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shanecgriffo

any thing in helix you think sucks?

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Just one thing : the way assigning and sending out MIDI controller or note data to the stomp switches is implemented.

This could be such a useful feature for controlling other external pieces of kit such as loopers, sequencers, iPads etc  if done right. 

 

Of course I have an IdeaScale for this. 

 

https://line6.ideascale.com/a/idea-v2/802355

 

Currently it is done

 

A  )    per preset - which means controlling say an external looper or iPad becomes a pain because one has to set up the same thing for any preset one might want to use.

 

B   )   MIDI messages get sent out for the stomp switches in the same mode as the effect blocks get switched on/off.  This can both be confusing and limits the number of pedals that can be used to control effects, stomps etc.   Far better would be to have  a specific mode that one enters - just for sending up to 8 commands of MIDI - independent of how a patch has been set up for controlling effect blocks. 

 

 

What is the solution ? well here is mine: 

 

 

A )   Create a new kind of block type specifically for just sending MIDI Messages in a "MIDI Control mode".   The way this would operate would be similar to how one enters Looper mode when pressing a stomp assigned to the LOOPER block.  In this mode - once activated all of the pedals would operate to send out MIDI only and not control any effect blocs assigned to the same pedal.   Optionally it would be possible to also sign a snapshot to any spare stomp - so that while in MIDI Control mode one can do a little changing of sound if needed. 

 

B)  Allow the user to create several GLOBAL "MIDI Control mode" presets ( for different things - i.e. to control different pieces of kit ) at a GLOBAL level - so once a set of assignments for the 8 pedals has been created these can be REUSED for any patch one wants to use the assignments in.  This would let one for example - easily use the same MIDI mappings for any preset one wants - simply by adding a MIDI Controller block into an effects chain in similar fashion to how one adds a LOOPER block into a chain currently.  

 

C)  One would EXIT MIDI Control Mode in the similar fashion to how one exits the LOOPER mode. 

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the cabs

the mic modelling

the IR management

the pitch shifters

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I'd like to see a good IR package for speakers and cabs, say from the Celestion IR division released through Line 6 and tailored for the Helix.  I'm not asking for it for free, but for pay as an upgrade package.  I generally play through cabs with Celesion V30s and GT-75s so I don't need it for Amplifier outputs, but I'd really love it for headphones or FRFR.

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Update process (mainly the fact that I have to back the whole bloody lot up and re-install). The Harmonic Flanger that sounds nothing like an Electric Mistress. The monophonic pitch shifting.

 

 

Apart from that, best device ever.

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I haven't read most of the comments... but there are only a few things I find lacking in the Helix..

 

1.  Two Expression pedals built in.   For other similar units it might not be as important, but with the flexibility of an expression pedal being able to control so many individual parameters, it seems like a pretty obvious choice to me, especially with the use of snapshots.   I see many MANY pictures of the Helix and seems on cursory glance, more than 50% of people use a 2nd expression pedal.

 

2.  Lack of standard USB for import/export/backup.  This too, seems a bit like a no-brainer.  You really do not need a computer attached to use the Helix.  I'd almost go so far as saying it would be nice to just plug a keyboard into the helix for typing names and scrolling and such.   But with all the power built in, and the amazing UI, seems odd you have to hook it up to a computer to get updates, and manage presets and IR's.

 

3.  Speaking of IR's... IR Management.   Just seems like the good folks at Line 6 didn't realize what an important roll IR's would play, especially with Snapshots where you could load 4 IR's for EACH snapshot on ONE preset.  (I think... I know it's a lot... Scott has one Preset that has like 12 IR's in it, two three or four per snapshot.)

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1.  Two Expression pedals built in.   For other similar units it might not be as important, but with the flexibility of an expression pedal being able to control so many individual parameters, it seems like a pretty obvious choice to me, especially with the use of snapshots.   I see many MANY pictures of the Helix and seems on cursory glance, more than 50% of people use a 2nd expression pedal.

 

By your own math, half the people who bought helix would be buying a feature they don't want to pay for.


