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Any M Series updates in the works?

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Line 6, what are the chances of getting any updates to the M series?

 

Every couple years I do some research to see if there's anything new or exciting going on with the M Series.

 

My hope was that with the M5 added to the lineup that the M Series platform was not dead and that Line 6 would update some patches or add some new effects. It's such a valuable pedal, I'd gladly pay for new effects or software improvements. 

 

I have the Strymon Timeline and the Eventide H9 but the M9 has always managed to keep a place on my board. I must say that the ongoing customer relationship with Eventide through H9 has be spectacular. Would love to see a model like that developed that involves the occasional update. 

 

Thanks,

John Michael 

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+1...  In addition to new models, I would also like to see new footswitches and a cleaner signal path. Basically, the footswitches/light rings of the firehawk would be an awesome addition. The M Series is looking QUITE dated at this point. 

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If you're asking is Line 6 will offer any future firmware updates for the M-series, I'd say the answer is pretty obviously no. I mean, I haven't read a definitive statement from them, I suppose, but it's been several years since the last update. They obviously are investing resources in other places right now. If you're asking if there will be more effects products, well, that's probably a safer bet.

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If you're asking is Line 6 will offer any future firmware updates for the M-series, I'd say the answer is pretty obviously no. I mean, I haven't read a definitive statement from them, I suppose, but it's been several years since the last update. They obviously are investing resources in other places right now. If you're asking if there will be more effects products, well, that's probably a safer bet.

 

That's what I would like. An updated "effects only" product. 

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+1. The M's are such an amazing device. If you think of the box as a platform with new effects being added every so often, this thing could live forever.

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Do you remember when Line 6 used to be the pioneer on Modeling Effects !!!

I'm very attached to my M9, but with pedals like Timeline or Alter ego doing wonders.

 it seems that my line 6 is going to Kijiji Classifieds very soon..

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I'm hoping that Line 6 is working on a new version of the M13 with built-in power supply and scribble strips. Until then, my tube amp with M13 is more than enough to keep me happy.

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I just want 1 update to the M13 firmware, it's been asked by numerous people but never addressed:

 

GLOBAL TAP TEMPO.

 

i.e. Any "Scene"/effect that has it's time setting set to a tap tempo setting, should sync with the tap tempo. 

 

It's really not user friendly the way it works currently, which requires the tempo to be tapped AGAIN everytime a scene change is done.  

 

Ideally, we can tap the tempo on ANY SCENE, and when switching to ANY OTHER SCENE (in same Scene folder will do), it will already have that same tempo set.

 

Surely, this not to much too ask? I'd be willing to pay for an update that enables this.

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I totally agree.  The M series is still a fantastic platform.  There is nothing else like it out there to this day.  Everyone is all over the Strymon pedals, but at $400 a piece and all they do is one type of thing per pedal (delay only, reverb only, mod only, etc) it's not the same and way more expensive.  Line 6 needs to get their act together.  I understand they kind of have the market cornered on the Helix type of thing.  But there are plenty of people who still want to use real amps and need quality stompbox effects in a small and simple platform. 

 

Can you imagine if Line 6 updated the M series with sounds similar to the Big Sky, Timeline, etc?  Game over!

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The forum is great for getting gear related questions answered, but for product suggestions and ideas check out https://line6.ideascale.com/

On ideascale end users can post and vote on ideas/suggestions they would like to see happen with Line 6 products. Line 6 product managers do frequent ideascale, so it is the best spot to get your voice heard.

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The M13( I have one) The HD500(X) and the Helix all will do effects only with a good tube amp.If I am Line 6 I am looking at this and thinking thats enough for that segment of the market. My competitor Roland / Boss only currently offers one model the GT100 that will do 4 cable/ effects only duty.Thats the end of that.I use an HD500 these days more than the M13 only because tube amp/ 4 cable method gigs are fewer and farther between these days. I like to put a Palmer speaker simulator after the HD500 and run it either direct or split between direct and run a thru to one of my tube amps. Absolutely kills!

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The M13( I have one) The HD500(X) and the Helix all will do effects only with a good tube amp.If I am Line 6 I am looking at this and thinking thats enough for that segment of the market. My competitor Roland / Boss only currently offers one model the GT100 that will do 4 cable/ effects only duty.Thats the end of that.I use an HD500 these days more than the M13 only because tube amp/ 4 cable method gigs are fewer and farther between these days. I like to put a Palmer speaker simulator after the HD500 and run it either direct or split between direct and run a thru to one of my tube amps. Absolutely kills!

