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Found 174 results

  1. Setup PodGo PRS SE 24 Headrush 12 Patches sound good up until I hit high notes. The issues starts only on the high E above the 12 - 15 fret. It sounds like a very fast, very irritating tremelo. This happens on most patches that are higher gain. Up to that point the sounds is great and then sounds like a cat mating. Any suggestions would be appreciated. thanks bruce
  2. Greetings Is it possible that someone has made an IR so you can get close to band volume tone response when using headphones? A room emulator? A band level emulator? Maybe an IR / block that simulates a 50 watt on about 8 or a 100 watt on about 7. Is this a dumb idea?
  3. I just bought this Line 6 POD XT Pro and was hoping someone might be able to help me, looking for a late 70's Bob Weir tone. Any help here is extremely appreciated. This is very new to me, have not used anything like this previously, so forgive my ignorance!!!
  4. Hey Guys! I put together another video highlighting a bass tone inside of Helix. It uses the Del Sol 300 amp block which is modeled after the "Sun Coliseum 300," with eh Obsidian 700 which is a model of the Darkglas B7K. The impulse is a ROSEN DIGITAL AUDIO Ampeg SVT. I tried to zoom on all of the important settings. If you have questions, feel free to leave a comment.
  5. So many users of the line 6 spider iv amps have had issues with the tones going thin or tinny, or muffled and low volume etc. I have a line 6 spider iv 120 and had the same thing start with mine. Well mine was what I call a cascading issue that led me to find what this issue is probably in almost all of your problems too. Seems the main board or brain has a few components used in circuit boards called voltage regulators. basically is drops the voltage down to what it needs to be and then the extra basically causes heat or is the by product which is correct and normal. the regulators have little metal tabs connected as a heat radiator to get rid of heat.......well the one regulator , which is one right beside the plug from the amp supply is the one that gets a little to hot and has a built in kind of thermal safety and kicks out or doesnt run like it should and that is when the sounds get weird, cut out, reset amp, etc. mine caused one of the solder joints on its 3 connections that was weak to start to crack and then when it got warmer it really kicked in to awful mode. so the solution? it is simple and cheap like 47 cents..... they make a heat radiator or fin that attaches to it with a clip, screw, or a thermal glue that is nothing more than an aluminum piece with fingers that is about size of my thumb and now not one issue ever!!!! you can get them on ebay, amazon, etc. there are 2 voltage regulators that are side by side on board and have metal tab, 3 legs connected to board. easy to just attach them and heat issue is gone!! hope this helps someone.
  6. New VIdeo up on the channel! Finally got around to an overview of my Killswitch Engage tone. Thanks for all your patience on this. When I started the channel, I got on a roll with other videos and left some of these tones behind so it's been fun going back and finishing up the overview. Cheer!
  7. Hello, I'm having trouble getting the sound I was hoping for on the Helix, and I need some help. I'm sure it's my lack of experience with gear and effects that's the problem, not the Helix. I watched all the Jason Sadites videos and regularly read through this forum, and I do seem to be SLOWLY getting closer, but I also wonder if there is not something more fundamental wrong with my setup or settings - like guitar, monitor speakers, amp choice, etc. Here's how I'd describe the sound I'm going for: Warm, smooth, thick, rich clean tone, with some reverb/spaciousness, and a little overdrive to give it a soaring quality. I tend to prefer smoothness and warmth to pinpoint clarity and accuracy, and I definitely don't like twangy sounds. - My guitar. I have an American Elite Strat. It's great, but the single coils are probably at odds with my tonal goals. I use the neck pickup exclusively, but want it to be even more "neck-pickup-like" if that makes sense. The bridge pickups sound unusably harsh and twangy to my ears through the Helix. - I have monitor speakers connected to the Helix as my "amp". Yamaha HS7's - they are nice monitors, but possibly not as guitar "amp" and this may be part of the problem. - Over headphones, I