and delays, can sound better / fuller with their stereo versions. You can collapse them to mono by putting a mono block at the end of the chain. A volume pedal set to 0 gain would do the job.
  4. jws1982

    HX Stomp - Thin sounding (Solved - Phantom Pwr)

    I feel like a Radial Pro d2 DI box should be a standard purchase with every helix. Guaranteed best sound and compatibility with any PA system. ...come to think of it, why aren’t the XLR outs on the helix floor / LT just part of a built-in stereo DI box?
  5. I hope Line 6 keeps coming out with their own custom amp model designs. Their current ones are well respected, which makes a great foundation for releasing more. I’d honestly rather see this than see more models of existing amps. I’d love to see more of the unique stuff you can do with modeling that you wouldn’t see in physical tube amps.
  6. The tap tempo switch is the only one that gives me trouble sometimes. Sometimes it’ll not register the press, and sometimes it’ll register two or more presses. I’ll set the tap tempo, then find that it’s set to something ridiculously fast. Or, I’ll try to bring up the tuner, it’ll come up, then immediately go away when I release the footswitch. I don’t know if this is due to a bad footswitch, as I don’t really use any of the other footswitches the same way. Perhaps it’s just a design flaw in the switch itself. L. It’s not a big deal, but it can make for some interesting unexpected sounds with a delays and other modulation effects. :)
  7. jws1982

    Are the Helix 1/4" outs balanced?

    Cool. I’m going to test this on mine at home tonight as well.
  8. jws1982

    Brand new to Helix - device not found

    I still have problems with helix being properly recognized on various PC’s, USB hubs or not. I keep an older laptop running win10 build 1709, base install, no updates or other software, just for connecting to helix. It works, so I’m not about to change a thing on it. :)
  9. Sounds like you have the gain parameter set to be controlled by a footswitch as well, and you don’t realize it. The minimum setting for the gain when you do that is zero, so it’s going to default to that every time to load the patch.
  10. jws1982

    Powercab vs SD Powerstage w/ Speaker Cab

    I usually end up running similar cab models on my patches. So, if I had a cab that I loved, I’d consider using it. It’s hard to beat the versatility of the power cab though. Playing out live, I’d most likely choose the powercab for weight and flexibility alone. It’d have to be some really awesome cabs to make me haul them to gigs these days.
  11. jws1982

    Stomp and power - heads up

    +1 i’d isolate the pedal snake to only the 9v power, and run separate cables for all the audio connections just to test and make sure the noise is actually only from the distance run for power.
  12. I see a lot of threads where someone’s getting bad sound when try to build a patch or when they change what they’re monitoring through. So, I wanted to start a reference thread for everyone to describe your equipment and process for building good-sounding patches. ——————————— I always build patches with the end-listener and sound source in mind. Typically, this is a live sound environment. I’ll mimic this setup to build the patch. I use a Yamaha DXR10 in wedge mode at lower “stage volume”. I’ll turn on the low-cut on the speaker, as I can expect any sound guy to automatically put a low cut on the guitar channel when I play live. I’ll then build the basics of the patch (amp, cab, and comp), then change speaker orientation and volume to fine tweak it where it sounds good across the stage volume range. I’ll then add effects, and again tweak like before. I find the DXR10 does an excellent job of being a general representation of the stage sound wherever I might play. I’ve yet to make a patch on it that didn’t sound good on other PA systems unless the sound guy didn’t know what he was doing. I’ll also test the patch by playing music in a similar style through the speaker, and see how the guitar sits in the mix. Usually some very small EQ tweaks are needed after this. After building patches this way, I find that other monitoring sources (like my in-ears) sound good as well, especially once I’m on stage playing. When I play live, I’m either using in-ears, or monitoring through the DXR10. Either way, it sounds great, and I don’t have to worry about what I sound like out front. Oh, one more thing. I take breaks when I build patches. Ear fatigue makes bad sounding patches.
  13. jws1982

    P90 pickups and Helix

    Try putting a blue comp (legacy effect) in front, then going into the detailed Ingrid amp/cab model. Set the master to around 4-4.5, and the drive to between 3.5-5.0. Drop the presence, everything else around 5.0. Change the mic to a 121 ribbon at 1”. See how you like that.
  14. jws1982

    P90 pickups and Helix

    Gibson p90’s, with their alnico 5’s and 500k pots, are just too hot/crisp/bright for me. I usually end up switching them out for Duncan antiquity p90’s and a 250k volume pot. It smooths them out a bit and lets them play nicer with rigs set up for humbuckers.
  15. jws1982

    Brad Paisley

    Also, make sure you’re using a warmer mic setting, or warm IR, then pull frequencies back as needed via EQ. The helix mic model placements are all centered in the cone I believe. A ribbon mic would smooth out the highs for less of that crunchy sound you’re talking about. As another amp option, try the derailed ingrid model too. Drop the master and the drive to around 4. Put a pretty strong compressor in front of it too. Then use eq’s to smooth everything out.
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