 

Hey all firstly I read a lot of these but rarely post.. anywho

 

I agree with the above ^ that the HD500(x) and M series work well with a good tube amp for effects BUT... I disagree with the Helix only on the point of a good distortion tone for high gain sounds through a clean amp platform. (I own both Helix and HD500x currently)

 

Hear me out on this because I love the Helix and I'm patiently waiting for the update that finally delivers this feature that is in both the HD and M series and Firehawk... but not the Helix...!!??!!  (I've posted this and have seen many other people post this request on ideascale..... and....... nothing).  Also got the Helix on the first run to Australia before the official Yamaha take over of L6 so it's been a while and I know the unit very well to the point of explaining it to guitar store staff who so far haven't known how to use it properly.

 

A bit of gear background: I've gone through numerous pre-modelling mutli-fx's, the one's you had to counter intuitively turn ON the speaker emulation even through you were going through a cab or combo e.g. Some zoom stuff, Korg AX1000 and 3000G which were great with the the cab emulator on, but they broke eventually. Went to a GT-100 for a bit and then switched to line 6 with the HD500 then HD500X and now own a Helix.

 

Firstly the Helix effects and amp sims are awesome. The dynamic response to pick attack and fret-hand pressure is amazing. If you're using their Amp/cab sims for a high gain distorted tone into FRFR or direct to PA there's no problem.  If you're using the modulation, delay, reverb, pitch fx through an amp, no problem. 

 

BUT.. If you want to hard clip/drive a single channel clean amp using the Helix for modern prog rock to metal tones.. no dice.  This is the scenario I find myself most in.  You go to a gig, they say use our 1 channel amp.  This is your foldback.  The PA is for singers so you can't go direct to PA.  You don't have a Dist model that's clips a nice tone for prog rock/metal and can't use the amp/cabs sims through a physical amp because of either too much tone stacking or terrible and unpredictable sound.

 

I've tried using the preamps into the amps but they always sound harsh and I've tried full amp/cab models but there's too much tone stacking for reliability when you're at the mercy of the amp of the venue. The argument of use your favourite pedals with the Helix is moot as the point of buying a $2800 AUD unit is to have it all in the one unit, especially when the $700 AUD unit and the cheaper M and firehawk series all have excellent high gain dist pedal models.

 

Unfortunately the Helix only caters to the boutique low gain overdrive pedal demographic or highly coloured fuzz dist pedals at the moment.  The Compulsive OCD Fulltone is the thing that comes the closest but doesn't have enough gain to match the original L6 Drive Model from the M and HD series let alone the original L6 Distortion Model – both are excellent high gain transparent dist models.  It's a shame really because all the other features and effects in the Helix are really amazing and it would be great to have the 4x $$$$ flagship unit being able to replace everything its lower budget L6 counter parts can do.

 

My HD500X is set for direct to PA using one of these 2 models - L6 Drive or Dist (depending on the tone needed) before a clean amp/cab sim and it works great. Switch off the amp sim and set the output to combo or stack and you're instantly ready for running direct into any real clean amp. And the tone on those 2 L6 original Drive and Dist Models are crisp and awesome.  The L6 Drive Model could go from "light crunch almost clean" to " soaring prog almost metal lead" and the L6 Distortion Model went from a slightly heavier crunch that cleaned up with a rolling off the volume pot, to crazy insane metal gain which I dialled at about 80-90 depending on the amp provided.  They were always crisp and transparent gain stacks. Better than the other modelled dist pedals and the Drive was excellent for light jazz crunch on low gain and a neck pickup. They're both L6 original models so they can load it into the Helix in an update anytime.

 

You should be able to have the same setup with the Helix if they included those models. Even the option to go direct to PA should be as simple as a only 1 dist + 1 amp/cab block.  The Helix's lack of good dist pedal models doesn't allow for this. I push the DSP in the Helix to it's limits with ambient, modulation and pitch FX in my prog band because I have to use 2 amp/cabs in a direct to PA set up rather than 1 dist 'with expression assigned to gain' + clean amp/cab.  And as mentioned before I don't have the option to run through a real amp because I can only get the level of gain I need out of the amp sims – which don’t sound good through a real amp even with the cab sims off.

