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Found 6 results

  1. Hi, fellow Helixoids! I've just released 13 new Helix sound sets, available at the Helix Marketplace. I've taken an unusual approach: While we all know that Helix is great at mimicking classic analog gear, I've been exploring Helix as the unique and powerful instrument it is, with an emphasis on startling new tones that could only have been created in Helix. I think these sounds will appeal to restlessly creative players in search of new tones and textures. (Admittedly, they're probably not suitable for REO Speedwagon cover bands.) Each board sell for $13 and has its own demo video at the above link. There's also a combo back offering all 13 sets at a 40% discount. Its demo video, which provides a taste of all 13 products, is a good starting point if you're curious. Thanks for listening! :)
  2. IronAgeOhio

    Pod HD500X Restarting Issue

    So I just bought a Pod HD500X and it has this problem that many people seem to be having with it. Often, it will reboot itself randomly over and over again until I unplug it or, occasionally, until I stop playing. I am using the provided power supply and not only have I tried other 500x power supplies but I went to guitar center and bought a new one and it's doing the same thing. Basically I haven't seen this problem resolved so I'm posting this hoping to figure out a solution for everybody who's struggling with these faulty Pods. Notes: I've rebooted myself, holding down the left arrow while plugging in power, to no avail. I've tried updating using Line 6 monkey, but it doesn't show up in the list of devices.
  3. rossclaydon

    Helix Pedal board ideas please!!

    Hi all, help please!!!! I want to setup helix on a pedalboard for easy of use obviously with the added expression pedals now setup and the extra pedals coming in from the effects loops. I had planned on getting 1 of the larger pedaltrains but im now worring about the issue of helix obviously being angled as per any other multi effects pedal chassis layout but the pedaltrain will be on an angle as well, so is there any other good options or has anyone already set this up on a pedaltrain and found that its not an issue??? Thanks
  4. Hello all, I have a POD 2.0 running firmware v2.2 and controlling it with an an original Line 6 Floorboard: I am trying to map my POD 2.0 Floorboard controls so that I can control parameters in Guitar Rig Pro 5. I have seen videos and posts on users using the newer Line 6 floorboard models with Guitar Rig Pro but I have no clue on how to do this with the original POD 2.0 Floorboard. I have my MIDI INs and OUTs connected correctly and Ableton is showing that I am transmitting MIDI signals from my Floorboard. However, I cannot seem to find the right software to manually map the POD 2.0 MIDI CC#'s so that Guitar Rig Pro 5 can see them. For instance, when I move my volume pedal on my Line 6 Floorboard, I would like it to control a knob in Guitar Rig Pro 5. I have installed Line 6 Edit and Line 6 Monkey which I don't think helped my situation. Has anyone done anything similar with the original Line 6 Floorboard? With the amount of POD 2.0's still out there, I'm sure someone has tried to connect their gear with Guitar Rig Pro or Amplitube? Can anyone help me out? Thanks.
  5. ronaldmora

