Line 6 HX Effects

[BunchyMutt]

I'm thinking about replacing my SA Nemesis + Zoom MS70-CDR with the HX FX to get both standard delay and/or verbs along with more synthy, ambient pads along with much easier patch switching capabilities now that I have an ES-5.

Anyone have experience with the Nemesis and/or CDR that made the switch?

 

[J Posega]

I'm thinking about replacing my SA Nemesis + Zoom MS70-CDR with the HX FX to get both standard delay and/or verbs along with more synthy, ambient pads along with much easier patch switching capabilities now that I have an ES-5.

Anyone have experience with the Nemesis and/or CDR that made the switch?

I, too, have long thought of the HXFX as a logical upgrade from the CDR. I believe @gregmon79 has been a Zoom MS user for a long time.

 

[fivestringgecko]

Any luck with getting a good envelope filter sound? I´ve been trying to get that Guyatone "BWAAOW" sound but without success. I´ve been using the Helix Auto Filter but have no real clue about how to set it up, especially the attack and decay time or freq range. I also suspect that my hot active basses are to high output because the filter reacts to the slightest touch regardless of how I set the sensitivity knob. Maybe I have to lower the gain before the filter effect?

I’m gonna wait and see what other more exp filter addicts like @fivestringgecko says, but I’m pretty sure you can get a pretty close replication of this sound on the HX. Never played a BWR but I have the zoom ms60b and it has a BWR model and I love that thing. Always meant to get one but I’m not a huge filter user. I know you can dial in a pretty decent filter like tbis on the HX. Not dead nuts, but in the ballpark.

@Dade8283
These settings should be a fair starting point for you. I like a similar sounding filter, and my go-to settings aren't actually too far from the sounds in that TWA video. I did make a couple of adjustments, and this is where I ended up. Please keep in mind though, it all depends highly on what other gear you have, particularly the amp/cab(s) you're playing through. I have a Shuttle 6 & Bergantino setup that speak much better in the midrange than my Ampeg PF500 with 2 PF115s, so that affects my settings!

When I was experimenting along with the video, I was playing my MIA Fender Jazz V with Quarter Pounder pickups and an Audere preamp. Pretty hot output, those QPs have quite a punch.

Mode: LoPass
FltGain: +3.0
Filter Q: 3.6
Sens: 4.0
Attack: 35ms
Decay: 320ms
Frequency:120Hz
FrDpth: 2.7kHz
Directn: up
Mix: 100%
Level: 0.0dB

Stay tuned momentarily, I've put together a quick Crash Course for the Auto Filter.

5sg.

 

[gregmon79]

I'm thinking about replacing my SA Nemesis + Zoom MS70-CDR with the HX FX to get both standard delay and/or verbs along with more synthy, ambient pads along with much easier patch switching capabilities now that I have an ES-5.

Anyone have experience with the Nemesis and/or CDR that made the switch?

I, too, have long thought of the HXFX as a logical upgrade from the CDR. I believe @gregmon79 has been a Zoom MS user for a long time.

Yeah I had a CDR for a while. As well as still having an ms60b. I haven’t had a nemesis but I did have a DD500 for a while. What did you wan to know?

 

[J Posega]

Yeah I had a CDR for a while. As well as still having an ms60b. I haven’t had a nemesis but I did have a DD500 for a while. What did you wan to know?

I think Gent and I weee hoping to get your thoughts on the delays and reverbs for both standard fare stuff, but also the more out-there sounds... the really ambient delays and verbs, the stuff that does like pitch shifting and bit crushing on the echos/ repeats and all those weirder sounds.

 

[BunchyMutt]

Yeah I had a CDR for a while. As well as still having an ms60b. I haven’t had a nemesis but I did have a DD500 for a while. What did you wan to know?

1) How's the treble response of the verbs on the HX? the CDR's either get harsh or muddy for me. In general do you have a preference for the verbs on the CDR or HX or do you feel that the difference is negligible

2) How are the ODs and fuzzes on the 60B vs the HX?

3) Creating chains of 'out there' stuff on the CDR vs HX - is it both wildly easier and 'better' sounding on the HX? I know 'better' is such a meaningless term, so I guess I'm interested again in how controllable the treble response is, with the CDR being difficult to find the sweet spot between harsh (esp after distortion) and muddy ime

 

[BunchyMutt]

I think Gent and I weee hoping to get your thoughts on the delays and reverbs for both standard fare stuff, but also the more out-there sounds... the really ambient delays and verbs, the stuff that does like pitch shifting and bit crushing on the echos/ repeats and all those weirder sounds.

yeah.

Also, any thoughts on ease of use + tonal characteristics on DD500 vs HX.

Thanks!

 

[JES]

I've got a H9 and the Helix native and have been able to reproduce some of the sounds in Helix native for pitch shifted delays and reverbs. BUT, in the Helix, I do not find octave-up tracks the lowest notes on my low B well.