 

At my University where I study music the amps are provided and we aren't allowed to use our own amps, or bring our own FRFR due to set up times and we can't use direct to PA as the amp acts as our monitor, we're required to play through a clean amp with flat eq and colour it with our effect units. The HD500x did this well with the dist models on offer but the the Helix's poor selection doesn't so I have to keep my old unit while my $2800 unit gathers dust even though it sounds much better through FRFR. All because L6 won't upload their own original Dist models into the new unit.  IT would be good to be able to sell off my HD500X but I have to wait til L6 upload the features they have in all their other units but not their flagship before I can.

 

And all the demo vids and talk is of creating high gain tones with amp with maybe a touch of TS808, or using the Helix FX with a real amp's footswtichable clean and drive channels, or external analogue dist pedals. but that doesn't work in this scenario. What about driving a clean amp to metal gain tone using 1 dist pedal model on the Helix?! IT's a very common scenario for high gain players into various forms of heavy prog and post rock (I hate that term/genre but people use it so there it is).

 

There are a few other things left out of the Helix from the HD and M series that are fun and very useful like the seek step wah or step phaser that I used on my HD500X for my modern prog band but that's less important than a good original L6 Drive or Dist type pedal model.

 

As I said, all the other FX and Amp/Cab sims are much better on the Helix compared to the HD500x (which are very usable just not as good) with the exception of these Dist models and the a few extras like seeker (seek' wah) and Obi-wah step wah filters that the HD and M series and Firehawk have but not the Helix flagship...??!  It shoudn't be hard for L6 to include them in an update and that would fill an important gap in the Helix's suite of pedal models especially as important as t Distortion tone and make the unit perfect and more flexible.

 

Thanks for reading my rant and maybe we can get those models in the next update =/

L6 Drive L6 Distortion, Seeker (seek wah) or a step phaser (I've posted these in ideascale already and have seen many others post on getting these missing M series and HD FX into the Helix too from the before 2016 and there hasn't been much traction on these ideas in over a year.  The product should have been released with these models TBH considering newer cheaper models have been release with them IMHO.)

The forum is great for getting gear related questions answered, but for product suggestions and ideas check out https://line6.ideascale.com/

 

On ideascale end users can post and vote on ideas/suggestions they would like to see happen with Line 6 products. Line 6 product managers do frequent ideascale, so it is the best spot to get your voice heard.

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BUT.. If you want to hard clip/drive a single channel clean amp using the Helix for modern prog rock to metal tones.. no dice.  This is the scenario I find myself most in.  You go to a gig, they say use our 1 channel amp.  This is your foldback.  The PA is for singers so you can't go direct to PA.  You don't have a Dist model that's clips a nice tone for prog rock/metal and can't use the amp/cabs sims through a physical amp because of either too much tone stacking or terrible and unpredictable sound.

I'd be curious to know what single channel amps you are trying to drive with Helix?

Also, if you're gigging I am kind of surprised that a sound person would continually make you use a single channel backline amp.  Most sound guy are happy to have less volume coming off the stage from a physical amp, not worrying about mics getting moved, and then have it all controlled and mixed through the PA. I have had some sound guys be a little grouchy about having to run Helix direct to the board, but once they hear it and get the simplicity, they are all for it.

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I need to clarify that I do not own a Helix.I own an M13 and an HD500 and a JTV Variax.If you are studying music at a Music University you will be asked to work within many constraints.If you plan on any kind of pro music career you will be asked to do the same whether the task is playing guitar or using your theory and compositional skills. Find a way to make it work with the Helix or get rid of it.I have a 40 year career of recording/ writing/ TV and radio commercials/ club bands/ corporate bands etc...and I am a lead singer.The singer is the focal point of pop music especially these days.The sound guys priority is that. Thats just the way it is. All this stuff is just tools to me.Roland GR55/33/ GP10/ - Line 6 products/ Marshall / Vox and Fender amps.14 guitars.You will learn to use what works and sometimes it is not the latest greatest.Sometimes its a Tech 21 Fly Rig into whatever backline single wnded single channel amp that is provided.

 

good luck with your music education and know this.The music business after university is a 100 times more difficult than being in school.

These are tour best days.

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I'd be curious to know what single channel amps you are trying to drive with Helix?