get closer to the sound I'm looking for. Things sound spacious and rich in comparison to the monitor speaker setup. - I get a harsh digital sounding tone anytime I use a delay block. This is not as important as the main tone issue, but it is pretty pronounced, and maybe this gives a clue to what's going on. Weirdly, ping pong delay is the only one I've found that doesn't have this problem as bad. - The sound was way too harsh and digital sounding until I turned on the global EQ and dialed down the high cut to a low level, around 5kHz - Using ribbon mic's on the cabinets helps immensely as well. I've not otherwise messed with trying different cabs or cab settings... - I've experimented with different amp models, and some work better than others, but the base fenders work the best: US Double vib/nrm. - Before Helix, I used a Yamaha THR10C, and found the chorus effect to give that smooth rich sound. (it doesn't actually sound like a chorus, and I only mention this in case anyone has experience with this) Appreciate the help!! Attached is a tone example (excuse my intermediate-lollipop playing) and also a settings file in case that's useful. Thanks, JoelMAIN Headphones.hlx Test Sound Clip Main Headphones.m4a
  8. Hi, if you are anything like me than you like modeling your sounds around other bands and either playing their songs or are using the tones to establish your sound. this is a thread that helps you in the journey to knowing what your favourite bands and artist use, from what guitars they use to amps and effects. To start off Anderton's TV Sounds Like https://www.youtube.com/playlist?list=PLQXro2VDjyIxdCSplV_Zk4qQbbZc2qTCU Second will be a site that catalogs pretty much every artist and what they have used https://equipboard.com Reverb.com also has a series https://www.youtube.com/watch?v=2Tcg5_RyWA0&list=PL6gRE6x7kQfp-4EGruNpHx0Fa9aA6x9oI If you know of any other videos than feel free to post below! p.s Upvote my comments if you like 'em!
  9. I've been pretty st0ked on this amp I purchased for my small practice studio. But occasionally, even with all the great sounds Line 6 Spider V technology has, I am trying to get just a "clean" signal to the driver. I have a set of the standard outboards pedals for sculpting my sound. But none of the 128 presets or any tweaks I have done to them have given me a sound that wasn't "time-smeared" and colored in a negative way. The real tell-tale is when I am using my RC-2 or RC-10r BOSS looper pedals' drum sounds. The snare and especially the cymbals are all resonating in a weird, mushy way that extends the attacks over a couple dozen ms, taking the definition away. It's not just EQ, which I can adjust for "flat" tone. They sound like crap anyway, and it takes some of the enjoyment away from practicing. This is with all the effects off (no chorus/mod, delay, reverb) in the amp, no distortion or overdrive, and using one of the "clean" amp models, with the preamp gain lowered as much as I can and still get output. If I compare it to my other practice amps - a Roland 30x and an old Fender - the clean channel sound is crisp and tight and the BOSS drum sounds (which are EQ'ed to sound fairly flat out of a guitar amp) work very well. Anybody got a clue or a hot tip how to just bypass all the DSP and feed the power stage in the Line 6 Spider V directly? Am I thinking about this in the right way? Thanks for any help, sincerely!! -JD in San Francisco
  10. I recently got the free trial of helix native to see if the helix was for me. I've been looking at it for a long time. Now that I have it, all my tones are muddy. When I record, the notes sound like one long jumbled and distorted mess. I record through a Scarlett 2i2 with the input gain super low because that helps. My question is, how would I fix this? Is it the Scarlett's gain that's the problem? Would the helix floor or rack have the same issues recording through that input as opposed to recording through a separate interface? Thanks
  11. Okkk kind of embarrassed to ask this and I'm sure its basic but can someone tell me how to achieve the guitar tone in jonas brothers year 3000? I'm sure it's not hard to get and used for a lot of pop but just that punchy, distorted but clean/smooth sounding but still hits hard .. not sure how to explain it and I'm sure a lot of it is in the production as well. It's a lame song I know it's just what I can think of as an example. I am using helix native but similar to helix floor.
