Helix Floor/LT/HX/Stomp/PodGo owners' Club - Tips, Ideas & Patches

[Greg Edwards69]

9 hours ago, dave_bass5 said:

I wonder if you would be able to use a send block on one path to send one signal out of the FX loop send. Not sure if that can be configured differently to the main outs, but it might be an option. 

It depends where the global eq sits in the signal path.  If the fx send it before global eq it may be possible. 
 

My main patch also revolves around a crossover split, so I think only the stomp xl is an option if the above is possible. 

[stoo]

6 minutes ago, Greg Edwards69 said:

It depends where the global eq sits in the signal path.  If the fx send it before global eq it may be possible. 
 

My main patch also revolves around a crossover split, so I think only the stomp xl is an option if the above is possible. 

 

Looks promising

[Greg Edwards69]

Just now, stoo said:

 

Looks promising

Aha. I missed that when I scanned through the manual. That is promising. 

[dave_bass5]

11 minutes ago, Greg Edwards69 said:

It depends where the global eq sits in the signal path.  If the fx send it before global eq it may be possible. 
 

My main patch also revolves around a crossover split, so I think only the stomp xl is an option if the above is possible. 

You could set the Global EQ flat and just use EQ blocks on each signal path.

[Greg Edwards69]

10 minutes ago, dave_bass5 said:

You could set the Global EQ flat and just use EQ blocks on each signal path.

Thanks, but that wouldn’t work for me. I need global eq to compensate for room acoustics. However, Stoo kindly solved this for me, it appears that global eq doesn’t affect send outputs. 
 

One last question. Are the send outputs independent of the master volume?  The manual show how you can hook up the stomp xl to both a bass amp via sends and mixer via master outputs, but I currently have my LT setup so the master volume only affects the 1/4” output and not the xlr. I’d like to do a similar thing with the stomp xl

 

FWIW I note the manual mentions the master volume can be set to control both master output and/or headphones. But there’s no mention of the sends. 

 

 

[acidbass]

4 hours ago, krispn said:

Aye the Mandela Hall gig is a solid live album must have been a good nights craic doing that one! 
 

I’m from Tyrone originally (Coalisland) but live in Edinburgh (ish) now. You guys planning on having a big St. Patricks day gig this year?

Thanks a mill! Yeah the live album was a lot of fun, a few fluffs aside lol! It was my dream to play at Mandela Hall when I went to uni in Belfast so I'm glad it happened before they tossed it.

 

Definitely getting over to Edinburgh and Glasgow (Barrowlands) early next year - PM me if you fancy going to either and I can sort guest list

[krispn]

*Sorry a bit off topic*
 

That’d be class. If it’s for St. Paddy’s Day I’m likely to be gigging in and about Edinburgh with my own squad as it’s our busiest day of the year playing two or three gigs.

 

If you’re thinking about St Paddy’s in Scotland I’m sure you’d have the Barra’s jumping and the likes

of the Three Sisters make a big week long occasion out of it with lots of guests bands etc. They used to buddy up with other venues to hold a “St. Patrick’s Festival”. Might be worth enquiring with them if you’re making it as far as Edinburgh/Glasgow. 
 

Seeing how St.Pats was a bit of a wash out last time I’d say places will be dying to hold a good session this coming March! 
 

*normal service may resume!

[tauzero]

Just done my soak test on https://www.ebay.co.uk/itm/193853851917 to see how well it holds up running a Stomp and the Raspberry Pi soft synth plus an Arduino-driven Stomp switch box and Line 6 G50 wireless for 2.5 hours. It all held up. However, I also ran a patch lead from wireless to Stomp so I could have a listen and make sure there's no nasty artefacts. There is a hum (not loud but definitely there) when using the PSU which disappears when I power everything else with the PSU and the Stomp with its own PSU. So this one, sadly, doesn't quite make the grade. I'm considering a 12V 5A or so power supply running to a number of these: https://www.ebay.co.uk/itm/192169107342 which I'm currently using successfully in a couple of Pi projects and a couple of Arduino projects.

[uk_lefty]

I'm auditioning for a band that plays "pop" covers and need a soft fuzz sound for a few songs... Any suggestions, please? I would experiment but by laptop has packed in so I will need to make all changes on the unit itself so not as easy to experiment! 

