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Found 12 results

  1. Hi y'all I have also experienced the DI fizz when connected straight to a PA. Here's 11 tips. Change the amp. Try a Cali Texas Ch2. They're a really brown sounding amp and take an overdrive pedal really well. Change the cabinet. Different speaker makes a big difference! Change the mic type and placement. A 160 ribbon @ 1" off centre can calm fizz nicely. Dial back the distortion! Too much distortion creates too many nasty digital harmonics and isn't musical. Filters: Roll off high frequencies (low pass filter) to about 7-8 kHz. There are several places to do this: cabinet, EQ block, global EQ or the mixing desk. Tilt/10 band EQ all give different 'flavours'. Add an IR before the amp! Loading an IR after ther speaker can remove the fizz (but sounds muddy to me). Loading before seems to improve the fizz but retain the character. Use Controller Assign (CA)... to create a simple 2 channel amp: Add a high gain amp, use CA to program the Drive parameter for minum and maximum drive levels and assign to a Controller (footswitch). Also set the master volume, treble, presence etc to min/max levels to compensate for higher drive. DI (My personal preference): I use Palmer PD1 03 JB (Joe Bonamassa) DI between the Helix and the mixer input (with pt 6.). Set 1/4" jack line output to instrument (not line). Helix out at line level gives a level drop which is normal for a DI. Setting 1/4" out to instrument level gives a 1:1 ratio. Compensate level drop by increasing the Helix output and/or mixer pre gain. Mix and match with the above points. Listen at a reasonable volume to get the full effect. At low volume levels speakers will not produce as much body so you'll hear more fizz! (it's all perception!) and then diall the top end down too much. BUT, make quick decisions and rest your ears every 20 minutes as you won't hear the differences after that. My personal approach: Do 1 to 6 first. Listen. Play. Get to e.g. three amp/speaker + modifcation combinations that get you close to your sound and tweak these. DON'T keep changing stuff at random, you're wishing your life away! Most important!!! Play you chosen settings IN CONTEXT. Context is i.e. with backing tracks, jamming or rehearsal. The sound of your room and your mood or health status in that moment matters too. Isolated tweaking (absence of contect i.e. without playing to tracks or with others) is ok up to a point but context ALWAYS changes how you perceive your sound so just deal with your frustrated emotions and learn to compromise! Disclaimer: These options work for me. The sound you prefer is determined by your preferences, context etc. Tweaking as in points 1-7 seems to work for a lot of players. It's a process of experimentation but you have to start with knowing what sound you are looking for. Happy playing muchachos! G
  2. Hello Friends! This is not your typical "amp fizz" "squirrels" "Ghost in the machine" thread! I suspect there are several things at play here. First, the backstory. I've been having "fizz" troubles with my Helix for months, at their worst they result in massive volume dumps during live performances thru my (Matrix GT800) live rig. BUT recently its almost like they decay over time... I wouldn't be starting this topic if not for the fact that for the last 8 hours STRAIGHT it sounded amazing. Low end was tight, everything sounded amazing. I play through my headphone exclusively but when the fizz gets bad I make sure to diagnose, record it thru the USB, track it out the 1/4" in ouputs and even the sends. BUT THEN I opted to try to restore some old Factory Presets by loading old Firmware into the Helix. Well, I jumped to 3.01 and the fizz came back and hasn't left yet. I'm on my second round loading the firmware through the Helix from 3.01 -> 3.11 Hoping it helps. Attached are 3 stock Helix presets, not affected at all beyond making the impedance 1M. THEY CAN'T POSSIBLY BE THIS BAD YOU GUYS WHATS GOING ON. Jazz Rivet - 04A.mp3 WOrks just fine - 09A.mp3 SadSad - 01D.mp3
  3. ddmilne


    This is a shout out to Line6 concerning the Helix. You did a great job in setting up the interface so that it could useful and intuitive with scribble strips and tons of other ground breaking options. But, it is clear from the thousands of complaints about "apparent digital clipping", "fizziness", bright pick attack, which are all elements of the same problem, that fixes need to be forthcoming. I would like to stay with and buy outright the Helix if these things are fixed. Presently, I have one that is being rented to me so that I can see if it is going to work for me before I put out 2000.00 dollars. Now I know some of you on the forum see this as complaining , but I just spent almost 60 Hours over the past week and a half learning how to get near good tones without getting there. I did everything that was recommended and followed the most popular experts on youtube. Still the problem is there. LINE6 Please, look at this issue and see if improvements can be made. Regards