  12. I want to record the cleanest possible tone into GarageBand. This is where I will apply amp effects. I find the Line6 app to be confusing, so haven't yet figured out how to get a clean tone. I can't be the only person wanting to do this. I figured there would be an FAQ but couldnt' find one. Any advice?
  13. I’ve owned a helix LT for almost a year, the problem I have it since the first days, the presets pre installed sound nothing like in the videos on YouTube...so I gave up on using them, then noticed that when creating a patch, I had to add compressors or ODs before the amp to get a decent distortion... recently I found this user on YouTube called Alex.guitars, and he has this video (link below) where he shows how each amp sounds just with default settings...my helix doesn’t sound even closer to that, there is also another user commenting the same.... I went to this guy webpage and copied this settings on the helix, same...to give you an example, the tweed blues brt at 0:48, It sounds so clean on my helix, I can’t get that driven sound even setting the drive at max. Can someone try the tweeed blues bright with just a low high cut eq (400-5k)and room reverb at the end and let me know if sounds like that? thanks in advance
  14. The solution to all helix tone issues or any issues really is to get an Ampegg Bass amp. FRFR speakers and tube amps are inferior to this method. Simply go direct to ampegg bass amp with ultra hi and ultra low button options or try some other bass amps and prepare for the wow factor. Only use one impulse response or one cab sim when doing this and you will be blown away. I use this for guitar and had been struggling to get a tone I completely happy with that felt full, ect. Now I can officially say my tone quest is over and amp modeling has finally surpassed tube amps in my opinion. Plus bass amps are lighter, cleaner and tighter sounding with a well rounded sound and a lot of thump. It's amazing that no one else on the internet has figured this out yet. I tried everything too, multiple IR's tube amps, 4cm, 200 presets lol nothing satisfied but the bass amp I got really brought my helix to the next level. I compared to my friends Krank 4x12 tube amp and I blew him out of the water. Plus I have a bunch of IR's I like so I can switch to emulate any speaker cabinent now with superior sound quality. No more messing with tubes and multiple cords, no more noise either. 100% consistency in the tone I have been searching for. I now use a strandberg boden 8 direct into the helix direct into the bass amp. I hit the pad button on my ampegg because I have active pickups and it really is everything now. I feel like I'm playing through a 5000$ system now. I am so glad I didn't spend 1000$+ on a FRFR speaker for Stack. If you don't believe me or are in disagreement, I highly urge you to go to guitar center and try some bass amps that have aux in for playback options (meaning that odds are it has a large frequency range) I can officially say now digital modeling has surpassed the need for bulky tube amps, ect. This is the one thing that truly worked. Make sure the bass amp has a dynamic EQ section so you can fine tune your presets (which you won't have to do much to accomplish that). I don't use any distortion blocks in my chain cause the amps sims I use like the texas II or the Badonk have really high gain. I set my noise gate at around -55db or-65db so it doesn't eat at the tone of the guitar.
  15. What's the best way to get a better palm mute chug sound out of the Standard? The models, so far, to me don't seem to be tight enough. Seems like a fairly common problem due to the piezo being behind your palm. So is there a good setting to use on the model that works well? I'll keep playing around with my Firehawk to see if I can get a good sound from it using the single coil magnetic pickup, too. My existing patches don't sound great with the magnetic pickup, so any tips there are welcome. Last resort would be replacing the bridge pickup. Any particular ones anyone has had good success with?
