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Found 86 results

  1. Hello all I had a question regarding Impulse Responses was wondering if Impulse Responses replace the built in cabs or do you add them after the Cab block ? thanks all for explaining and clarifying.
  2. I've had my Helix about 2 months now and have never used IRs. I'd like to start experimenting with them but don't know where to start and I'm not really sure if I understand what they are. I mean I think i do, but it'd be nice to learn more about them from someone who understands them fully and uses them regularly.
  3. Hey gang. I get a lot of questions regarding Impulse Responses (IR) Stock cabs, What IRs to use, the cost of IRs etc. so I found a couple good, FREE packs, made a metal tone, tracked a few riffs and walkthrough it all. Hopefully, it helps someone. Have a great Monday!
  4. Hi, I just wanted to post a thread that explains the actual reason why FRFR, PA, and studio monitor speakers typically still require treble cut to avoid sounding fizzy with distortion or overdrive on a guitar tone. THE COMMON PROBLEM I've read through some of the threads on this topic, and while I saw one person post the correct explanation (Without getting the credit or kudos he deserved for it, from what I saw), most people state the problem is that the user is not understanding the difference between guitar speakers and FRFR speakers. I believe users aren't that naive - and many good comparisons exist where users get great sound from helix (without virtual cab) into power amp into real cab, or other ... simpler..... modeller brand (with only virtual cab) directly into FRFR. However most of those "it's simple - guitar speakers have less treble, so you need to cut treble on FRFR" explanations go on to incorrectly state that the problem is that guitar cabs cut the treble a lot because they aren't flat, where as FRFR speakers are, at least in theory, outputting a flat response - therefore putting out much more volume at high frequencies than guitar cabs do. I mean, yes, that is true ... but NO that is not the problem. Again, the scenario is that we ALREADY have a virtual cab or IR in our signal chain - so shouldn't the high frequencies already be cut? Shouldn't the FRFR speaker just output exactly what that virtual cab sounds like, with the already good sounding treble cut baked into the virtual cab since it's a copy of a real cab??? (The end user, and you here, are asking this.... :-) ) Folks state that you need to think like a recording or mixing engineer, not like a guitarist - which is absolutely correct. But stating that with FRFR speakers you need to cut treble because it is brighter than a guitar cab is not logical, nor correct, since the scenarios being discussed invariably have either a virtual guitar cab already in the signal chain, or a cab IR. Since we have a virtual cab in a block, we already HAVE that high cut, so the statement is not correct - not in the simple way most folks tell it on this forum, at least. There is more to it.... The common problem from nearly everybody using a helix is with the end users who are experiencing fizz through FRFR, and questioning why, considering they are using a virtual cab or cab IR which is emulating the sound of the cab. WHAT A VIRTUAL CAB OR IR IS ACTUALLY REPRODUCING The simple description of the problem is that it's NOT emulating the sound of the cab FROM a position that a guitarist would be playing and listening to the tone. The facts of why the virtual cab, or many of the cab IRs available, are NOT sufficient to sound like a cab in a room are with how the virtual cab or cab IR were miked up: - In a virtual cab, and in many cab IRS, the cab was, more or less, close miked, in one mix position, on one part of one cone. That is how many cabs are miked in the studio and live... but is NOT how you get the sound you hear as a guitarist when playing through your amp. IT IS a MUCH brighter tone, and much LESS COMPLEX than the sound of a real cab in a room. The virtual cabs or many of the cab IRs are miked this way for various reasons - technical reasons (CAB IR files aren't really designed to handle the long recording of room reflections and short plate reverb that your cab in a room would require)..... and removing early reflections as much as possible by close miking in a dead room allows you, the player, to configure the rest of the tone after the close miked speaker on the cab - you can eq to mimick various rooms, you can add room or plate verb for the same reason.... etc. You might think... "Ok, so because the guitar cab is close miked, it is much brighter and fizzier, right? like how if I put my ear to it and play quietly with a distortion pedal, it sounds bad.... that's your point? So Why can't I just put my FRFR speaker where my guitar cab would normally go and play and have it sound the same, since it's playing back the exact sound of a guitar speaker in that location, and the room and angle should take care of everything else?" Well, folks, that is an EXCELLENT grasp on the close miked speaker sound, yes