  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. Hi everyone. I hope you are all well and keeping safe in these troubling times. So I have been creating my own patches and I really enjoy it. However, I have been encountering some problems. There is 2 of them: Wet effect ducking. I am experiencing this with both my reverb and delay and I have no idea how to stop this from happening. When I go to my higher gain tones I get a very weird fizzy/zing noise. Anyone know what this might be? Please see the link for examples of this happening: EDIT: The patches are on the drive as well. Thanks in advance, Alexander
  6. I know this has been commented on in other threads, but I want to reiterate and give my point of view. One of the characteristics of this device is to imitate the sound of the original amplifiers point by point, its characteristics, its advantages and its problems have been imitated. But when I use a half-gain or a clean amp and I add a distortion pedal, I can hear some sort of shirt surrounding the main sound. An artificial coating that sounds digital and does not look exactly like the wake that real amplifiers leave. It is a bit ugly effect that is hidden in high gain amplifiers or when you are playing very often and fast, or over music and with other instruments. It is heard by any of the available outputs including USB. I leave here a few tests that I have done to listen to them and tell me if it is what is expected of Helix, and I am freaking out. Or is it true that digital distortion is … waiting for it to be solved in a new firmware update. Thanks in advance ;)
  7. Friends , I describe my problem . 5 months ago that I have the POD HD500 , and I have a hard time getting the tone I want. I have read , countless post on this forum and I reread a thousand times Meambobbo excellent guide . My two guitars have pickups Bill Lawrence XL500 . The problem is that the tone I get is " fizz " and heard in my recordings a little " break " or distortion . I set my presets with the main entrance " Guitar " and the second entry as " Variax " . Pad switch does not seem to do much. No digital clip between modules, and I hear the fizz at very low levels . Disconnecting all amps, cabs and effects blocks, NO saturation hear the sound of my guitar. I have placed in my presets up to 4 parametric equalizers , filtering frequencies that produce fizz . The truth is that I do not find solution . I have the latest drivers and the latest firmware installed on the POD . Also, I reflashead the unit several times and nothing happens. I tested with several preset I downloaded from Custom Tones, and I see that I still have the same problem , including , I turn up the gain to most of these presets , because in my pod are heard without gain. I really do not understand. I see people on Youtube that get amazing results in your recordings , but when I download your presets , I do not sound the same way. I'm not a neophyte in technology , but it really is costing me get the tone I'm looking for ( hi -gain tones to modern metal "spongy" ) . I would appreciate any indication you can give. Thank you very much from now. (Sorry for my English)
  8. I'm trying to migrate to the Helix from my HD500X, and am not able to get rid of the overtly fizzy top end when inserting a distortion effect. I've seen mention of fizzy high-end in some of these threads, but I've not found a solution that mitigates the issue when using the Helix as a front-end stomp-box-type pedal feeding an outboard guitar amp. To simplify things on the Helix, I've got a chain with ONE module - the Valve Driver Distortion. On my HD500X I used a Tube Drive. Both of those effects are intended to mirror the Chandler Tube Drive. I'm taking a mono 1/4" Out from the Helix, and sending that to the front of my '65 Fender Deluxe Reissue amp. I do the same with the HD500X, and swap the output of each unit feeding the front of the amp. - On the HD500X, I've got the Input Impedance set to AUTO, and have set the Helix Input to the same. - On the HD500X, I've got the Guitar Pad on NORMAL, and have set the Helix Guitar Pad to OFF. - On the HD500X, I've got the 1/4" Out set to AMP, and have set the Helix 1/4" Out to INSTRUMENT. That is it. Squeaky clean simple - or so I would think. Distortion settings on the 2 units are the same (though, for some reason the HD500X has Midrange control for its Tube Drive (set at 50%). Drive, Bass, Treble and Output are set identical between the HD500X and the Helix. There is an overt amount of top end fizz and splat coming from the Helix when using a Distortion effect. Clean sounds seem to be OK. I've tried different Distortion effects, and all produce the same high end characteristic. It's like plugging an MXR Distortion+ directly into a mixing console. I'm at a loss in determining how to mitigate the issue.