Also, if you're gigging I am kind of surprised that a sound person would continually make you use a single channel backline amp.  Most sound guy are happy to have less volume coming off the stage from a physical amp, not worrying about mics getting moved, and then have it all controlled and mixed through the PA. I have had some sound guys be a little grouchy about having to run Helix direct to the board, but once they hear it and get the simplicity, they are all for it.

(just had a mishap with a touch screen laptop - brushed away some dust and sent through a reply =/  Please ignore it if you get it.  Here's the real one)

Hey ADBrown.  Thanks for the reply.  To answer your question which amp I try running the helix through it depends on the situation presented to me so I'll try and give you context.  I'm in Sydney NSW, and I'm not sure whether the lockout laws of the State (Baird) Govt of the last few years have made the news in social or mainstream media but it's reduced the number of local venues with many closing down over the last 5 years.  So the once thriving underground metal and prog/post rock scenes/venues are now much smaller and confined to very few venues with reasonable PA's often swapping live music for poker machines and guaranteed money makers.  Most places that have large enough PA's want bands that pull crowds so they often have poppier music types or cover bands not new upstart originals.  Jazz venues have started thriving though so it's not all a loss.

 

A lot of the places new upstarts get to play are little cocktail bars not made for a bands but rather acoustic duos.  There are music licensing restrictions as well.  Usually nothing bigger that a cocktail drumkit if at all with no mic'ing. A VERY small PA for vox and not for anything bigger.  

 

They are tiny venues but are willing to give different music a go if the musicians make it work.  So I still go for the same heavy saturated distortion to create a fusion type sound that a la Guthrie Govan solo's or Caligulas Horse "All is quiet at the wall". or Allan Holdsworth (not as good as these guys but for tonal reference). Some are pubs that aren't that have a stage where you are just shy of sitting on the bass drum of the kit and all the members of a 3 or 4 piece are standing on each other because the stage is so small... the sound engineer has already set it up and mic'd up the venues amps - you just have to plug your pedal board in.  They don't want to rearrange the set up for each band.

 

I may have read the tone of your reply wrong, but it seemed to dismiss the situation I'm describing which is very common and just because you're surprised to hear a PA doesn't want to rearrange a setup they already setup in a tiny venue with a tiny stage and a tiny PA doesn't mean it doesn't happen often.  I've gigged since 1998 on and off so I know the setting your describing and I've watched it disappear here in Syd for the one I'm describing. 

 

Also the problem is monitoring of a direct signal. Because of the small stage size or PA size they don't have monitoring for a direct to PA.  The amp is your monitor.  This is a very important point.  The have often 2 very small foldback speakers for vocal monitoring if at all.  Sometime you have to turn one Front of house speakers sideways. So again no direct to PA for guitarists, just vox.  In these scenarios the sound engineer doesn't want to change what has already been setup and works for the small venue.

 

At Uni we have a particular unit where we're assessed on a performance where we play the larger venues (so not in a studio) with 30-40 min set at the end of the trimester with very fast turnovers between all the other classes that are doing the unit.  So usually 3 or 4 nights of 8 bands a night with 5 min turn overs. To answer your question on amps, sometimes VHT tube, sometimes Roland Cube. So sometimes larger Tube amps, sometimes solid state never a footswitch, often the knobs turned to flat eq and taped over with gaffa tape. We get on and everything is mic'd so again all we have to do is plug in our pedal board and away we go.  The sound engineer doesn't want to re mic new amps and there is nowhere to store 8 bands worth of amps in a pub - too laborious, time consuming and an uneven platform for assessment.  Some of these a two channel amps but no footswitch to switch between clean and gain channels.

 

I know the context you outlined in your response which was typical but isn't anymore in Syd. Anyway a little context

 

But my main point is still a short coming of the Helix that is simple to fix and well within L6 reach which shouldn't have been there in the first place. Again maybe I misread the tone of your response but it didn't address it and seemed to dismiss a very real common scenario saying more or less... 

"... well I'm surprised you can't do it my particular way...".

My point is that I could do it my particular way before with your previous flagship model (HD500X) and expected that the new flagship could do the same and sound better considering it's 4x $$$$.  The expectation with L6 and software based units like the Helix is that with constant up firmware updates they release an update which rounds out the dist pedals to cater for all gain structures not just emulations of boutique pedals from the 70's and 80's. They're all good and well but also include the high gain pedals to round it off.  All the reverbs are L6 original.  I don't think an update that includes the L6 original dist models will throw off the marketing.