2.  Lack of standard USB for import/export/backup.  This too, seems a bit like a no-brainer.  You really do not need a computer attached to use the Helix.  I'd almost go so far as saying it would be nice to just plug a keyboard into the helix for typing names and scrolling and such.   But with all the power built in, and the amazing UI, seems odd you have to hook it up to a computer to get updates, and manage presets and IR's.

 

What other devices in this product segment have such a feature? Doesn't seem odd that you have to hook to a computer to do that at all. 

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the mic modelling

 

I don't mind the models; I just wish we had the ability to virtually move the mic across the speaker and angle it.

 

That and make the tuner more usable for live gigs.

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I haven't read most of the comments... but there are only two things I find lacking in the Helix..

 

1.  Two Expression pedals built in.   For other similar units it might not be as important, but with the flexibility of an expression pedal being able to control so many individual parameters, it seems like a pretty obvious choice to me, especially with the use of snapshots.   I see many MANY pictures of the Helix and seems on cursory glance, more than 50% of people use a 2nd expression pedal.

 

...

 

I can see where there are plenty of users who would love a second expression pedal (akin to the Behringer FCB1010 layout).  I must admit I prefer that the Helix only has one. I am glad it does have the one as it provides an ultra portable solution that guarantees that I always have at least a volume, wah, pitchbender, etc. available but anything after that seems better left as optional. It decreases the overall footprint, weight, and cost of the Helix for those who infrequently use a second expression pedal. Additionally an external expression pedal for those who do prefer two is more easily repaired or replaced and less expensive to ship back for out of warranty repairs. Expression pedals almost inevitably go bad or require servicing eventually, at least in my experience, like almost everything else that has moving parts, so it seems like one less thing on the Helix that might require a repair. I could see where having a second pedal on the Helix itself might not only increase the cost of the unit by its inclusion but also because the delayed cost of in-warranty repairs would have to be included in the selling price.

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Well the question was if there was anything that  "I" think sucks, and truly...  I don't think ANY of it sucks..  I just wish they spent a little more time on certain things and maybe provided a couple of features that I would like.   It is after all... all about me :)   (that's actually an inside joke).

 

 

 

By your own math, half the people who bought helix would be buying a feature they don't want to pay for.

 

- I'm sure this applies to MANY features.  Not sure if 50% use SPDIF, MIDI, Variax etc..   

 


 

What other devices in this product segment have such a feature? Doesn't seem odd that you have to hook to a computer to do that at all. 

 

- Again...  much of the Helix provides features not available in this market segment.  I know a few mixing consoles that allow backup to card or USB or to bring on effects and updates.  I did however find to my surprise some loopers and band-in-a-box pedals that do have a card or usb for backup or transfer of elements.  So it's not a completely goofey idea.

 

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The only feature of the Helix that I would say doesn't faithfully model the real thing would be some of the pitch shifting effects. However, I don't really use these, so it doesn't affect the Helix's usefulness to me very much at all. 

I have a hard time understanding the frequent complaints made about cab and mic modeling. Either some people have platinum coated robotic ears, or I'm missing something. My theory is that a lot of people have already used IRs for a long time and the Helix cabs just sound different from what they are used to from a modeler.

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I don't like the update process. I'm really not thrilled with the fuzz pedals. I'm going to have to send mine in for a repair to the joystick.

 

That said; I really do love this thing. One of the most fun pieces of gear I've ever owned.

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I don't mind the models; I just wish we had the ability to virtually move the mic across the speaker and angle it.

 

That and make the tuner more usable for live gigs.

The problem i have is that they dont have any of the characteristics of the real mic. Its like they took a single modeled sound and slapped a bunch of different EQ curves on it. The 121 sounds just like the 57 but with more bass and less highs, and so on.

 

This wouldnt be nearly as much of an annoyance if as you said, L6 would afford us the ability to move the mic left/right and to tilt it on/off axis. It would help a lot, but do you really feel Line 6 needs its users to make them aware of this?  This is guitar sound 101. 

 

Its why i have a hard time taking L6 seriously. They refuse to give us all the tools necessary in putting together a professional guitar sound.

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Speaking of taking someone/thing seriously, I just don't buy that that's the one remaining obstacle between you (or any of us) and a "professional guitar sound".

