spaceatl

I'm happy with my Alto ts212s.

I would suggest, start simple...Empty patch and bring up only the PRE models...Start there...Grab the SVT twiddle with the PRE for a while.....Then move to the same model FULL....There are some extra settings there that I most times find set to high for my bass tone.....usually the master....I use the SVT Pro 4 probably 60% of the time....use some of the other models here and there: bassman for Beatles stuff....GK patch for Rush....etc....I am mostly an Ampeg guy...that's just a cool comparative approach I found that helps get under what is doing what....A lot of times, I use a premp model and don't need the power amp color.....cleaner stuff generally.

One thing I have found with the line 6 modelers is that that the pad is really not quite enough for bass. I play 80s 18v Steinbergers exclusivly and they are too much for the Line 6 inputs, even padded....I use a Source Audio EQ2 as my initial EQ peak limiter and level set so I can get it exactly where it needs to max out....Once you do this, things clean up quite a bit. There's a limiter in the codec converter and I try to stay out of that.

5 hours ago, CraigGT said:

It's a perfectly viable fix no different to using a ground lift, I didn't get the impression the OP is talking about a professional environment. 

I don't know what kind of ground lift the OP lifted...My responses on this topic will ALWAYS assume electrical (AC Input) lift (which can also work) and that is actually dangerous. if it's a signal lift, perfectly fine. or alternate ground if electrical...But then you get right back to isolation...

It can work great. I used a Strymon OB.1 Compressor (has a voiced clean boost) for years with my HD. I used it with the GO too while I had it (about a year)....worked great...tube feel is more about compression than anything else...You can do this a lot of ways if you feel you need it....Back in the XT days, I used my ADA Mp-1 as tube buffer to add more feel...that was nice because it was midi....but it's just too big to use these days.

2 minutes ago, CraigGT said:

A much cheaper option it to cut the ground wires in the USB cable.

That's a hack...it works. In professional environments, isolation is the preferred approach.

14 hours ago, BRocks said:

I really hope you guys can help me with this. I have been using a set of beyerdynamic DT770 pro 80ohm with the helix floor. All was working great. Just tried them there and the sounds is muffled distorted and glitchy. They work fine with other devices. I have no idea why they have just stopped working right with the helix

Test if the headphone amp is bad....If you have a headphone amp, stick it on the main outputs of the helix and see if it remains...The Sony mdrCD3000 and mdr7506 I use are 63 ohms...a bit lower than yours...that usually means more trouble, but they have been fine for many years on a myriad of Line 6 gear.

On 12/20/2021 at 11:53 PM, RexVaj said:

Well...what do you (I) know?  That is what the 'Earth Lift' switch on the amp is for.  Thanks again!

 

That was the loop.

The way I run, my computer is in a UPS and all my audio in on a separate transformer based AVR. The clicking is the solid-state UPS...Those are not so good for audio gear...If the lift works, that is good...Generally, best practices for audio are transformer based power isolation because switching supplies click.

If you want to keep it simple, I suggest injecting a Behringer Ultra-G DI box on your output line....save yourself a 2 blocks and the dsp it takes for a send and IR...It has a great 412 emulation...You can get one new for around $30-40 US....It's sorta copy of the Hughes & Kettner Red Box DI....It has more cabinet options and costs around $200 I think...412 is just as good as the H&K...

8 hours ago, codamedia said:

I must be in the minority. I would never imagine creating/tweaking tones for different speaker sets.

 

I create my live tones in my home studio (on two sets of monitors, at relatively high volume) and the core tone translates without further adjustment to the FOH, Stage Monitors, IEM's (headphones) and FRFR (when I require it).

 

 

This would imply that there is a fault with the headphone amp... I'll have to let others offer their opinion here because I don't use the headphone output on the Helix.

I did not reveal my workflow in my answer...I too tweak primarily on near fields....I will check things with cans some times, but that is usually translation checking. I tried to answer the OP's question based on his situation. He's got a baby coming....No tweaking loud...So I kept it to cans...

You have a ground loop...I use a tripp lite LC1200 at home and small rig gigs and an LCR2400 when I gotta bring it all...Basically these are Automatic Voltage Regulators (AVR) that keep my input power stable and conditions the power. They are transformer based....So I plug my computer into the house power directly and all my gear into the AVR...Ground Loops don't go thru transformers because there is no where to go...Been doing this for over 30 years and still have my gear from the 80s and it all still works...and I don't get ground loops...ever...