[dave_bass5]

25 minutes ago, uk_lefty said:

I'm auditioning for a band that plays "pop" covers and need a soft fuzz sound for a few songs... Any suggestions, please? I would experiment but by laptop has packed in so I will need to make all changes on the unit itself so not as easy to experiment! 

For this reason alone its worth getting to know the box and where everything is. Being able to make adjustments when playing with the band, without wasting time looking through menus etc is not to be under estimated. 

[uk_lefty]

13 minutes ago, dave_bass5 said:

For this reason alone its worth getting to know the box and where everything is. Being able to make adjustments when playing with the band, without wasting time looking through menus etc is not to be under estimated. 

Agreed. I do enjoy the simplicity of the windows editor though, it really is easy.

[dave_bass5]

3 hours ago, uk_lefty said:

Agreed. I do enjoy the simplicity of the windows editor though, it really is easy.

Yeah. I use Native when im recording bass and guitars,  and its just so nice to be able to see everything, but i know from experience when i was gigging with a Stomp id had to make changes etc and normally on the fly, so i got to know the box inside out. 

[uk_lefty]

1 minute ago, dave_bass5 said:

Yeah. I use Native when im recording bass and guitars,  and its just so nice to be able to see everything, but i know from experience when i was gigging with a Stomp id had to make changes etc and normally on the fly, so i got to know the box inside out. 

I've not gigged it yet due to my main band falling apart during the pandemic and me pulling the plug on my other project. I could be depping next weekend though and if I take the Stomp it will probably be put on one preset with a couple of effects I can bring in and out as I need. The volume jumps between different effects really bothers me, I don't understand why it does this by default. I seriously need to get under the hood of it before I can think of using it to it's potential.

[dave_bass5]

33 minutes ago, uk_lefty said:

I've not gigged it yet due to my main band falling apart during the pandemic and me pulling the plug on my other project. I could be depping next weekend though and if I take the Stomp it will probably be put on one preset with a couple of effects I can bring in and out as I need. The volume jumps between different effects really bothers me, I don't understand why it does this by default. I seriously need to get under the hood of it before I can think of using it to it's potential.

Almost every block will have its own volume/level control, you need to keep these in check. Each patch also has an output block where you can adjust the final output level for each patch. This is probably the easiest way to level them up as it means you aren't messing with the gain stages along the path, and so the sound wont change if you turn the patch up or down. 

Again, best done in a band environment to really hear whats going on, but at least you can get a head start

Edited September 23, 2021 by dave_bass5

[funkle]

Had my first big success with the Stomp last few days. 
 

13 songs recorded in 2 days in  sessions for a singer songwriter. I took the Stomp to the local studio expecting to use a ‘recording signal

chain’ I designed to monitor myself and send a dry signal to the desk for them to process.
 

As it turned out, the sound was so good that the engineer simply took the effected signal just as it was. It sounded great in the mix. I used a Stingray for 2 tracks and a Precision Bass with flats for the rest, and it sounded super with both, no tweaks needed. 
 

Chain was Zero Bass DI for a very light touch of grit, Rochester Comp with gentle 4:1 compression, the LA2A clone as limiter for peaks, and Noise Gate. 
 

Really pleased. I see no need for expensive DIs. Sounds to me like digital has caught up. 
 

Edit: I also have to give big props to @krispn for turning me on to TI Flatwounds. They sound great, and recorded great. Thanks mate. Also, the beers you made were nice 😊 

Edited September 23, 2021 by funkle

[krispn]

19 minutes ago, funkle said:

Had my first big success with the Stomp last few days. 
 

13 songs recorded in 2 days in  sessions for a singer songwriter. I took the Stomp to the local studio expecting to use a ‘recording signal

chain’ I designed to monitor myself and send a dry signal to the desk for them to process.
 

As it turned out, the sound was so good that the engineer simply took the effected signal just as it was. It sounded great in the mix. I used a Stingray for 2 tracks and a Precision Bass with flats for the rest, and it sounded super with both, no tweaks needed. 
 

Chain was Zero Bass DI for a very light touch of grit, Rochester Comp with gentle 4:1 compression, the LA2A clone as limiter for peaks, and Noise Gate. 
 

