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Cool...Also try turn the cab RES to 0...that helps clean things up also... BTW: names are in the bars across the page TonyParnham-1945....The titles are above the avatars....Welcome!

If you are using FULL amp models try turning down the Master DEP....

Well, I think I could get a "human tone" with a double helix setup. I could actually wire it up with exactly 46 cables. :lol:

I use 3M in your situation (1987 Steinberger with EMGs)...matching is fine but sonic results improve slightly when between 1M and 3M with a 10K load IMO. Most active pup preamps are 10K...No real rules for this, you should use what sounds/feels better to you...One great use of the Z is using a lower Z on a bright strat...tames it a bit and allows you to ease up on the amp tonestack EQ some...

I was just wondering, if I ran two Helix Pros in my rig, would I get a more organic tone? :lol:

Wait a second....This doesn't look anything like what we have seen in the pics and videos http://www.ridehelix.ca/

Welcome....4CM can end up being a fairly complicated thing as there is a lot of little things to tend to that will differ from amp to amp...Some of these guys have answered this same question 3 or 4 hundred times now...granted, they could have just posted the link to the guide....however, you could have search the forum and found the 300 or 400 threads in this forum on this exact same topic for many different situations...anyhoo, no harm done and again welcome... BTW, Just Startin' (User Name: rd2rk) and Gear Head (pianoguy) are User Status...The user name is in the bar...The user status is above the avatar.

That's actually not quite right in terms of the POD "balance" controls....Each chain is stereo. If the balance controls are in the middle, the output signal will be stereo. This does depend on FX selection an placement, but it is a common misconception that the balance controls in the POD mixer have to be hard LR to get stereo....They are actually not pan controls, they are balance controls on stereo chains...but this is technical nit-picking...

lol! yes, groundbreaking...Always loved the "Wall of Sound" concepts...

If you cut your teeth playing thru a real amp (bandmates included), then getting accustomed to playing thru an FRFR vibe is a psychological and physical adjustment because it is quite different. Psychologically, it is one of those things where it just does not feel the same. It might just be a translation that comes out because the player is a bit uncomfortable or the fact that electric guitar cabs don't have tweeters. On the physical side, the reality is that an FRFR rendering of an amp model is actually the rendering of a microphone on a cab model that is in front of an amp model. So there's the pesky tweeter again that interacts with your guitar in a completely different way than a 12 inch speaker(s)....If you cut your teeth in a real studio playing in the control room listening to the sofits, then I think the adjustment would be minimal as that is pretty much the same thing... IEMs basically kill the feedback loop and I am not a fan of those...With perfection comes an amount of sterility...but this is just my opinion on this subject. nothing more... B)

The Windows OS 10 Update Policy gave me pause on updating...Basically, the default forces the machine to take Windows 10 Updates...You can change the setting so you don't get them as quickly, but still no way to turn it off short of unplugging the internet. MS is running multiple updates per week now and there have a percentage of folks that have gotten into a reboot loop because of how they are bundling hardware updates with software updates and no option to separate them like in the previous versions of Windows Update...and no option to skip the hardware drivers...even if they are wrong and put you into a continuous rollback loop... Overall, it has been a fairly smooth rollout as Windows goes historically...but there is no way I am updating my machine that uses Line 6 stuff yet...The Windows 10 release is not to a point of being somewhat stable from the Windows Update standpoint. Besides, the guys that made my Line 6 PC (Sony) said wait until November 2015... Until, MS gets this stupid Windows Update policy straightened out, I am going to wait...Like all version of Windows before it, it will not be stable until about a year from now when SP1 comes out....Although, I don't think they are calling it that anymore...

I use Dimarzios and I guess I am a medium gain fan. For a very long time I used a PAF neck and PAF Pro bridge....However, about 10 years ago I started using the Fred for the bridge and the Humbucker From Hell for the neck....In my old S540 I used a stock Fender strat bridge pup in the middle so I can run it lower...One of my newer guitars has a Mojo bridge...I think I like it a little better than the Fred...

Just an FYI for some of you Early Win 10 adopters....How well, the Line 6 drivers work on your machine with Win 10 completely depends on your specific hardware (BIOS & chipset)...I have two different Sony VAIOs and Sony will not have updated subsystem drivers for my machines until Nov. 2015...Sure, I could go to Intel and dig out the OEM drivers and force them in and hope it works just so I can say I am running Win 10....No Thanks...I can wait... My worry is that the Intel chipset drivers are quite not ready yet and those are crucial for higher level USB drivers (like Line 6) to work correctlywith the Windows HAL....In some cases (like mine), it is better to wait...and as always in all versions of Windows, it depends on your hardware as to when you can jump on the new version...or how much trouble you will have if you jump a bit too early.