  16. Hello, Randall Satan has been my all around favourite sounding amp since the 1st time I've heard it live. Since their availability in my country is an issue, I never got to buy an actual unit. Well, now I have a Helix - reasoning behind going digital - that I'll leave to myself. All I can say is that I sold all my tube thingys. I saw Collin from Plague Scythe Studio dial in a Randall Satan patch with the AX8. Since AX8 can do it, I bet Helix does too - "Sky is the limit" is the common phrase around this forum. I bet that we can get somewhat close to the real thing. I already cracked the Grind pedal - all it took was a 10 band EQ with specific settings (I'll post a screen later, it works great). I just don't know where to start... The Badonk? Elektrik? What amp would be a good starting point? Maybe somebody already tried tonematching the Satan? I have a wide array of IRs available - ML Sound Lab Mega Oversize, Ownhammers Mesa, Orange and the HHC2. I even laid my hand on Ola's own Hesu IR - I already use it as a "to go" IR. Truth be told, I can't even imagine using the Helix without third party IRs. I think this is where Helix fails, and if the stock cabs were better, we wouldn't hear about AXE FX eating the HX for breakfast. All advice is welcome - lets crack this thing, and prove once for all that the Helix is capable of good, modern, tight, djenty high gain. Down the rabbit hole, Cheers, Chr1s
  17. Clang tone, a subtle ringing pitched sound caused by the longitudinal wave travelling along the string, is a phenomenon inherent to all vibrating tensioned strings. Piezos and microphones can pick up clang tone, but magnetic pickups will not. Variables that may exacerbate clang tone include: · Piezo saddles that are not properly seated · Playing techniques · High-gain amps or high-gain amp model usage · The strings themselves · The individual composition of the guitar · The setup of the guitar or any combination of these contributors. As such, there is no one-size-fits-all way to address the clang tone phenomenon. With Variax being a piezo-based guitar, we've built filters into the firmware to address clang tone. We have recently reviewed these filters and have come to the conclusion that they are already optimized, and further adjustments to the filters would not be beneficial. Each case of clang tone is unique, so we cannot guarantee that any or all of the actions below, when performed by Line 6-authorized service technicians or a luthier, will result in addressing clang tone: · Running the latest firmware (v2.22 or newer) · Replacing strings · Using at least a .010 gauge string set. · Cleaning out the cutout in the saddle where the piezo element sits (use pot/fader cleaner, not WD40) · Replacing piezos (available at www.FullCompass.com, part number 11-00-0010) If none of these actions resolve the issue, please contact Line 6 support at www.Line6.com/support, detailing your actions taken, if any.
  18. I apologize if this topic already exists in the forum. I was searching on how to set up tone/volume in chain: TL guitar, SpiderV 30 & Cubase at PC. I didn't find the answer in Forum. My Spider V 30 is connected correctly to PC via USB and there is a sound of TL in Cubase. In Cubase, I choosed ASIO Spider V driver. I/O is Speder V (L&R) - Active. ASIO buffer Size is set to: Extra Small. I can record my TL from SpiderV 30 via USB and reproduce my records, too. It is not a problem, it works. But, quality of record is desperate and not acceptable, too. The sound is dark, blurry, somehow smudged and does not match what I hear on Spider V 30 while playing & recording. E.g effect as drive is not OK and corrupts the recorded. This is especially pronounced when I strumming all the strings. When I am playing finger style in clear sound or near clear, it is a better. It seams to me that solution is to set properly the tone on all devices in the chain: TL guitar, SpiderV 30 & Cubase at PC. Acctually to set properly the tone/volume of input signal to PC or output signal from Spider V 30 via USB. When I am playing acoustic guitar via USB Audio Interface (UAI), I can adjust Input signal at UAI and all works fine. But at Spider V 30 there is not possibility to adjust Input signal. I can adjust tone at TL guitar as imput signal to SpiderV 30, but it changes a sound of guitar at SpiderV 30. Or I can reduce/decrease Master tone of SpiderV 30, but I can not hear what I am playing. Please, give me opinion regarding this topic. How to properly set up tone of all devices in chain: TL guitar, SpiderV 30 & Cubase at PC? What are your experiences with this?
  19. Hey guys. I was inspired by a fresh set of strings and came up with this bass tone in Helix Rack. Hope it can help someone!