it's much brighter and fizzier, but it is missing a couple of important points about the "amp in the room" sound when playing through an FRFR or PA. 1) the FRFR or PA probably has FAR better high frequency dispersion than your guitar speaker, up high, and you always hear the on axis tone (IE: the virtual cab sounds like a close miked speaker, so you get that sound everwhere in front of the FRFR without it changing with direction or distance in the way a real guitar cab does). So where every you stand, relative to your FRFR speaker, it's like having your guitar cab aimed right at, and next to, your ears. 2) the close miked virtual cab response or IR response is on one part of the cone and miked from one direction... it is one aspect of the tone. Dust cap, edge, OR middle of cone, on axis OR off axis, at a specific distance. 3) No matter how bright each guitar speaker on it's own sounds, in a cab with more than one speaker there remains much less high frequency sound once you're a certain distance away from it - due to physics of how multiple speaker outputs work together for dispersion, etc. The real sound from the cab as you hear it is a mix of many radically different tones coming from various parts of the guitar speaker. Guitar speakers are not rigid cones, normally, and the dust cap, edge, middle of the cone, and other areas can truly sound quite different, as can on axis versus off axis tones. This is why some of the best CAB IR libraries include multi miked files... it's sort of a pre-mixed cab IR that actually sound sound much more like the blend you get from a real cab when you play back through an FRFR or PA. A guitar cab with more than one speaker is extra difficult to reproduce when single miked as a cab IR or virtual cab - because the tone in the room is a wild, chaotic mix of the multitude of EQs and tones you get from the cab, all interestingly blended together. So, a MIX engineer in a studio will be accustomed to taking that fizzy close miked amp recording and EQing it accordingly to make it sound great through studio monitors, which are truly FRFR (and likely the only TRULY FRFR speakers you will ever encounter, since they are typically EQed to be as neutral, or flat as possible, in that control room. AT least ONE set of their monitors should be like that, anyhow, in a big studio. They probably mix on something like NS7s though, or other similarly bright and revealing speakers, which also reminds the engineer to cut back on high frequencies and remove the fizz. So yes, think like an engineer, but for the right reasons, and with a little tiny bit more of the full picture than you had before. Saying that guitar cabs aren't as bright as FRFR as a reason to cut treble is simply wrong, since we all know we're placing a virtual guitar cab that, one would ASSUME, must have that same high cut in our signal path. It's actually because our virtual cabs, and some cab IRs, contain much more high frequencies than you actually hear from the real cab when standing and playing... and an FRFR or PA speaker will not result in the same high cut in a room as the actual cab would, due to physical design differences between the transducers and the layout of the speakers. Basically, the original cab IR or virtual cab was probably not setup as a mic in a room standing where a guitarist stands while playing.... it is probably a MUCH brighter recording that isn't anything like how you normally hear your cab... but is great for a studio MIX engineer to work with. SO YOU STILL NEED TREBLE CUT, EVEN WITH A VIRTUAL CAB, or with MANY IRs (but maybe not all IRs) Rest assured - if you have a virtual cab, you still need treble cut (at the very least) after a helix virtual cab or many of the cab IRs you can buy to sound anything like a real cab when you connect your helix directly to a TRUE FRFR cab or to a PA... and honestly you probably need a bit of plate reverb and possibly some low end cut also to really get you there. But what DOES a virtual cab or cab IR do for you? it gets you the true EQ of that cab, in a common, popular recorded microphone position for studio use. Just cut 8kHz, more or less, and up from there, ... probably rather dramatically, and it will start to sound similar to a good cab.....but use your ears, choose eq how you like it. Or, look for an IR library that is a producer blend of mic positions and /or room sound in one cab IR - and you will probably find that you love that sound. Another minor footnote - FRFR cabs you can buy for modelers are not particularly flat response or full range, but they are MUCH more so than most guitar cabs. A PA is often hotter in the highs than a real FRFR speaker is. A REAL FRFR can likely only be found in some recording studios, and even then might not be the speakers chosen by the engineer to work with... for reasons I won't get into here.
  5. I'm new to Helix Native and I'm looking for some IR recommendations. I play clean or with light/mid distortion. Trying to be original, maybe the guitars are close to Pixies sound...the more airy, ethereal stuff they got. Any suggestions? Thanks.