Really pleased. I see no need for expensive DIs. Sounds to me like digital has caught up. 
 

Edit: I also have to give big props to @krispn for turning me on to TI Flatwounds. They sound great, and recorded great. Thanks mate. Also, the beers you made were nice 😊 

They’re some pretty decent strings! I can’t take no credit whatsoever. 🙂

[acidbass]

3 hours ago, funkle said:

Had my first big success with the Stomp last few days. 
 

13 songs recorded in 2 days in  sessions for a singer songwriter. I took the Stomp to the local studio expecting to use a ‘recording signal

chain’ I designed to monitor myself and send a dry signal to the desk for them to process.
 

As it turned out, the sound was so good that the engineer simply took the effected signal just as it was. It sounded great in the mix. I used a Stingray for 2 tracks and a Precision Bass with flats for the rest, and it sounded super with both, no tweaks needed. 
 

Chain was Zero Bass DI for a very light touch of grit, Rochester Comp with gentle 4:1 compression, the LA2A clone as limiter for peaks, and Noise Gate. 
 

Really pleased. I see no need for expensive DIs. Sounds to me like digital has caught up. 
 

Edit: I also have to give big props to @krispn for turning me on to TI Flatwounds. They sound great, and recorded great. Thanks mate. Also, the beers you made were nice 😊 

So did you double compress, essentially? Did you notice much difference?

[funkle]

8 hours ago, acidbass said:

So did you double compress, essentially? Did you notice much difference?

Good question. I guess in one sense, I did. However, I was trying to copy a signal chain of what I thought would happen in some studios anyway.
 

A ‘colour’ DI, gentle compression on the way in (fast response, fairly fast release) to keep overall levels fairly consistent, and a brickwall limiter to prevent any unexpected signal peaks from causing distortion. Oh, and the noise gate. Probably should have had that at the beginning as opposed to the end. 
 

I experimented a lot at home before taking it to the studio. The limiter did exactly what I wanted, nothing until I slapped or plucked too hard, then it clamped down on the top of the note. So most of the time, using the compressor and limiter resulted in just light compression. 

Edited September 24, 2021 by funkle

[LukeFRC]

23 minutes ago, funkle said:

Oh, and the noise gate. Probably should have had that at the beginning as opposed to the end. 

isn't there one of them built into the input blob? (its not a block) 

[funkle]

5 minutes ago, LukeFRC said:

isn't there one of them built into the input blob? (its not a block) 

Yep, there is, I have used that before too. If I needed the space, I could have freed up the block I used. 

[krispn]

54 minutes ago, funkle said:

Good question. I guess in one sense, I did. However, I was trying to copy a signal chain of what I thought would happen in some studios anyway.
 

A ‘colour’ DI, gentle compression on the way in (fast response, fairly fast release) to keep overall levels fairly consistent, and a brickwall limiter to prevent any unexpected signal peaks from causing distortion. Oh, and the noise gate. Probably should have had that at the beginning as opposed to the end. 
 

I experimented a lot at home before taking it to the studio. The limiter did exactly what I wanted, nothing until I slapped or plucked too hard, then it clamped down on the top of the note. So most of the time, using the compressor and limiter resulted in just light compression. 

Might give this a try on one of my patches.

@funkleyou'll have to let us know when any of these tracks are ready for a listen. Was it an Edinburgh based singer?

[funkle]

It was an old friend, now living in Liverpool, but who comes up to Edinburgh a lot for work, and tends to record at a place called Anvil Studios in Ratho. From the sound of things on the tracks, there’s still a lot of work to do on instrumentation and mixing, so it may be a bit yet before they’re out. I’ll let you know!

[Faithless]

Question regarding HX Stomp:
 

Can it's stereo inputs (L and R) be used to plug in two mono signals (two basses) and by panning hard left and right receive two independent outputs?

 

Thanks

L

[Bigwan]

Apparently yes - 

https://line6.com/support/topic/32475-line-6-hx-effects-possible-to-have-2-independent-instrument-lines/

 

Never tried it myself, but I think you need to split the input and apply a pan block to each path.

Edited October 1, 2021 by Bigwan

[Faithless]

Bigwan, thanks!

 

I didnt know about the FX loop thing..

I figure, the same can be applied to Line6 POD GO then?