 

I'd like the ability to move the mic across the speaker too, but really.

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I believe "Wall of Sound" is available for use, to see if that might work for moving the mic around.

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Speaking of taking someone/thing seriously, I just don't buy that that's the one remaining obstacle between you (or any of us) and a "professional guitar sound".

 

I'd like the ability to move the mic across the speaker too, but really.

 

Exactly!!!!  It infers that ONLY HE is blessed with golden ears and knows what a "professional guitar sound" is...and the rest of us are just hacking around and slopping out mediocre crap.  I think the general capability of many of the folks that commonly frequent this forum argues against that logic.

 

The reality is, the only thing that stands between anyone and a professional guitar sound is their knowledge and skill in knowing how to use the tools appropriately.

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Most importantly, the breadth and specificity of their vision. Keep playing and the rest will take care of itself. You'll have to actually do it, and learn how to do it, and gain the skills, but that's the bedrock it's built on.

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I know it's been beat to death but I hate the tuner.

 

Also I hate the fact that several of the delays have really low limits on the delay time. Being primarily a guy that plays at church, we play a lot of songs around 68-75 bpm and use a lot of 1/4, dotted 1/8th and 1/8th note delays and many of the delays are not options because of those limitations. I love the sound of the analog delays but can't ever use then. On my old timeline it at least had a range setting where I could half or double the range to get great bucket brigade delays. Don't know why line 6 can't do that.

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I know it's been beat to death but I hate the tuner.

 

Also I hate the fact that several of the delays have really low limits on the delay time. Being primarily a guy that plays at church, we play a lot of songs around 68-75 bpm and use a lot of 1/4, dotted 1/8th and 1/8th note delays and many of the delays are not options because of those limitations. I love the sound of the analog delays but can't ever use then. On my old timeline it at least had a range setting where I could half or double the range to get great bucket brigade delays. Don't know why line 6 can't do that.

 

Have you tried the Adriatic Delay? That's a BBD-based delay based on a modified DM-2, and the max delay time is 1800ms.

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Speaking of taking someone/thing seriously, I just don't buy that that's the one remaining obstacle between you (or any of us) and a "professional guitar sound".

 

I'd like the ability to move the mic across the speaker too, but really.

I'm not talking about simply moving the mic. I mean all of it. Total control. Or as much as

reasonbly possible. You tell me if you wanted the best possible guitar tones from helix would you be working on a cabinet suite that affords the deepest control possible or adding more of the same fx every update like plastichorus

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Exactly!!!! It infers that ONLY HE is blessed with golden ears and knows what a "professional guitar sound" is...and the rest of us are just hacking around and slopping out mediocre crap. I think the general capability of many of the folks that commonly frequent this forum argues against that logic.

 

The reality is, the only thing that stands between anyone and a professional guitar sound is their knowledge and skill in knowing how to use the tools appropriately.

You've got to be about the whiny est 70 yr old lady I've ever met. Nobody was talking to you and it's pretty evident that you are still sore about being embarrassed in the other thread when you were convinced you were hearing "cab coloration".

 

If you don't like what I have to say then fine ignore me, but don't come jumping in on me trying to tell me what I'm implying.

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I'm not talking about simply moving the mic. I mean all of it. Total control. Or as much as

reasonbly possible. You tell me if you wanted the best possible guitar tones from helix would you be working on a cabinet suite that affords the deepest control possible or adding more of the same fx every update like plastichorus

Ok, so you're not satisfied with the Helix the way it is. That's fine. Sure it would be nice to have variable mic placement available. I even submitted it in Ideascale. Still, the reality is that for a lot of us, it's not a make or break issue. I rarely feel the need to tweak my Helix because I'm so happy with the way it sounds and there are lots of us who feel this way. If we are to look for serious problems in the Helix, it would be in the upgrade process, the tuner and IR management during an upgrade. Tonally, it's not making me bend down and adjust something other than output volume at the gig. It allows me to concentrate on coming up with melodic content for my solo instead of being sidetracked by some icky part of the tone.

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The terrible noise caused by having a usb lead connected when playing through my fx return.