 

So all it needs is a good heavy transparent Dist pedal model to cater for high gain players.  L6 have 2 at their disposal that are original algorithm designs that are featured their lesser models i.e. HD and M series and Firehawk all have the best one's which are the L6 original "L6 Drive"TM and "L6 Distortion"TM models.  That is all the Helix needs and problem solved.  A set of dist pedal models to cater to the high gain player who runs through a clean amp platform to make the Helix a more flexible tool.  The lower budget units have had it and the new release lower budget units have it so why is it denied to the flagship model?  Everything else is good on the Helix.

 

It would also be nice if they included the seeker (seek wah filter or obi wah or if they want to make something new a step phaser like the BOSS phase 3 or the slicer) again since the M and HD and firehawk has it and the Helix doesn't.  Just put it in an update.  You have the algorithms ready, just put it in.  If you want to improve it - fix them as you go and then update it.  It's really simple - make the Helix replace the M and HD for those willing to spend 4x the $$$ and have the HD and M for the lower budget versions.  The HD got all the X3 models in some updates.

 

Considering the price of the Helix, it should completely replace the HD/M/Firehawk offering everything they do and more. These few pedals shouldn't be part of a legacy bundle you need to purchase.

 

**

 

I need to clarify that I do not own a Helix.I own an M13 and an HD500 and a JTV Variax.If you are studying music at a Music University you will be asked to work within many constraints.If you plan on any kind of pro music career you will be asked to do the same whether the task is playing guitar or using your theory and compositional skills. Find a way to make it work with the Helix or get rid of it.I have a 40 year career of recording/ writing/ TV and radio commercials/ club bands/ corporate bands etc...and I am a lead singer.The singer is the focal point of pop music especially these days.The sound guys priority is that. Thats just the way it is. All this stuff is just tools to me.Roland GR55/33/ GP10/ - Line 6 products/ Marshall / Vox and Fender amps.14 guitars.You will learn to use what works and sometimes it is not the latest greatest.Sometimes its a Tech 21 Fly Rig into whatever backline single wnded single channel amp that is provided.

 

good luck with your music education and know this.The music business after university is a 100 times more difficult than being in school.

These are tour best days.

 

Thanks JTSC777, I just wanted to make people aware of a small oversight by L6, where the HD and M are sometimes better than the Helix because of this oversight.  The Helix is meant to be an all in one solution - The HD500X is an all in one solution.  The helix models are better however and more realistic/responsive but they just have left out one thing they could easily fix which is part of the basic platform for tone creation gain level with a clear high gain dist pedal.

 

The Helix is great except for this absence from tonal/gain range in their suite of Dist pedals, It's an oversight that could be fixed in an update with a pre-existing original model they already created 'the L6 Drive or Dist model from the M and HD. Other than that it's a great tool and it was something that should have been there from the start and could be easily fixed in an update.

 

Gain structure is part of the staple starting tone/sound and to exclude an entire tonal demographic that they've ctaered to in all other unit releases, the easy option of a high gain dist pedal is a bit silly with every other multiFX unit having some transparent high gain dist pedals in their suite of dist pedal models. L6 and other brands.  Everyone except the $2800 Helix... despite their lower budget HD and M series units having them.  It makes little sense.

 

The current suite go from low to medium gain.  the closest they have is the compulsive OD, the fulltone OCD which the real pedal was never more than a medium gain.  

 

It comes across like a marketing ploy where they only have dist models that are emulation of 70's and 80's boutique pedals and yet their reverbs are all L6 originals so even that philosophy doesn't make sense.

 

With expected updates I don't think I need to sell the Helix, just need L6 to pull their finger out, and update the firmware to include something as basic as a high gain dist pedal which they should have had in their first release.  But it's been more than year since I bought it and longer since the first release so they should have had a solution by now.

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I may have read the tone of your reply wrong, but it seemed to dismiss the situation I'm describing which is very common and just because you're surprised to hear a PA doesn't want to rearrange a setup they already setup in a tiny venue with a tiny stage and a tiny PA doesn't mean it doesn't happen often.  I've gigged since 1998 on and off so I know the setting your describing and I've watched it disappear here in Syd for the one I'm describing. 