  6. I updated both my HX Stomp and HX Edit to 2.92. My IR's work great on my Stomp but are not selectable when connected to HX Edit. When I select a preset with Stomp connected, Edit displays a previous version of the preset prior to my adding IRs to the Stomp preset????? HX Edit 2.92 does not acknowledge any of my 2.92 HX Stomp presets containing Celestion IR's. I did try to backup my HX Stomp but got a bad data error Code - 8606. The pics below show the preset selected using the HX Edit.
  7. Hello everyone, Since I updated my hx stomp to version 2.92, I cannot use IRs of any kind. When I select them to add them to my effects chain, it gives me the following error (attached image) The same thing happened to someone else? I already tried to reset, go back with the updates and with the 2.8 I have no problems. Of course, I appreciate your comment. Greetings from Argentina.
  8. Hello, After I add IR's to the list in Helix Edit, my Helix LT (about 1 month old) will only let me select the IR in slot 1. It does not matter which IR I put in that slot, I can only select that one with the physical LT. However within Helix Edit I can select a different IR and assign it to the preset just fine and it shows on the LT. But if I get on the LT and turn the knob to select a different one, the original one disappears. Some things I've tried: 1. Helix Edit: Drag and Drop the IR's, and have also tried "Import" 2. Swapped around the order of the IR's in Helix Edit 3. Deleted the IR block on the LT and added it back in 4. Confirmed that I am running v2.82 on both Helix Edit and the LT 5. Running Windows 10 I've attached screenshots of the Helix Edit screens. ~Pic1 shows the list of IR's in Edit ~Pic2 shows the IR selection in the preset in Edit ~Pic3 shows the dropdown in the preset that displays the list of available IR's in Edit, but they do not show up in the LT Any ideas on how to remedy this? Thanks! Chris
  9. EDIT: You will find my "production" script for download and up-to-date instructions on this website: http://acousticir.free.fr/spip.php?article136&var_mode=calcul EDIT: Links fixed! Check out this AGF thread for Doug Young’s demo of my IR along with my too long technical description of how my IR is generated (not required reading!). You will need headphones to hear this level of detail. Doug has previously been published in Acoustic Guitar magazine. https://www.acousticguitarforum.com/forums/showthread.php?t=568631 Essentially my IR script replaces the Aura library or the Audio Sprockets ToneDexter training process with a custom IR you generate on your own. If you would like to use an HX Stomp, as I do, as your do-it-all acoustic guitar pedal, this script plugs the only missing capability in the HX's repertoire. Doug's evaluation was with a very high end Barbera pickup. The improvement of an IR is much more startling using a standard UST such as a Fishman Matrix, Fishman Sonitone, or Baggs Element. My guitar has a Schatten passive HFN soundboard transducer and these IRs even work nicely with that fairly natural sounding pickup. The Easy Way to Generate a Custom IR for Your Guitar: Email (jonfields45@gmail.com) me a Dropbox or Google Drive link to your recording. If your .WAV file is less than 25 MB it can be sent as an email attachment. If you Zip up your recordings you can include several in a less than 25 MB email attachment. Generating the IR takes only seconds in Matlab (longer in Octave). If you want, send a few recordings with different mic placements. I like 8” from the neck/body joint, but a more distant mic placement might make what is a better IR for your usage. .WAV file at least 60 seconds long Pickup left, Mic right, set your DAW for the two to be about equal in volume No clipping Try to keep your peaks within 15 dB of clipping (decent SNR) I like open position strumming followed by “E” bar chords going from F to C followed by a little fingerpicking. Play whatever you think best exhibits your playing style and instrument. I’m not sure it really matters. Doug Young’s recording was a fingerstyle tune with occasional strums. I won’t be listening to your recording so don’t worry about impressive playing :~). I will send you back three IRs for each recording. They will be at the same sample rate as the recording you sent me. The one labeled 5050 will be 50% bypass mixed with 50% IR. The IRs will be 2048 samples except for the one explicitly labeled 1024. The three most common errors users have encountered are: To forget to pan the pickup left and mic right when exporting the sample from their DAW. The sample WAV file is less than 60 seconds. If running the script themselves (see next section) they forget to enclose the name of the wave file in single quotes, or include the extension instead of just the wave file name. The Do It Yourself Way: Download the free GNU math development environment Octave and follow the installation instructions for your PC (they support