  20. I have been tone chasing with this piece of equipment for quite some time now. About a year to be exact. This is definitely a complicated piece of equipment in my eyes, nonetheless, i am quite determined to learn as much as possible to fully utilize this beast. I have been reading this article http://foobazaar.com/podhd/toneGuide/ampTone#preEQ in order to try and help me better understand some aspects of this pedal. Perhaps i should sell and buy the pro as i dont really tend to use the peda effects and i am using this more for a amp/cab sim in recording my own material. Or perhaps i should sell it and invest my money elsewhere. I am not sure what to do. My problem is that when recording my tone will sound ok before i open my DAW and i am playing through my interface. Once i open my DAW the sound tends to be pushed up higher and im not sure where to compensate here. Im looking at the eq cause i have turned down the gain on my interface and the ch. volume on my cab sim. I was reading about pre-eq to get rid of some buzz/fizz and i am wondering if that is where the problem is. Does the pre-eq come before or after the amp in the chain? Where do I access the frequencies as explained in the frequency chart of this guide? please Halp. Relieve me of my ignorance.
  21. Hey lovely people, With 2.80 I've been trying to build a huge low-end driving, slightly rasping bass tone. Basically the audio equivalent of a cold punch in the chest. My reference is: Animals by... https://www.youtube.com/watch?v=DLYwwtPA49w Sorry. I promise I make music more interesting that this, this tone is just amazing! About 6 hours on and the closest I've gotten (without buying a Spector bass) is by splitting the path: Channel 1 an SVT 4 Pro with about 3 EQs scooping mids, and Channel 2 a clean Fender Dimension blended with the Obsidian 7000. However, I'm compromising the volume consistency across my fretboard by scooping too much, and I still can't get the right balance of thunderous low end and high end clarity heard in the song. Has anyone got any ideas on amps, amp combinations, EQs, effects etc. etc.? Literally any thoughts on the EQ of the song, ideas or advice really appreciated! Have a good one.
  22. Note: The Flextone II was released in 2000 and replaced by the Flextone III in 2003. The Flextone II is now a Legacy Product. Application Q: What are the presets on my Flextone II amplifier? A: The Flextone II are available from the manual download section. If you would like to return your unit to the original presets, please perform a factory reset (see the trouble shooting section). Q: What editing software works with the Flextone II? A: Line 6 Edit allows the deep editing of all the Flextone II presets. Line 6 Edit FAQ Q: How can I control my Flextone via MIDI? A: Please check the Appendix C on your Pilot's Handbook, you will have a list of MIDI program changes and their relation with the Flextone channels. So channel 1A would recall program 1 on your MIDI device. You can either overwrite program 1 on your device with the effects you want to use with channel 1A or you can go to the preset you want to use and internally reassign that preset to MIDI program 1 (if your device offer that option). You can also set the Expression pedal on a MIDI controller to the MIDI CC# you wish to control - for example if you want to control the Delay Mix with it set the CC# to 34. Q: How is the Flextone II different from the Flextone I? Are the older Flextone I amp models changed in any way, software-wise? A: The Flextone II XL has more amp models, more editing capabilities, XLR outs, external speaker outs, improved tone, and an improved power amp stage. The models in the Flextone II are changed from the Flextone I models. The new models match exactly the models in the POD 2.0, so that patches made on one are completely interchangeable with the other. Q: How can I find out which cabinet models are used by default for the amp models? A: Hold down the save and tap tempo buttons at the same time and switch between the cabinet models. The manual button will flash off when the selected cabinet model is passed on the knob. Q: What are the secondary functions for each of the Flextone II's knobs? A: The secondary function for each of the Flextone II's knobs is as follows: DRIVE: Drive Boost on/off BASS: Delay Feedback (how many times it repeats) MIDDLE: Delay Amount TREBLE: Presence on/off CHANNEL VOLUME: Volume Boost on/off REVERB: Noise Gate on/off EFFECT TWEAK: Tap Tempo time Q: How can I control the "Delay Level" on my Flextone II when using the Delay in conjunction with another effect? A: The Delay Level and Delay Feedback can be adjusted on the Flextone II by holding down the TAP TEMPO button and turning the MIDDLE knob for Delay Level and the BASS knob for Delay Feedback. Q: Will the delay feedback on the Flextone II series repeat indefinitely if it is turned all the way up? A: Yes. The delay feedback on the Flextone