 

[fivestringgecko]

Helix Auto Filter Model Quick Start
It seems that the Filters in the HX have been leaving a taste of disappointment for some, and the Auto Filter in particular seems to vex people a bit. However, if you spend some time getting to know it, the Auto Filter has some serious horsepower for envelope filter goodness. It has become my go-to filter after owning/trying 38 envelope filters, and it dethroned my trusty Proton V2 (#28 on the list) that was king of the hill until I got the HXFX.

Here's a quick crash course in the settings for the Helix Auto Filter, which will hopefully help you with your envelope filter goals. It's understandably easy to pick one of the other filter models that has more user friendly controls, but for my taste, they aren't as good as the AF. If you spend the time to get to know the Auto Filter model, you can really dial in the filter sound you want with pretty surgical precision.

Hope this helps! Please keep in mind that this is based on a sample size of one dude with one opinion. This post is just meant to help those that want to explore this particular Helix model get started. If the Auto Filter isn't for you, your opinion is still valid.

5sg.



Controls
Mode: Low, Band or High pass
- Low pass works best for bass in my opinion, as it allows full low end through the filter. High Pass functions much like a high pass filter (as in frequency, not envelope filter). It cuts all the low end out at a certain preset frequency range. Band pass is somewhere in between the two settings.
FltGain: Think of it similarly to a preamp gain knob on an amp. Gain setting raises the level of the signal before it passes through the filter, and will eventually go into clipping.
Filter Q: A resonance control of sorts. Higher settings will get a more bubbly sound.
Sens: Sensitivity to playing dynamics
Attack: How fast the filter opens
Decay: How fast the filter closes
Frequency: Adjusts the frequency where the filter starts
FrDpth: Frequency range of the filter
Directn: Up or Down
Mix: Blend between dry and filter
Level: much like a master volume knob. Some settings will cause a perceived loss in volume, so you can compensate by upping the level with this control to maintain unity volume, or boost/cut volume to taste.


Steps to getting the sound you want
All those controls are pretty interdependent, so you'll have to go back and forth between settings to really dial in the Auto Filter. But here's some starting tips:

The primary key to getting the sound you want out of the Auto Filter is how you have the Attack and Decay times set.
For a filter that opens and closes quickly ON EACH NOTE, faster Attack and Decay times are where you want to be. (This is where I like my filters, see my settings in the attached photo). For a filter that opens quickly and doesn't close until after AN ENTIRE PHRASE instead, you'll want to up the decay time quite a bit. The filter will then open quickly at the beginning, and won't close until you finish playing your series of notes.

EDIT: If you're looking to use the Auto Filter for synth stuff in combo with other effects, you may want to try upping the Attack time for a slower mwuah into the sound.

The next important factor is where you set your frequencies.
Freq sets the bottom frequency, where the filter STARTS affecting the sound. You'll want your Freq setting fairly low for a full range, thick sounding filter. Don't go TOO low though (40-60Hz range), as it starts getting overpoweringly thick. I've found that 120Hz works pretty well, and avoids the "super rumbly" lowest frequencies while still having a good thick sound.

FrDpth sets the top frequency, or where the filter STOPS affecting the signal. Do you like a dark sounding filter? My benchmark is Ain't It The Truth by The Philadelphia Experiment and the FrDpth setting pretty well parked at 4.0kHz. If you like a more quacky, Bootsy Collins-ish, Mutron style filter, you'll want to up this. If I need that kind of sound, I crank the setting way up, in the 8.0-10.0kHz range.

My most common adjustment
Sensitivity is highly dependent on how hot the signal is coming into the filter, and also on your play style. It's not uncommon for me to make adjustments to this setting every time I power up my board, particularly when I change basses. Some basses have hotter output than others, which the Sensitivity control can compensate for.

Using a Compressor
Running a compressor before the Auto Filter (or any filter, for that matter) will help you get/keep a consistent, predictable, and repeatable filter sound. Give it a try and compare, if you have a spare block in your signal path. My Helix preference so far is the Deluxe Comp if I run the Effects by itself, but I run a Darkglass Super Symmetry before my HXFX when it's set up on my board (which has been 98% of the time).

Other Pro Tips
- Depending on settings, a bit of a level boost above unity can help the Auto Filter cut into the mix better. I'm not talking a lot, or you'll make the sound engineer panic.
- On the flip side, a bit of a level cut can help you blend a little better. Again, not talking about a lot. My go to settings include a -0.8dB cut, which seems to work really well for blending with the band.
- I usually run my Auto Filter with a 90% mix so I have just a little bit better definition, keeping just a hint of the actual bass sound in my filter.
- If you're using a bass with an active EQ, experiment with making EQ adjustments to affect the filter sound. Works great for making changes on the fly during a gig. Turn up the Mid and/or High knob (depending on the EQ your bass has) for more quack. Dial back the Highs or Tone for a darker, more dubby sound (the filter won't open as much).


View attachment 3175206

 

[JES]

BTW, I wonder if we could make a sticky 1st post for the thread or something that compiles sounds and sound suggestions. I am going to be trolling it for everyone's favourite fuzz sounds and that will take awhile to sort out. Mainly because I've found overdrives I like but not fuzzes (my preferred sounds come from VFE Woodchipper and Malekko B:assmaster).