Linux, Windows 64, Widows 32, and Berkeley Unix). https://www.gnu.org/software/octave/download.html Download the Octave version of my IR generator (also attached to this post and downloadable if you log-in to this website): https://drive.google.com/open?id=1PtZmcDGo5yXbwjmHJGkhCX3uRyJDuRP- Place your guitar pickup/mic recordings in the same directory as my script jf45ir.m and double clip (run) jf45ir.m. The GUI version of Octave will open in that directory. Alternately, after installing Octave, run the GUI version and change the current directory to the one in which you placed my script and your recordings. If your recording is called mgit.wav, for example, then type the following in the Octave command window followed by a carriage return (don’t forget to include the single quotes before and after the file name and don’t include the ".wav" extension) : jf45ir('mgit') Octave will then generate four files, three IRs plus a frequency plot of the 100% IR. jf45irmgit.wav jf45ir5050mgit.wav jf45ir1024.wav FFTjf45irmgit.jpg Let me know how you make out with the IR. To my mind it is a pretty brute force implementation right out of a textbook, but it seems to produce useful results. The 1024 sample IR should be adequate for most instruments, but the longer version gives the IR better control over the low-E fundamental. I have put this script into the public domain as I think it adds important capability to a multi effects setup for use with an acoustic guitar. Most acoustic guitar solutions are hardwired feature sets including the few that implement IRs. Thanks, Jon jf45ir.m
  10. I am fairly new to using any kind of impulse response with my Helix as I usually use a Power Stage 170 and a 2x12, but I have recently been toying with the idea of trying out some impulse responses, as I had received a few "free" ones from a couple YouTube channels, I decided to load them up in my Helix LT, the one I got from Glenn Fricker loaded up fine. the ones I recieved from Ola Englund however did not, when loading them into HX Edit, 3 of them work fine, the rest give me this error message: "HX Edit was unable to import IRs into this set due to the following errors: -2- out of memory condition" I did some searching around and figured out that I am receiving this error because of the size of the IRs, the ones that won't import are all 237kb, while the ones that worked fine are significantly smaller, at 59kb and 6kb. is there anything I can do to make the larger ones work with my helix?
  11. I used to like the sound of my helix thru headphones. Since i got the Powercab, it sounds so good, I'm left chasing that sound in quiet time. And i feel my headphones are decent cause they sound like i hear it thru my bx5a monitors. I can't get a crisp sound. It seems muddy no matter how i adjust. Any Ideas?
  12. Hey Guys! I got my hands on an HX Stomp and today we are going to run through how to get up and running using it as your audio interface on a Windows 10 PC and with Presonus Studio One 4.0 I walk you through setup and how to record the processed guitar as well as the DI or, Direct Input so that you can reamp at a later time.
  13. Hey Guys, Today we are going over the tone I created using the Line 6 HX Stomp using Ownhammer Impulse Responses. I go over each block, which IR I use as well as how to create snapshots so that you can use this tone as your main rhythm tone as well as a lead tone. If you have any questions, leave them down below and I'll do my best to help you out. Thanks again for all the support. To see all the things I'm up to, go to my webpage https://nickhillmakesmusic.com/
  14. Hey Guys, Today we are going over the tone I created using the Line 6 HX Stomp using Ownhammer Impulse Responses. I go over each block, which IR I use as well as how to create snapshots so that you can use this tone as your main rhythm tone as well as a lead tone. If you have any questions, leave them down below and I'll do my best to help you out. Thanks again for all the support. To see all the things I'm up to, go to my webpage https://nickhillmakesmusic.com/
  15. Hey Guys, Today we are going over the tone I created using the Line 6 HX Stomp using Ownhammer Impulse Responses. I go over each block, which IR I use as well as how to create snapshots so that you can use this tone as your main rhythm tone as well as a lead tone. If you have any questions, leave them down below and I'll do my best to help you out. Thanks again for all the support. To see all the things I'm up to, go to my webpage https://nickhillmakesmusic.com/
  16. Hey I just had a thought the other day about possibly creating a preamp through the HX EFFECTS & am wondering if anyone else has tried this?.. OD/DS Pedal ---> EQ Pedal ---> IR Cabinet Sim The idea is the the OD/DS gives u the preamp while the EQ pedal helps you shape the sound a bit more since the first pedal is limited and than add an IR cab to simulate the desired cabinet.