II series will repeat indefinitely if it is turned all the way up. To turn the delay feedback on the Flextone II all the way up, simply hold down the TAP TEMPO button while turning the BASS knob to 10. Setup/Connections Q: Does the Flextone II have a line out? A: The Flextone II has a headphone jack that doubles as a good direct out. To utilize it properly, you should use a stereo-to-dual mono insert cable and use it as a stereo out into 2 channels on your mixer/recorder. If you need XLR direct outs, you may want to check into a Flextone Plus or XL. Q: Which Line 6 floor controller(s) can I use with the Flextone II? A: Either the FB4 or Floorboard will control the Flextone II, but we recommend the Line 6 floorboard. Please be aware that the Line 6 Floorboard and FB4 are no longer in production but may still be special ordered or found through used gear dealers. Q: Does the Flextone II have an effects loop? A: Yes, the Flextone II has a stereo unbalanced effect loop, located before the Master volume. Q: What is an effect loop used for? A: An effect loop is used for 'line-level' input and output level devices. Many rack mount effect units are line level units, while most guitar effects are 'instrument level' units meant to be run between the instrument and the amplifier. Q: Can I connect an external pre-amp (i.e. Line 6 POD unit) to the Flextone II? A: You can connect an external preamp into the front of the unit or the effects loop return of the Flextone II. Be sure to use a ¼" dummy jack in the instrument input to send the amplifier output to the speakers. Q: How should I connect my speaker cabinet(s) to the Flextone II? A: : Please see the following document (or your manual) for more information on connecting cabinets to your Flextone II. Cabinet Connection and Ohm F.A.Q. Q: What speakers are used in the Flextone II? A: The Flextone II amplifiers shipped with Line 6 "tubetone" speakers, which were manufactured by Celestion. The speakers are 80 watts and either 8 or 16 ohms. See the Line 6 Store for replacement speakers. Registration/Warranty Q: What is the warranty on the Flextone II? A: The warranty on the Flextone II is twelve months from the date of purchase. Q: How can I register my Flextone II? Product Registration F.A.Q. Troubleshooting/Service Q: How can I check the version of software on a Flextone II? A:* Hold down the C button as you power up. The D channel will flash and then the SAVE channel will flash. The number of D flashes = X The number of Save flashes = .X So if the D flashes twice and the SAVE button flashes twice, your version is 2.2. Q: My guitar's sustain is cut off after several seconds. Is there a way to stop this? A: This is likely because of the noise gate on the Flextone II. To turn it off, hold the Tap Tempo button and turn the Reverb knob down. To turn it back on, hold Tap and turn the Reverb knob up. Q: How do I perform a factory reset on my Flextone II? A: The factory reset for a Flextone II is to hold the A B C D Buttons while powering the amp. Q: My amplifier will not store presets anymore. What can I do? A: We use a 3v lithium coin cell battery in the Flextone II to store the user presets, a common replacement is the Panasonic BR2325-1HG. The current battery will need to be de-soldered and replaced with a new battery. If you are not confident in doing this replacement, it should be performed by an authorized Line 6 Service Center. Q: My amp seems to be malfunctioning. What can I do as an end user? Line 6 Amp Troubleshooting Q: Where can I download a Flextone II manual? A: Line 6 Manuals
  23. Very sorry for the long post, but I truly feel it's necessary... Some might already know me from The Gear Page and it's been pointed out that maybe I should post this here in order to have a bigger impact, I'd reach more people really invested in making Helix better. Recently a couple of threads about Fuzz and Input Impedance came up, it seems a good time to push this idea forward and greatly improve our experience while playing w/ Helix. I'm a big fuzz fan. When I started getting heavy into dial in my tones, I found this problem... I dialed my Plexi tone, sounded great, then I added a fuzz face model in front of it, again it sounded great, but when I turned it off, the tone of the amp alone was gone, it sounded muffled. After asking around and some research I found that the culprit was the input impedance, more specifically, the auto setting. Input impedance influences tone and feel, it has to do with the interaction of you guitar signal and the first thing it hits on your pedalboard. To make a pedal behave on a modeler like its "real" counterpart, units use analog circuits to mimic the different input impedances you'd find in a regular pedalboard or amp. For example, usually amps have an input impedance of 1M, but if you put a fuzz in front of it, they usually have an input impedance around 10k, and that's what the guitar will see. A lot of