    Vetta 1 HD board replacement

    Greetings, I used to come here many years ago. I´ve revived my passion for music and my amp is currently in the repair shop. The technician tells me the main board need to be replaced since one of the processors is fully damaged. I was wondering if it would be possible to find the replacement somewhere. I´d apprecciate any help. Thanks in advance, Ron
  6. Have you ever had this happen to you? You've spent the afternoon getting all your sounds perfectly tweaked for tonight's gig, but when you get there and start playing, everything sounds really..... not right? Things sound overly bright, but also a little 'woofy', so you have to fix things on the fly as the night goes along and silently curse your amp. The next day, when you set things back up at home, you go back to re-tweak your sounds, and suddenly they sound okay again. Are you going nuts? Have your ears suddenly lost it? Is there a problem with your amp? Don't worry, they're both fine; you've just been bitten by the Fletcher-Munson curves. "What's this?", you ask. "I thought Thurman Munson was a catcher for the Yankees, not a pitcher, (although he hit the curve pretty well) and who the heck is this Fletcher guy?" Well, aside from the fact that the baseball trivia part of your brain is functioning just fine, there's a whole other story going on here. Although it may look a little daunting (especially that graph you see looming below), it's really pretty simple, so just bear with us a moment for the inside poop. Fletcher and Munson were researchers at Bell Laboratories who demonstrated, in 1933, that the human ear (and brain) perceive different frequencies in a shifting manner dependent on level. Their measurements showed that your ear is most sensitive to frequencies in the range of 3-4kHz, and that frequencies above and below those points must be louder, in absolute terms, in order to be perceived as being of equal loudness. They also showed that the amount of increase of loudness in those other frequencies to achieve that perceived equality varies depending on what the overall SPL (Sound Pressure Level), or sound intensity, is in the first place. These discoveries helped kick off a whole new area of study called 'psychoacoustics' and brought you, among other things, that little button on your stereo labeled 'Loudness'. When they mapped our these curves (also known as 'Equal Loudness Contours') they looked something like this: When you look at these curves, you'll notice that when the 3-4 kHz range is at 0dB (or just barely audible), frequencies at 20Hz (about as low as you can perceive a distinct tone) have to be raised over 60 dB (which is 64 times as loud. Remember that decibels are measured on a logarithmic scale, so this is also 1000 times the power) to be perceived as being the same volume. On the other hand, when the base level for our 'home' frequencies is raised to 80dB, the lowest frequencies only have to be raised 10dB (or be twice as loud) to be perceived as being the same volume. Now what does this mean to you as a guitarist? Well, as we alluded to above, you'll notice that the curves flatten out substantially as you get louder. This means that the sounds you tweak up in your living room will have the low and high end boosted substantially (the infamous 'smile curve') to make those frequencies sound equally loud to the midrange frequencies to which you're most sensitive. When you take those sounds that you designed at around 60-70 dB (which is your basic living room, not gonna wake the neighbors or overly annoy the family level) and turn them up to the average 90dB+ stage levels, those same high and low frequencies will suddenly seem overly exaggerated making everything sound simultaneously painfully bright, yet woofy (kinda like a bad wine tasting description). Not only that, but those midrange frequencies (where the fundamental information about just which note you're playing live) are being overwhelmed by that, now excessive, high and low frequency information. So what's a fella to do? Well, if you can manage it without driving everyone crazy, studies have determined that the optimum level for reference mixing (which would apply to sound design as well) is about 85dB. This is loud enough to start flattening out the curve, but not so loud as to seriously hurt yourself (unless you do it for 14 hours straight) Get yourself an inexpensive SPL meter, set it to 'A' weighting (which shoots for the equivalent of the human hearing sensitivity) crank up your amp so you're averaging 85dB, and tweak in your patches. Of course, 85dB is, to put it in easily understandable terms, 'pretty darn loud', so this isn't something you can do a 2 AM when you can't sleep 'cause you're worrying about sounding just right for the next gig. The next best thing is to schedule a rehearsal with the rest of your band where you can crank it up, and make your final tweaks while the rest of the guys are there cracking jokes about obsessive/compulsive guitarists. Your third option, and probably the easiest, is to study the curves above carefully, and remember that if your sound is a little mid-heavy and seems a little bit dull at living room level, it's probably going to be about right when you crank that sucker up live. Here's a potential approach. Next time you're tweaking up a tone or two, make two versions; one that sounds right at living room levels, and one that you think, using the stuff you've learned here, should sound about right at stage levels. When you play live, leave the first one alone, and tweak the second one (if necessary), then go back the next day and compare the two. Pay attention to how they differ from each other. Now try and make a couple more, using the same process. After you've done this a few times, you should be getting a pretty good feel for just what you'll have to do to get 'em right the first time. Presto, you're one step closer to that elusive Ph.D in Tone. Now, if you're the type that really wants to dive in and get some serious information overload, you might want to try going here. This is one of the coolest online reference sites we've found in a long time, courtesy of Campanella Associates, an acoustic consulting firm. It's a fairly complete audio text and tutorial, that will give you more than you thought you needed to know (but not more than you should) about audio, acoustics, and sound.
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