  17. Before I start, to avoid any possible misunderstandings, let me make clear that I absolutely love the Helix. As a result, anything I'm saying isn't to badmouth the unit or Line 6 or their programmers, it's solely in the interest of improving the Helix. Ok. The Helix needs something to organize/manage IRs. As far as the status quo goes, there is literally nothing (!). Yes, you can load IRs and you can export them. And that was about it, nothing else to see. This is absolutely bad. In fact, considering all kinds of organisational aspects, this is by far the worst area in the Helix. It's so bad that there's good chances of "data" (=patch) loss. Which IMO isn't acceptable. Fwiw, all this hasn't got anything to do with the amount of IRs you can load into the Helix, it's just as bad when you use just 10 IRs and it'd very likely become a nightmare in case we could use, say, 1000 IRs. Let me illustrate things using an example: If I would post 10 patches, each of them using 2 IR blocks and I'd also post the 20 IRs used for those patches, you would very likely *never* be able to recreate the patches as they were meant to sound. The IR blocks within the patches would only tell you which IR slot was used (and load whatever might be there on your unit). There's absolutely no further meaningful connection between a patch and IR. So, if you wanted to load my patches properly, I would have to explain which IRs would have to load in which IR block. That already requires me to look it up before exporting them and write it down. It would also require you to find a free IR slot on your unit, place the IRs there, load the patches, read my instructions and set the IR blocks accordingly. Ok, now let's compare this to a softwaresampler patch (yes, it's absolutely comparable, it's software that has to load samples in some sort of "slots" to deliver reproduceable results). I could send you 10 Kontakt (software sampler from Native Instruments) patches using 2 samples each and I could as well send you the 20 samples used. Once you load the patches, Kontakt would ask you about the samples. You'd point it to the folder where you've unzipped them and Kontakt would load them (you could even tell it to do a systemwide search if you wanted). Done. And that is precisely how things should be dealt with. There needs to be a direct connection between a patch and the IRs it's using. As a result, HX Edit would have to tell you an IR was missing when you try to load the patch and didn't load the IR before. It should also be able to re-assign the IRs needed on it's own and ignore any IR slot information. And it should also be able to find out whether the required IR would already be loaded in one of the slots, to avoid doubled IRs. Very obviously, HX Edit should as well allow you to export an IR along with a patch (exactly the same way that software samplers do it), not embedded but next to it inside a folder called "Cool Rock Riff IRs". In addition, it'd be great (and possibly easy to code) if you could check whether and how often each loaded IR would be used in patches. In case it's not used at all - fine, just clear it to have some more IR space. In case it's only used on patches you don't care for anymore, export all these, delete them and the IR as well. Whatever it might be (as usual, there'd be more ways to skin this cat), everything would be better than what we have at the moment, which - well - is nothing.