people get confused and say that "well, if you bypass the fuzz, the input impedance is the same", but that's not exactly right. We have basically true bypass and buffered bypass, true bypass acts like there's nothing really there, signal goes straight through; buffered bypass makes the signal go through a buffer, and a buffer itself is actually an amp, and in this case the input impedance will be whatever the input bypass of the buffer is. We will ignore the buffered one. A buffer serves the sole purpose of avoiding signal degradation caused by long running cables - and it doesn't come without its own short comings, anyone that has triad a fuzz face after a buffer knows it - but because inside a modeler it doesn't happen, we can think Helix as a kind of paradise where there's no place for Bob Bradshaw, LA Sound Design, Gig Rig, Pete Cornish and a bunch of other companies, whose sole purpose is to make sure your guitar still sounds like your guitar after going through a metric ton of cables and gear. We'll assume everything is true bypass, because, as we don't have to worry about signal loss through cables, that's the best option, no question about it. Back to input impedance. Everything being true bypass, that means it's going straight through, so the input impedance the guitar sees is of whatever is the first block that's actually on! Going back to my example. In this ideal world, what should happen when I bypassed my fuzz? Signal would go straight through and would see the input impedance of the amp! Turn the Fuzz on and it sees the input impedance of the Fuzz Face! Nice!... Except it's not what happens in Helix. The auto setting doesn't search for the first active block, it goes for the first one, being on OR off. That's why it sounds different! When I turn the Fuzz off, Helix isn't changing the input impedance, so the guitar still sees the low input impedance of the Fuzz Face, making the amp sound just muddy, muffled. Tha auto setting as it works right now is doing pretty much nothing useful. Why? Because what it does is fixing the input impedance to whatever effect is first. If you have a compressor first, impedance will be fixed at 1M, as long as you don't change the signal path, specifically the very first effect, impedance won't change. But nobody changes the signal path while playing, so it's not really useful. Takes away the guess work to find the input impedance of the first effect, but by fixing it, makes everything that goes after have the same input impedance, making the models not nearly as accurate as they could be if the input impedance was set properly. Fixes? Two main ones are usually proposed. After a few FW updates since release the input impedance went from a global preset to the input part of every preset, great! It also can be assigned to footswitches?! GREAT! But it only works for very simple cases. It would for just fuzz-amp. I'd assign the input impedance to the footswitch that turned the fuzz on and off and make it change the input impedance from 10k to 1M. Good! But it doesn't work that great when you put just another pedal in. Let's have Fuzz-Tubescreamer-Amp, all three input impedances are different; when playing the amp it would be 1M, turning the Fuzz on would make it 10k, but now if I turn the Tubescreamer the impedance should not change, but if we assign the input impedance change to its footswitch, it will do just that. But then snapshots came and had to be it, right! Not exactly. By itself it works, but it's extremely limiting and you take in consideration the combinations of pedals I could have using the stomp mode. I'd need 4 snapshots to deal with the fuzz-ts-amp case and set the impedance accordingly, that's not really practical - and the stomp mode is still crippled. Isn't there a definitive fix? You guessed, fix the auto setting of the input impedance. If after everything I said you don't believe me, here's what the competition has to say about this: From http://community.avid.com/blogs/avid/archive/2010/04/06/the-truth-about-true-z.aspx (and a great read if you want to understand what input impedance actually does. Spoiler, it's not about bypass) "Typical guitar modeling processors have a fixed input impedance, which can limit the accuracy of the modeling. Eleven Rack's True-Z circuitry is designed to solve this problem by automatically changing the input impedance to closely match the impedance of the first active effect in the Eleven Rack signal chain." From http://www.fractalaudio.com/downloads/manuals/axe-fx-2/Axe-Fx-II-Owners-Manual.pdf "The Axe-Fx II recreates this effect by switching various (real) resistors and a capacitor in and out of the signal path. In Auto mode, the impedance is automatically set based on the first active effect the input "sees." Normally you will want to leave this on AUTO..." Here's the link to the ideascale where I proposed the auto setting fix: https://line6.ideascale.com/a/idea-v2/862873 Vote up!