5 hours ago, MusicLaw said:

Prior responses have done an exemplary job of discussing the issues. 

 

I have Helix Floor and HX Stomp. Amongst my array of headphone's I frequently use the Sennheiser HD600 and they work wonderfully with either unit. Dialing them in is not complex. Simply add a slight bit of Reverb for ambience and you're good to go. This can also be accomplished via the Early Reflections parameter in the Cab Block. It all depends on your taste, favored musical genres, and style preferences. I also use BeyerDynamic DT-770 Pro, and Sony MDR-V6, both of which are closed back. I've also got Shure SE-530 IEMS. Each have their own audible attributes  so as previously been mentioned, it is imperative you get to know your monitoring system regardless if they be headphones, IEMs, earbuds, Studio Monitors, FRFR PA Monitors, etc.

 

It is also really easy with Helix units to save your configurations. This allows quick and easy switching from what you have dialed in and saved to sound great with your Sennheiser HD600 to some other listening devices.

 

FWIW, I also have several sets of Studio Monitors and FRFR PA monitors, as well as a Yamaha THR10C; each of which I use with my Helix gear. It is not unduly complex to dial in your tones to sound great with any of these. This, once you become familiar with your Helix's UI.

 

My recommendation is that you go with the gear you are contemplating and enjoy it to the max!

 

Do post back your findings to share with others. 

 

Happy Holidays.

Yea, man...great perspectives all around...I like reading threads like this. btw,  I left my IEMs out of it because I honestly never tweak using them...I have SE-215 because I'm a poor basterd...I like em tho...they translate ok...just what came with my system. I want to move up to triples, but these are doing the job adequately for the moment.

Happy Festivus to you and yours!

This reads like a drive by bot...

did you try a 2.0 hub?

You need to know your headphones...

If translation is not really a concern to you, then just ignore the following.

I use Sony mdr-3000 (mastering cans) and Sony mdr-7506 (basically the modern v900)...I have been using the v900 and mdr-3000 since they were released around 1992-3....For headphones to work well, you have to learn how your headphones translate when you are mastering your tones....there are compromises with ANY headphones you choose to use as they are all different...If you try to get the tone exactly how you want it in headphones, it will not translate well when you move to an FRFR system like nearfeilds, stage monitors or house PA....This is where most people get stuck, expecting it to sound exactly the same...it never will...

I would suggest you use headphones you are familiar with....picking out a new set of headphones for new gear at the same time does not always work out well...At least I have seen happen a lot of times. I have been mixing and mastering for a long time and I would suggest your go with what your know...They is nothing mystical about the HX headphone amp...you could always use your own headphone amp that you know the response of...

I would suggest Sony mdr-7506....they may not be what you prefer...I don't like open cans that much...I started with Sony v600s which were a mainstay in the industry...For me, headphones are kinda like a personal guitar amp....You learn how they respond and translate to other platforms, so you know where to not go overboard, etc....anyway, that's my 2 cents...good luck...

14 hours ago, Gomez_dnb said:

Same Problem here.

New Notebook has USB 3.0 and 3.1 only.

Same in the Dockingstation.

Is this Problem solved?

 

I can install the driver, and when it says to Plug in the Cable of the POD HD500X nothing happens, the device Manager of Windows 10 says Problem with the driver.

If you want to force a 3.0 port to 2.0 mode you need to use a USB 2.0 cable so the new pin is completely lifted...This isn't a not a driver issue as HD is fixed at 2.0 in the hardware. Your interface should detect that and go to 2.0 mode on a 3.0 cable, but that does not always work. You might want to also check for motherboard firmware updates, bios, chipset etc...all plays into the hardware being up to spec since the machine is new...new motherboards always get tweaked post release...

Also check you your bios UEFI to see if it had a mode switch for your USB...Could be called legacy mode...

On 12/3/2021 at 1:18 PM, voxman55 said:

I'm also not a fan of cheaper 8" guitar speakers in small cabs but a good quality 8" in a good cab can still sound pretty good. But the Headrush FRFR108 isnt a guitar speaker. I have an FRFR108 and it sounds excellent with both my Pod Go and Tonelab TLSE. Great tone, good bottom end, great articulation and not in the slightest bit muddy.