  18. Hi, I just bought an HX Stomp. Downloaded my first IR and was trying them out. Just for fun, I cleared them to try new ones and now I'm having problem transferring IR to my unit, even the same IR i was already using. My HX Stomp stays "blocked" saying Transferring Data... and my soft is also blocked. I tried changing USB Ports, not using a hub, any possible combination and it's driving me crazy. I even reset everything and still doesn't work. Could it be a faulty unit? Thanks in advance for your help
  19. Hey all, I experienced some confusion and frustration on the gig last night with my Powercab, and haven’t been able to find a clear answer since. I’m hoping this ever-knowledgeable community can help me sort it out. I’ll try to keep it brief: In the past, I’ve used my Helix (floor) into Powercab+, all analog (XLR to amp) >> Powercab XLR > FOH. All processing was done inside the Helix and I was using Helix cab sims/mics within the Helix, and sending that signal FRFR to Powercab (using Powercab as stage monitor and sending XLR to FOH, sans mic’ing). Everything has been great, always sounds great coming out of FOH. This time, different gig..different needs.. Decided to use 3rd party IR’s and store them in the Powercab (needed to free up processing space, plus figured.. ‘why not’) Setup was Guitar > Helix > (XLR into) Powercab > XLR > FOH. Same deal, just 3rd party IR’s and stored in the Cab. Helix was doing amp sim and effects, but cab IR was on the Powercab. Much to my dismay, at soundcheck.. everything sounded great on stage, but FOH was getting no IR/Cab sim from the Powercab XLR out. This brings me to my question, which I can’t find clearly stated in the manual or anywhere else: Does the Powercab 112+ send the signal of internally stored User IR-processed audio out via XLR?! Empirical (and embarrassing) evidence from last nights show tells me it does not, which to me is baffling and should really be much more clearly stated (Yes I realize I should and could have fully tested this ahead of time, I just assumed whatever was coming out of the speaker would go out the XLR, which had been my experience doing all of the sim’ing internally on the Helix and sending it into the cab FRFR). I don’t understand why you would store IRs, process incoming audio through the IRs.. but not send that processed audio out via XLR. That was my experience, but I can’t find any definitive answer.. is it a setting? Just the way it is? Helix amp sim > User IR in Powercab > all good out the front, no good out the back. I feel like that just can’t be right.. but it’s definitely what I was getting. The quick fix was to dial in the same IR locally on the Helix and use one of my XLR outs (from Helix) straight to FOH, the other to the cab. However in my embarrassed frustration, I failed to appreciate that put me in 2x IR mode on stage.. not a huge deal (and of course avoidable had I been thinking clearly). What was worse, again due to soundcheck timing and frustration.. I forgot to SAVE the patch with IR dialed on the Helix.. powered down.. turned back on at set time.. Needless to say, the first song didn’t sound good.. at all. Fortunately, the sound guy was quick to drop some EQ, but that screechy un-IR’d sound is going to live in my memory for quite awhile. If anyone can definitely help me answer this, I’d be truly grateful. I’m about to set everything up with an XLR out to my board to see what’s what, I suppose I already know.. but I guess I’m trying to find out if there IS a way to get the IR’d audio out via XLR, or if that feature is just intended for ‘in the room’ use and an FOH IR use must come from the Helix directly. Again, to me that sounds just super-wrong. What’s the purpose, to allow you to get the tone you want stored inside the Powercab, but not be able to gig with it.. I just don’t get it (yet :) ) So much for keeping it brief I guess, sorry for the novel. Any insights would be greatly appreciated. Thx - Steve
  20. I've been loving the HX Stomp for the past month or so, but there is one limiting factor that I can't seem to find a workaround for. What I would like to do is sum several EQ blocks into a single Impulse Response in order to save DSP power (like was done in this video). However, unlike in the full Helix, the USB in/out selection options in HX Edit seem to not be nearly as flexible on the Stomp. This means that when I try to use deconvolution software to make the IR (I'm using the Impulse Response Utility through MainStage), it won't let me because I can only chose USB 5/6 on the input (which are the re-amping slots that bypass the Stomp's effects) and the only output option is the 1/4 line outs on the back of the Helix. Therefore, when I do the audio sweep to make the IR, it doesn't work because the sweep doesn't input through the helix effects and won't come out through USB (unless I'm doing it wrong...). Does anybody have any ideas on how to get around this? Here are some links that have gotten me close to an answer, but I'm out of my league here when it comes to understanding how to get what I'm after... Thanks for your help in advance, this is my first time posting here! -How to use the Stomp as an audio interface -How to make an impulse response on a mac -Converting SDIR files to WAV -Relevant forum discussion