  24. How To Create a Great Tone - Pt. 1 How To Create A Great Tone - Pt. 2 - Internal Cabs How To Create A Great Tone - Pt. 3 - Using A Split Block For Dual Cabs How To Create A Great Tone - Pt. 4 - Using Sag, Hum, Ripple, Bias etc. How To Create A Great Tone - Pt. 5 - How To Use A Compressor How To Create A Great Tone - Pt. 6 - Understanding And Using EQ's How To Create A Great Tone - Pt. 7 - Understanding And Using Delays How To Create A Great Tone - Pt. 8 - Understanding And Using STEREO Delays How To Create A Great Tone - Pt. 9 - Understanding And Using SNAPSHOTS How To Create A Great Tone - Pt. 10 - Modulation FX 1: Chorus & Vibrato How To Create A Great Tone - Pt. 11 - Stock Cabs vs. IR's How To Create A Great Tone - Pt. 12 - Using Split & Merge Blocks How To Create A Great Tone - Pt. 13 - Stock Cabs REVISITED How To Create A Great Tone - Pt. 14 - Dialing In Tones For Live Playing How To Create A Great Tone - Pt. 15 - Reamping & Audio Interface Use How To Create A Great Tone - Pt. 16 - Understanding And Using REVERB How To Create A Great Tone - Pt. 17 - Creative Use of EXPRESSION PEDALS How To Create A Great Tone - Pt. 18 - Great Acoustic Tone With Piezo Pickups How To Create A Great Tone - Pt. 19 - FX Placement Within The Signal Chain How To Create A Great Tone - Pt. 20 - Working With Harmonizers How To Create A Great Tone - Pt. 21 - Creative Use of DUAL EXPRESSION PEDAL How To Create A Great Tone - Pt. 22 - DI FOH Output While Feeding Real Guitar Cab...HOW? How To Create A Great Tone - Pt. 23 - Setting Up A Wet-Dry-Wet Tone How To Create A Great Tone - Pt. 24 - Alternate Use of SEND Outputs (W-D-W & FOH/Guitar Cab) How To Create A Great Tone - Pt. 25 - Overdrive Pedals (Comparison and Discussion) How To Create A Great Tone - Pt. 26 - Helix Microphone Models (Comparison and Discussion) How To Create A Great Tone - Pt. 27 - Tap Tempo & Setting Delay Time To Musical Note Values How To Create A Great Tone - Pt. 28 - Using High & Low Cut EQ - Comparison & Discussion How To Create A Great Tone - Pt. 29 - Global EQ - When Should I Use it? How To Create A Great Tone - Pt. 30 - How To Incorporate External FX Pedals How To Create A Great Tone - Pt. 31 - Volume Level Matching: Why It Is Crucial? How To Create A Great Tone - Pt. 32 - High Cut Filters 'In The Mix' vs. 'In The Room'
  25. TONE COMPATIBILITY CHART Below is a .pdf file that contains tone file type compatibility between Line 6 hardware and software. l6_compat.pdf Misc. Notes: - POD Farm 1 tones work with Gearbox when connected to X3 but not PF2 tones - Tones created in POD Farm Plug-In will not load into Gearbox
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