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I don't mind the models; I just wish we had the ability to virtually move the mic across the speaker and angle it.

 

That and make the tuner more usable for live gigs.

 

 

The problem i have is that they dont have any of the characteristics of the real mic. Its like they took a single modeled sound and slapped a bunch of different EQ curves on it. The 121 sounds just like the 57 but with more bass and less highs, and so on.

 

This wouldnt be nearly as much of an annoyance if as you said, L6 would afford us the ability to move the mic left/right and to tilt it on/off axis. It would help a lot, but do you really feel Line 6 needs its users to make them aware of this?  This is guitar sound 101. 

 

Its why i have a hard time taking L6 seriously. They refuse to give us all the tools necessary in putting together a professional guitar sound.

 

 

Speaking of taking someone/thing seriously, I just don't buy that that's the one remaining obstacle between you (or any of us) and a "professional guitar sound".

 

I'd like the ability to move the mic across the speaker too, but really.

 

 

One word... Ownhammer  (as an example really, there are many others)

 

I like that Line 6 made a bunch of CABS and that they have mic models that are flexible.  But I also like that they had the foresight to see that there are companies out there that are dedicated to creating IR's in every shape and form, including custom.  The term "plays well with others" seems to apply to the Helix on a variety of levels from the interface and routing to being able to use IR's from 3rd parties...... but at the same time... what's on board works kinda nice too.  

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I was disappointed with the looper. Also, my expression pedal has become loose.

 

You can tighten the expression pedal. There should have been a hex key in the box with that your Helix came in. You can tighten the bolt for the pedal by using that in the opening on the side of the unit.

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You can tighten the expression pedal. There should have been a hex key in the box with that your Helix came in. You can tighten the bolt for the pedal by using that in the opening on the side of the unit.

Thank you so much!

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The problem i have is that they dont have any of the characteristics of the real mic. Its like they took a single modeled sound and slapped a bunch of different EQ curves on it. The 121 sounds just like the 57 but with more bass and less highs, and so on.

 

This wouldnt be nearly as much of an annoyance if as you said, L6 would afford us the ability to move the mic left/right and to tilt it on/off axis. It would help a lot, but do you really feel Line 6 needs its users to make them aware of this?  This is guitar sound 101. 

 

Its why i have a hard time taking L6 seriously. They refuse to give us all the tools necessary in putting together a professional guitar sound.

I feel like I get good results selecting the mic I think sounds closest to what I'm looking for and then adjusting the amp tone controls or EQ to get me the rest of the way there.Am I doing it wrong?

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For me better selection of effects and why can they not make a Doubler or a good Detune effect at least you get it on the Headrush Pedalboard.

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Really, what about the Compressors could be improved, in your opinion? I mean, I wouldn't mind if they included some others like the SlideRig, Barber TonePress or the Pigtronix one but I have no issues with the ones that we already have.

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I've used a couple pedals with the helix like the vise grip that are more organic/gritting sounding to me. I've tried all the compressors on the helix. They aren't bad but they all dull my tone. Not to a 'sucks' point I guess but enough that I the only additional pedal I use with the helix is one of my compressors pedals.

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I've used a couple pedals with the helix like the vise grip that are more organic/gritting sounding to me. I've tried all the compressors on the helix. They aren't bad but they all dull my tone. Not to a 'sucks' point I guess but enough that I the only additional pedal I use with the helix is one of my compressors pedals.

Well, chalk it up to the old "YMMV" axiom. I expected the Red and Deluxe Compressors to dull my tone and I suppose they do at the tiniest little bit. I've kinda gotten addicted to the LA2A and it definitely does not dull my tone.

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I've been experimenting lately with setting the mix control at 95-97% (something less than 100% IOW) to let a smidgen of pick attack through. Lets the compressor add sustain and smoothness, but coutneracts some of the "dulling" vibe.

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I've been experimenting lately with setting the mix control at 95-97% (something less than 100% IOW) to let a smidgen of pick attack through. Lets the compressor add sustain and smoothness, but coutneracts some of the "dulling" vibe.