  21. Hi, I'm nooby af to Helix. I'm looking for some killer deep, ballsy, low, earthshaking bass tones and ir's for neo-funk and house. Please help, I know less than Job Snow
  22. Hey guys, I'm new to the HELIX familly I did a research on YouTube and Google and I can't fin any information about this. I wish to use 2 block with IR (1024) in parallel. Any help on how to do so would be appreciated. My Goal : Is to mix 2 mic within the same preset. Example mix a 57 with a 121. How do you set it up ? (2 block using 1024 IR) How do you blend the 2 ? (mono input and output) (Using Split Y, (Pan left, right ) or Split Y A/B?) Cheers,
  23. felixflemons

    Importing IRs

    Hi All, I'm new to using Amp models and IRs. I own a HX Stomp and i'm crazy about it. I've purchased some IRs from Celestion and Own Hammer and have used them with the amp sims that come with HX Stomp. They sound amazing. I'm very happy. My question is regarding the settings when importing IRs. I see there are two slots one labeled 1024 and the other for 2048. Also, the IR files that I have come in a variety of kHz, ms and Bit rate formats. For example, in my Celestion pack there is a choice of importing 200 ms files vs 500 ms files and within those folders, there are several options for kHz and Bit rates. I read page 27 of the HX Stomp Users Manual that states: "HX Edit updates the HX Stomp hardware's IR list automatically. HX Stomp can load and store up to 128 IRs at a time. 48kHz, 16-bit, mono, .WAV type IRs of up to 2,048 samples are natively supported; however, HX Edit lets you import IR .WAV files of different sample rate, bit depth, length and stereo format, and the app will convert these attributes automatically before sending to HX Stomp". -and- "The imported IR is automatically shortened (or lengthened) to 2,048 samples.You may optionally choose a 1,024-sample version from the model list to save DSP, which fades out the IR halfway through". Ok so, this may sound like stupid questions but like I said earlier, I'm new to all this and don't quite understand what Line 6 is saying. Can someone school me on what all this means and how I should select the IR files for importing to my HX Stomp and how it could effect my tone? Thank you.
  24. Im new to the hx fx and could really use some recommendations and help regarding impulse responses. I run my guitar through a bbe sonic maximizer and then through a vox Ac50 ( with upgaded tubes, and V30’s :) ) I run the hx fx in 4cm. My band rehearses D.I. Into the mixer ( drummer plays a roland TD30, so its really nice) but its still important for me to use the AC50 as the tone is incredible and regardless of the fact we all use “ in ears” live and in rehearsal im using a moderate amount of amp volume on stage and blending it with my D.I. Signal into the P.A./monitors. Thats why i was really excited to use impulse responses. Heres where i can use some help/recommendations and opinions. 1. Ive played around with placing the IR block before and after the Fx loop 1 block. so far I prefer it placed after, but i cant really tell much of a difference. Anyone have any info or experience with this? what is your preference? 2. I downloaded a bunch of IRs . I have some “speaker” ones (the allure pack) and those all seem pretty useable. One of the best results ive had so far is the V30 IR (from allure) I have the mix set to 100 and the volume somewhere around -6.5 -8.0 db I also find it totally necessary to use the low cut feature as the bass frequencies easily start to overdrive. Changing IR,s the confusion/frustration/doubt starts to set in. Heres some examples- Acoustic guitar resonace ir’s i have , including this hollowbody ir i have sound absolutely funky. Maybe they are crappy idk but its led me to believe that IR’s work best emulating something similar to your sound. I mean i run v30s out of my cab. So running a V30 IR after my effects loop block seems to make my D.I. Signal sound alot more like my amp and that is a wonderful result. but trying to make it sound like a jazz box, or a hummingbird acoustic, is experimental and probably wont yield good results. However, i did load a gods cab (its like a 6505 with a mesa cab and a sm7b mic) it needed a ton of low cut. And it really overdrove my signal easily. But at -8.0 db lvl with 100mix and a low cut, when i added a distortion, i got a killer sound. I mean awesome metal tone. some feedback or personal experience on this would be a godsend. 3. So to some it up into some more direct questions. whats with the overdriving? are some of these ir,s supposed to be distorted? where as some are just clean cabinet/mic “simulations” (or moments in time whatever you wanna call it) -8db seems awful low for a level setting should i be looking elsewhere? what kind of mix and level do you guys use? Is 2048 samples always better? Anything pertaining to using impulse responses with hx fx in 4cm especially settings would help alot. If in the end i can properly add an IR to all my presets resulting in my DI sounding more realistic and just having better tone altogether i would be very happy. just dont know if im doing it right.
  25. mikras

    Load Box with helix

    Hi, How do I connect the cables If I'm using Two Notes Torpedo Captor load box with my tube amp? Is this corret: Helix send 1 to amp's input then load box output to helix return 1? Then IR block?
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