I turns out that the screen is the perfect size and just warm enough to warm a Pop-Tart....Probably wouldn't defrost a hot pocket though...Lame! :lol:

On the surface, it looks like that 2i2 audio interface does not have enough outputs to do reamping and monitoring. Generally, you need at least a 4x4 interface so you can soft patch (ASIO) the dry output track from you interface to your POD (amp or whatever) and still have two remaining outputs (LR) for monitoring which kinda the whole point. You gonna need a bigger boat.

Put both mixer pans in the center. if all of your FX are stereo after the amp, you will have stereo....The mixer pans are not pans, they are balance controls....Both chains are stereo and are summed in stereo...Mono FX will mess this up a bit...That is how I run mine...I tend to use FX on one chain and keep the other chain clear so I get the amp model with nothing on it...It simulates a parallel FX Loop...

I had a 400 for a while....I agree with phil...easiest way is to just turn the knob and look where the dot is...It is not precise, but is close. If you really want to see the exact value, the best way would be to hook up to HD400 Edit application on a PC or Mac and you can simply look at the values as you change patches...

They actually already have a backup feature on the Stagescape m20d mixer....I think it's a great idea.

I am not sure about an Edge...I have played on a few of them and my guess is that since it has that zero point, that there might not be as much that you could do to ease the tension on the bar. I suppose that if 9s were used that likely you would be able to loosen the springs some to get have the same zero point behavior and there would be less tension...but that is just a guess... I can speak from my own experience with Floyds, Kahlers, Bigsby and stock Fender types that when they float, the lower gauge seems to help things behave a bit better overall. Intonation on bends can be a pain for some players...9s with 4 springs seems to be a pretty nice point where I have had pretty good luck over the years...In terms of tone, heavier strings give more output...But whether or not that contributes to the target tone someone is aiming for is completely subjective IMHO. There are plenty of guys with killer tones that use light strings...But I think technique and strength play into this...Now that I am a bit older, my hands don't last as long as the used to and I am going lighter...Seriously thinking about doing the Billy Gibbons thing and start using 8s on the trembar guitars...With my fixed bridge guitars, I am totally happy using 9s now where I did use 10s before my hand got old... If the 10s tone is what you want, then I would say try to make it work...There are always some tricks here and there that will get you closer to solving a particular problem. For me, I have found that 10s on almost every floater I have used does improve the tone overall...But with some pups, more output is not always better. Sometimes the tone benefits from backing the pups off since the mags have more metal to pull on...My own problem is that I would generally have to put 5 springs in to keep bending decent and the tension on the bars is a lot...After breaking several strat bars I moved to 9s and 4 springs and that has worked really nice for me... All tremolos seem to have their little pain in arse moments because they simply wear out faster than any fixed bridge and require maintenance to keep functioning at optimum...

I would never put 10s on a guitar a LoPro type tremolo...broken too many bars that way...

I have a few that might apply. From what I can tell, it looks similar to my old S540LTD...I have a 91 Canary Yellow one. I think the S body and the LoPro trems make them a bit twangy. The primary thing that I did that got rid of a good bit of the twang was direct mounting the pickups. What I would suggest is that you work with your guitar using a very clean and flat sound...basically, use a New Tone patch with nothing in it...Make sure that the balance of your strings fits your technique..Make sure the neck and bridge are leveled between each other....string volume leveled across the pups...etc... Adjusting pole pieces can go a long way towards getting things closer to what you want...One trick on a bright string in to sink the pole piece on the coil nearest the bridge and raise the one further...What you find is that these small adjustments play out a bit bigger under high gain...anyways, that's my 2 cents...good luck...

http://line6.com/support/topic/14557-helix-at-summer-namm-2015/

Actually, there is a sound technical argument for leaving some devices on. While heat does some wear a bit on some components, steady constant temperature does much less to little wear at all depending on the components. Thermal Cycling actually does the most damage in regards to thermal stress and this happens with any heat generating electronic device that is cycled off and on in intervals. The expansion and contraction wears things out faster than just leaving it on. This is a very common practice for PC workstations and servers. Thermal stress kills CPUs much faster. In terms of audio, I know this to be a somewhat common practice in regards to older and expensive analog audio gear like Harrison consoles, but in terms of a digital device like the HD, I think we would have to look at the datasheet on the DSP to see how the lifetime rating is quantified...Likely there would be something in there about thermal stress to give an idea of how it might translate to how many ON OFF cycles there might be...Usually, chips have a MTBF rating and thermal cycling is a part of that. However, in the HD case you would actually need to know what the real core temp is to predict if thermal cycling would be an issue...

Your calculator is way way off.... 13 watts @ 12 cents per Kw 247 is going to be around $14 per year...

Ha! Most of the plastic buttons had fallen off my RP-1 and I gave it away a friend's son that was learning to play....Amazing that it actually still worked. Mine was pretty old an worn out...I think I got it in 1993 or thereabouts...