I'm almost always down around 85% on the mix. Just like you said, but I like preserving a big chunk of the attack, and I do find myself increasing the compression/sustain more than I would at 100%.

But this reminds me, the only compressor I don't like is the Red, which I think is supposed to be an MXR. I've never used the MXR, but I guess it is supposed to really squeeze the attack. So if this is meant for Chet Atkins style country finger picking, it probably does it's job. I just don't play that style (read: I lack the skills to play like Chet Atkins).

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Nothing sucks, but for my use the biggest irritants are:

  • Pitch shifting.  I'm not so hot for polyphony but I don't like how it handles formants and subtle detunes sound more like chorus than a straight detune.
  • Upgrade process.  I don't like having to reload presets and reloading IRs is an even bigger PITA.
  • High Cut Slope. Should be steeper or, better yet, adjustable.

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Have you tried the Adriatic Delay? That's a BBD-based delay based on a modified DM-2, and the max delay time is 1800ms.

I have but it's just not there. I just want something that sounds like a JHS PANTHER CUB. The Timeline I had was close but not quite. The Adriatic is further still.

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I'm almost always down around 85% on the mix. Just like you said, but I like preserving a big chunk of the attack, and I do find myself increasing the compression/sustain more than I would at 100%.

But this reminds me, the only compressor I don't like is the Red, which I think is supposed to be an MXR. I've never used the MXR, but I guess it is supposed to really squeeze the attack. So if this is meant for Chet Atkins style country finger picking, it probably does it's job. I just don't play that style (read: I lack the skills to play like Chet Atkins).

I grew up in Rochester NY, used the MXR quite a bit back in the day, and your right, squash city. Like you, I don't use the one in Helix, but have found uses for all the others I think.

 

Another move I've been experimenting with for clean sounds is the Deluxe or Studio comp, followed by a 3-band compressing only highs. Helps keep high spikes in check.

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Can't get the cocaine dispenser on my Helix to operate properly... gonna try an IR of some Peruvian flake to see if that fixes it.    :lol:

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One word... Ownhammer  (as an example really, there are many others)

 

I like that Line 6 made a bunch of CABS and that they have mic models that are flexible.  But I also like that they had the foresight to see that there are companies out there that are dedicated to creating IR's in every shape and form, including custom.  The term "plays well with others" seems to apply to the Helix on a variety of levels from the interface and routing to being able to use IR's from 3rd parties...... but at the same time... what's on board works kinda nice too.  

People should'nt be forced to spend more money on 3rd party impulses for good sound. I have the entire Redwirez collection, but have had it for 5 or so years now, and need it before Helix was ever on the market.  However, had i bought Helix and then realized that i still had to spend another $125 on the redwirez collection, that would be somewhat discouraging after spending $1500 on Helix.

 

Sure the possibility of a couple of OK sounds exists natively inside Helix, but the mid to higher gain sounds are all pretty similar sound wise. The single "very good guitar tone" ive built using native Helix blocks exclusively, was achieved with very unconventional block choices.

 

I cant figure out why Line 6 wouldnt want this for themselves? A "cablab" only makes Helix a better product and such choices are essential in building an above average guitar tone. Real life and virtually. Give us the best possible tools to work with, thats all. Maybe chill on the "similar fx" when there are glaring weaknesses with Helix.

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People should'nt be forced to spend more money on 3rd party impulses for good sound.  ......... However, had i bought Helix and then realized that i still had to spend another $125 on the redwirez collection, that would be somewhat discouraging after spending $1500 on Helix.

 

I think we're zooming in on this issue.  If the technology was built into the Helix to accommodate microphone axis...    I highly doubt it would be just a $1500 unit any longer and as many people, I dare say most, are rather happy with what's built in, they may have been going for what they can in a price-point.    In other words, while you and I (yes I was surprised to not see the axis control until I realized what it would entail),...  I'm guessing the average joe wouldn't want to pay $1,800-$2,000 for that feature.  There is also another layer in that I know pro artists that have their IR's, that's what they use.   So maybe it's a go-big or stay home kinda thing and maybe that factored in as well.

 

But at the core...  yes, it would be a great, feature, but I don't think enough people would be willing to pay for it.....

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