I don't disagree with that at all...8" can work quite well in many situations...For me, it's mainly drop tunings, heavy-punchy tones, octave FX, etc in the room with acoustic kit in a 4-5 piece situation where I find an 8" is too much of a compromise...Not that they don't work...just a bit more work on the lowend to get drop tunings and punchy stuff to punch a little on 8" in higher volume situations...just doesn't have the cone space to do it in ALL situations I find myself...erebody gotta use what works for their situation(s)...

3 hours ago, hideout said:

Technically, yes. Although some would prefer to say, reverb is just multiples of echoes.  They do sound different hence the distinction.. 

That would be the mechanical distinction...technically, just an impulse response...

1 hour ago, hideout said:

No, it's reverb.

echo is just reverb with one single reflection...

2 hours ago, datacommando said:

Still got the hardware version in the rack - preset 15 “Symphonic” is a total classic effect, and then preset 2 “Room Reverb” is nasty enough for snare drums.
 

I hope Yamaha let Line 6 take advantage of some of these gems.

Yea, symphonic is a great one....less noisy on the 990...I still have my old 90 and my 990....Hard to beat that 12 bit BOOM Verbs and Gated Verbs on drums...About a month back, I actually put my old 990 into our little PA as dual mic preamps for Kick and Snare....I bought the 990 from a sound company at a gig somewhere in the northeastern US in late 1992 right when they hit....They had 5 of them and I was on tour as FOH engineer and needed one for my little mobile "In case the sound company's FX rack is a piece of crap" rack. I begged them for 2 of them, but they could only do one as they were really hard to get when they first hit...My travel rack was a 4 space SKB with a Furman AR-15, dbx quad comp, Effectron II 1024 and an SPX-90....the 990 replaced the 90....I have used the 990 for just about everything over the years...I don't pull out the old 90 as much anymore but I will never sell it or the 990...

What I am wondering about the reverbs is...Will we perhaps get SPX-90, REV-5, SPX-990 verbs? IP doesn't seem like it would be an issue?

Nice...

HX stuff was never developed for System 9 or the last DOS (Windows Mil.)...It's doubtful any of it would install on Windows 2000 or XP...driver security is different....I am really curious what the OS is now....

If he jumps thru a few hoops, he could still get Win 10 for free I think...Hell, OEM codes are like $15

https://www.extremetech.com/computing/260524-download-windows-10-free

9 hours ago, davekeats said:

Thanks very much for the reply. This would be purely for data transfer -- using POD Go editor to wireless tweak presets so I don't have to connect my Macbook directly to my POD Go. I would love to know if this Yamaha device would work with the POD Go. I've reached out to support to see -- before I spend money -- if there's any possibility that it would.

 

Thanks!

I honestly have no idea...But I would not be surprised if you could edit at least partially...In the XT days, We had home rolled editors because it was all over midi until the USB update hit...I would not be surprised if it was possible...The thing is if the GO could use the host...If it can, then I think it's possible...Sweetwater is pretty good about returns, but I don't know about a $50 interface...They might have a different policy there...But they are pretty cool folks...just call them...Tell them what you are wanting to do and they might be able to try it out for you.

When you get down to it, that is mostly what a guitar cab IR is comprised of...it's mostly EQ curve mimicking the response of a speaker/ the mic on it and the room it's in...typically a 12" and typically rolling off at 80Hz and 5kHz with an SM57 or 409 on or off-axis depending on the situation.....If you want the IR of the mic then you need another IR to bring into the picture(what you did with your EQ)...This will be the air and stuff around 5k and above it....You could always try shooting an IR of your cab, your mic in your room...

preset changing is not really that different than a POD XT...tiny little gap...It won't be any better or worse than an XT imo...snapshots is really the way to go for seamless stuff...If you need two amps seamless, then HX Stomp XL is a better choice than a GO...Same DSP power makes that challenging and likely needing some outboard stuff...The form-factor is identical to the GO minus an expression pedal...You could do two amp models and toggle a snapshot...However, you will likely run out of dsp ias 2 amp models can eat up most to all of it depending on the model...You run out of dsp really fast with two amps and one IR on a Stomp...may not have enough left depending for the FX you want...I use an HX Stomp XL with outboard stuff and would never use two amp models on a toggle...It's doable, just not what I need...If the GO switches presets fast enough for you then you are fine....If you want seamless, it's snapshots....I think an LT is the minimum for seamless amp switching with onboard FX...Doable with an HX Stomp or XL with dsp challenges...