Hi Johnny2Shoes, sorry I didn't mean to come off as dismissive of your situation. I was trying to ascertain your situation and share a bit of my experience in similar situations.

I think you misunderstood, I'm not suggesting a venue rearrange it's PA for you, I'm suggesting they run a single XLR from Helix to the PA as it is. It's a virtual equivalent of plugging in your pedalboard to a mic'd amp on stage. I understand this is not a solution if direct monitoring or PA size is a problem. 

 

I do find stacking pedals (often with one set heavier, and one set to almost a clean boost) in Helix helps me get good fusion-y lead sounds out of a real amp, you may know and have tried this already. I'm a Guthrie and Holdsworth fan myself, and I've found to achieve their lead tones less is more in terms of gain. 

 

"Heavy transparent distortion" as you put it, is hard to quantify and perhaps counterintuitive. If you want transparent, to me that means the pedal helps the amp achieve its own natural distortion/breakup without little to no coloration and no eq change from the pedal itself. Transparent drives and distortions really push the amp and will only give as much as that particular amp has. Distortion naturally compresses and colors a sound, and to achieve heavier sounds you are going to need more gain (which will color the sound) and even some EQ.

If you are at the will of whatever amp the venue has with very limited time to setup/ dial in and possibly no access to the EQ on the amp, then you already have quite a few disadvantages working against you getting the tone you want irrespective of what equipment you have. 

 

I agree it would be nice to see some more Line 6 developed OD's and distortions in Helix, and hopefully in time we do! Best of luck with your studies.

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Hi Johnny2Shoes, sorry I didn't mean to come off as dismissive of your situation. I was trying to ascertain your situation and share a bit of my experience in similar situations.

I think you misunderstood, I'm not suggesting a venue rearrange it's PA for you, I'm suggesting they run a single XLR from Helix to the PA as it is. It's a virtual equivalent of plugging in your pedalboard to a mic'd amp on stage. I understand this is not a solution if direct monitoring or PA size is a problem. 

 

I do find stacking pedals (often with one set heavier, and one set to almost a clean boost) in Helix helps me get good fusion-y lead sounds out of a real amp, you may know and have tried this already. I'm a Guthrie and Holdsworth fan myself, and I've found to achieve their lead tones less is more in terms of gain. 

 

"Heavy transparent distortion" as you put it, is hard to quantify and perhaps counterintuitive. If you want transparent, to me that means the pedal helps the amp achieve its own natural distortion/breakup without little to no coloration and no eq change from the pedal itself. Transparent drives and distortions really push the amp and will only give as much as that particular amp has. Distortion naturally compresses and colors a sound, and to achieve heavier sounds you are going to need more gain (which will color the sound) and even some EQ.

If you are at the will of whatever amp the venue has with very limited time to setup/ dial in and possibly no access to the EQ on the amp, then you already have quite a few disadvantages working against you getting the tone you want irrespective of what equipment you have. 

 

I agree it would be nice to see some more Line 6 developed OD's and distortions in Helix, and hopefully in time we do! Best of luck with your studies.

Thanks for the quick reply and the suggestion.  I reread your response and realise I did mistake the tone.. so sorry about that.

 

By transparent high gain I meant as you ascertained, increased clipping at the input side before hitting a high headroom of a power amp.  The transparency being without the fuzz colouration  of Fuzz distortions types like Muffs or face fuzz or that super mid scoop colouration of that high freq attenuated shreddiness of a metal zone type sound.  It's more gain than the Govan and holdsworth I'm after to drive very low output of Alnico 3 humbuckers of a super 58 pups so it's more like Caligulas horse going from clean to super high gain to vol pot roll off for the Govan/holdsworth tone.  But thanks for that tonal advice.  I have a play with it and see if I can make a less is more for tone clarity etc.

 

I haven't tried stacking 2 dist pedals so maybe the Ts808 + Compulisve OD onto one footswitch will work. I'll try it.  Thanks for the suggestion.

 

I got what you meant by the XLR to mixer.  I've found if the engineer have spare DI boxs set up to the mixer they're happy to do it but if they don't they don't want to have to run extra cables to in front of the stage.  Also these circumstances they just don't have the PA size or foldback loud enough to be monitors for the guitars.

 

Again the double stacked dist pedals might do the trick.

 

Thanks again =)

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