  9. So I was one of the fortunate ones to get a Helix as soon as it came out. The UI and the way to really get under the hood to make patches was a bit over my head, but out of the gate I had some pretty great sounding tones. Then came a bad software update and some glitches and my unit was replaced - Kudos to Line 6 for incredible customer service. Here's the problem, and maybe someone here can help me because I am at the point of sending this thing right back to Sweetwater. My original unit sounded great. Patches sounded big and real. On my new one, EVERYTHING sounds like the first Zoom multi Fx pedal I ever owned. Everything except the cleans sound super fizzy and plastic. I've tried rolling off highs, changing mics and placement, but nothing is working. I've used it on a few gigs and it's just awful. Any advice? Thanks
  10. I've tried a lot of pickups over the years. Seymour Duncans, Dimarzios, Joe Bardins, EMGs, and of course various Fender and Gibson pickups too. For a long time I settled on the DiMarzio Super Distortion. btw - Even though I play in a Black Sabbath Tribute band I just go for a high gain tone, not trying to tone match. I use Jackson Guitars and Marshall Amps with the PODHD acting as a PreAmp into the FX returns. A friend brought his Epiphone Tony Iommi Signature SG to one of my gigs and asked if I would try it out. I did a quick level check and made sure it wouldn't squeal then we kicked in. Wow - was the only thing I could think of. The pickups were friggin' amazing. Turned out they were the new Gibson Tony Iommi Signature Pickups. I did a little research and from what I could find, Gibson was working on a new set of high gain pickups then as an after thought they named them the TI Signature pickups. Anyway, what I'm trying to say is all the little things I didn't like in my tone were gone. I now had what I'd been searching for. Thick, rich, sustainy tone and no unwanted feedback or micro-phonics. And no hint of fizz either... I'm not trying to tell anyone to use this particular pickup. What I'm trying to say is maybe you need different pickups than what you have if you can't find the tone you're looking for. Also the capacitor values on the tone knob can make a big difference too. But that's another topic and this one is already too long. What pickups do you use ? What type of tone do you typically use ? Hi-gain, Blues, Clean, Country, Jazz ? Not the best recording but gives you an idea of the tone.
  11. Hey everyone, I've had my POD HD500X for just over a year now, and until now, I've been really happy with it. The problem is, over the last week or so all my clean and distorted, direct/studio AND straight-to-amp patches all have a horrible fizzy sound to them. It sounds like digital clipping, but I've gain-staged all my patches well and set up my inputs and outputs how they're supposed to be. I just updated the latest Firmware as of today (The one that fixed the tuner problem), but there is still no change. Has this happened to anyone else and if so, did you manage to get it fixed? Thanks in advance!
  12. On any distorted patch out of my HD500, I hear a sort of secondary distortion on top of the tone. It could be described as a digital clipping sound. I thought it was subtle at first, now I can't un-hear it. It's on any patch where there's distortion, whether it's an effect before or after the amp, or just an amp with the drive up enough to get some crunch. It's not the guitar, input levels, output, etc - my trouble-shooting has been very thorough. I thought maybe there was something wrong with my unit, but today I went and tested a second HD500 fresh out of the box and it sounded exactly the same. Line6 support has reviewed this sound clip and says they think this tone sounds good, that the sounds I'm hearing are an intentional part of the modelling. Forgive the lackluster playing: I found this video as well, and I hear the same "digital clipping" distortion on his tone between 0:10 and 1:00: So, I'm wondering what you think of this tone. Does it sound fine to you? Do you hear the second level of distortion I'm referring to? Do you hear this on your own unit? Thanks in advance for your input!
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