original Line6 amp models in Helix

[miguel_lopez]

by pure chance, is there a minimal possibility that Line6 upgrade Helix with those original Line6 amps the same way they did to POD and PODHD?

 

I can't live without spinal, purge and other great amp tones they created...

 

thanx for reading

 

Miguel

[Perfect]

Can you point to point model an imaginary amp? :)

 

I agree though, we do need/deserve these to be added.

[HonestOpinion]

Can you point to point model an imaginary amp? :)

 

I agree though, we do need/deserve these to be added.

 

LOL, you bring up an interesting point. Perhaps the Helix will need a hybrid approach to modeling in the future, if they don't have it already, where they can provide both real circuit based amp models and models of created "virtual" amps that never saw a circuit board.  More great "virtual" amps are being created and users are starting to request that models of them persist across hardware generations and different devices.  In the future we may see models of Boss, Line6, Kemper, and Axe-FX virtual amps being requested the way we currently request Fender, Marshall, Boogie, etc.. Personally I am old school and prefer models of the great tube amps but I am seeing these kinds of requests fairly frequently for amps that started life strictly as models on other MFX devices.

[Perfect]

I would hope that Line 6 are more forward thinking than only following the existing amp crowd though. If you have the technology to model at a component level surely someone must be trying mixing the various elements (and thinking outside the box!) to see what new/improved/different sounds can be delivered?

 

Not that I particular want an amp model that makes my guitar sound like a trombone, however surely with the power now available in the Helix Line 6 can come up with some interesting/usable stuff that isn't just copies of existing gear and FX.

[therightclique]

There are so many amps and effects from the various pods that I miss in the Helix. 

 

It feels pretty bare by comparison, which is a real shame considering how intuitive it is to operate. 

 

For $1500, it definitely feels like it should have started with more in the software department. 

 

The hardware is definitely great, and I hope future updates will unlock more greatness. 

[HonestOpinion]

I would hope that Line 6 are more forward thinking than only following the existing amp crowd though. If you have the technology to model at a component level surely someone must be trying mixing the various elements (and thinking outside the box!) to see what new/improved/different sounds can be delivered?

 

Not that I particular want an amp model that makes my guitar sound like a trombone, however surely with the power now available in the Helix Line 6 can come up with some interesting/usable stuff that isn't just copies of existing gear and FX.

 

Absolutely, I expect to see Workbench approaches to amps in just the same way users currently create their own virtual guitars on the Variax.

[HonestOpinion]

There are so many amps and effects from the various pods that I miss in the Helix. 

 

It feels pretty bare by comparison, which is a real shame considering how intuitive it is to operate. 

 

For $1500, it definitely feels like it should have started with more in the software department. 

 

The hardware is definitely great, and I hope future updates will unlock more greatness. 

 

Have to agree with you here but it seems to be getting better with new firmware updates, I hope they don't put on the brakes.

[miguel_lopez]

Hi, thanx for the feedbak, interest, enthusiasm and humor...

 

This is gettin' more and more complex.

 

At the end it's all a matter of creating music.

 

Since all the great songs we are used to listent to are the final product of producing, mixing and mastering result, it is VERY important to focus on objective goals: nuthin' but a good balance between instrumental skills and creative musical expression.

 

Sometimes I really question myself. I don't know if that "brown" sound from eruption was the most important ingredient in that magical "piece of art".

 

Here in my miserable country, where technicians, luthiers, music trainers, art promoters and "artists" are idiots, it's absolutely impossible to think about developing gear, instruments, creativity, art-evolution and spirit.

 

That's why I've always loved Line6, cuz gettin' a real amp demands a professional amp-tech, who at least, has the ability to manage properly the tube set up.

 

There's NO way to experience the whole component-complexity to learn the ART OF AN AMP.

 

That's why I'm missing those "imaginary" Line6 original models which where created by PROFESSIONAL people.

 

At the end, I'm happy with those wird tones because they are inspiring to create different music. And also you may be happy playing Born on the Bayou with some of them. But at the end you may prefer some of the infamous LABELS you are used to, as much as you have had the real experience of a real amp.

 

The challenge in here is to play better, practice objectively and learn the basic elements to produce the best sound from your sources.

 

In my humble case I'm totally concerned about the music, but I just can't forget about the tone...

 

thanx for reading

[HonestOpinion]

Hi, thanx for the feedbak, interest, enthusiasm and humor...

 

This is gettin' more and more complex.

 

At the end it's all a matter of creating music.

 

Since all the great songs we are used to listent to are the final product of producing, mixing and mastering result, it is VERY important to focus on objective goals: nuthin' but a good balance between instrumental skills and creative musical expression.

 

Sometimes I really question myself. I don't know if that "brown" sound from eruption was the most important ingredient in that magical "piece of art".

 

Here in my miserable country, where technicians, luthiers, music trainers, art promoters and "artists" are idiots, it's absolutely impossible to think about developing gear, instruments, creativity, art-evolution and spirit.

 

That's why I've always loved Line6, cuz gettin' a real amp demands a professional amp-tech, who at least, has the ability to manage properly the tube set up.

 

There's NO way to experience the whole component-complexity to learn the ART OF AN AMP.

 

That's why I'm missing those "imaginary" Line6 original models which where created by PROFESSIONAL people.

 

At the end, I'm happy with those wird tones because they are inspiring to create different music. And also you may be happy playing Born on the Bayou with some of them. But at the end you may prefer some of the infamous LABELS you are used to, as much as you have had the real experience of a real amp.

 

The challenge in here is to play better, practice objectively and learn the basic elements to produce the best sound from your sources.

 

In my humble case I'm totally concerned about the music, but I just can't forget about the tone...

 

thanx for reading

 

Thank you for the reminders that in the end run it is the music and creativity that matter most. That essential truth can definitely get lost in a haze of late night equipment twiddling. I also find that my tone is integrally connected to my creativity, the better things sound, I find the better I play. 

[miguel_lopez]

totally agree... just to add some more spice, I had a composition teacher who was working, literally, all day long with his piano, and by the middle of the week the piano was completely out of tune. So, when he had to work that way, he insisted on the quality of music. He used to say: " if your work(song, symphony, sonata, concerto, arrangement) sounds good in a piano out of tune, then is gonna be amazing when you play it with a professional orchestra totally tuned up"

 

I'm not presuming, but I've played really cheap guitars and "tone processors" and people have been so impressed how technical skills and a good set up make the real magic.

 

Now imagine it with a Helix =)

 

thanx for your reply and also to help in here to understand the complexity of artistry

 

cheerzzz