 

[Dade8283]

@Dade8283
These settings should be a fair starting point for you. I like a similar sounding filter, and my go-to settings aren't actually to far from the sounds in that TWA video. I did make a couple of adjustments, and this is where I ended up. Please keep in mind though, it all depends highly on what other gear you have, particularly the amp you're playing through.

When I was experimenting along with the video, I was playing my MIA Fender Jazz V with Quarter Pounder pickups and an Audere preamp. Pretty hot output, those QPs have quite a punch.

Mode: LoPass
FltGain: +3.0
Filter Q: 3.6
Sens: 4.0
Attack: 35ms
Decay: 320ms
Frequency:120Hz
FrDpth: 2.7kHz
Directn: up
Mix: 100%
Level: 0.0dB

Stay tuned momentarily, I've put together a quick Crash Course for the Auto Filter.

5sg.

Helix Auto Filter Model Quick Start
It seems that the Filters in the HX have been leaving a taste of disappointment for some, and the Auto Filter in particular seems to vex people a bit. However, if you spend some time getting to know it, the Auto Filter has some serious horsepower for envelope filter goodness. It has become my go-to filter after owning/trying 38 envelope filters, and it dethroned my trusty Proton V2 (#28 on the list) that was king of the hill until I got the HXFX.

Here's a quick crash course in the settings for the Helix Auto Filter, which will hopefully help you with your envelope filter goals. It's understandably easy to pick one of the other filter models that has more user friendly controls, but for my taste, they aren't as good as the AF. If you spend the time to get to know the Auto Filter model, you can really dial in the filter sound you want with pretty surgical precision.

Hope this helps! Please keep in mind that this is based on a sample size of one dude with one opinion. This post is just meant to help those that want to explore this particular Helix model get started. If the Auto Filter isn't for you, your opinion is still valid.

5sg.



Controls
Mode: Low, Band or High pass
- Low pass works best for bass in my opinion, as it allows full low end through the filter. High Pass functions much like a high pass filter (as in frequency, not envelope filter). It cuts all the low end out at a certain preset frequency range. Band pass is somewhere in between the two settings.
FltGain: Think of it similarly to a preamp gain knob on an amp. Gain setting raises the level of the signal before it passes through the filter, and will eventually go into clipping.
Filter Q: A resonance control of sorts. Higher settings will get a more bubbly sound.
Sens: Sensitivity to playing dynamics
Attack: How fast the filter opens
Decay: How fast the filter closes
Frequency: Adjusts the frequency where the filter starts
FrDpth: Frequency range of the filter
Directn: Up or Down
Mix: Blend between dry and filter
Level: must like a master volume knob. Some settings will cause a perceived loss in volume, so you can compensate by upping the level with this control to maintain unity volume, or boost/cut volume to taste.


Steps to getting the sound you want
All those controls are pretty interdependent, so you'll have to go back and forth between settings to really dial in the Auto Filter. But here's some starting tips:

The primary key to getting the sound you want out of the Auto Filter is how you have the Attack and Decay times set.
For a filter that opens and closes quickly ON EACH NOTE, faster Attack and Decay times are where you want to be. For a filter that opens quickly and doesn't close until after AN ENTIRE PHRASE instead, you'll want to up the decay time quite a bit. The filter will then open quickly at the beginning, and won't close until you finish playing your series of notes.

The next important factor is where you set your frequencies.
Freq sets the bottom frequency, where the filter STARTS affecting the sound. You'll want your Freq setting fairly low for a full range, thick sounding filter. Don't go TOO low though (40-60Hz range), as it starts getting overpoweringly thick. I've found that 120Hz works pretty well, and avoids the "super rumbly" lowest frequencies while still having a good thick sound.

FrDpth sets the top frequency, or where the filter STOPS affecting the signal. Do you like a dark sounding filter? My benchmark is Ain't It The Truth by The Philadelphia Experiment and the FrDpth setting pretty well parked at 4.0kHz. If you like a more quacky, Bootsy Collins-ish, Mutron style filter, you'll want to up this. If I need that kind of sound, I crank the setting way up, in the 8.0-10.0kHz range.

My most common adjustment
Sensitivity is highly dependent on how hot the signal is coming into the filter, and also on your play style. It's not uncommon for me to make adjustments to this setting every time I power up my board, particularly when I change basses. Some basses have hotter output than others, which the Sensitivity control can compensate for.

Using a Compressor
Running a compressor before the Auto Filter (or any filter, for that matter) will help you get/keep a consistent, predictable, and repeatable filter sound. Give it a try and compare, if you have a spare block in your signal path. My Helix preference so far is the Deluxe Comp if I run the Effects by itself, but I run a Darkglass Super Symmetry before my HXFX when it's set up on my board (which has been 98% of the time).

Other Pro Tips
- Depending on settings, a bit of a level boost above unity can help the Auto Filter cut into the mix better. I'm not talking a lot, or you'll make the sound engineer panic.
- On the flip side, a bit of a level cut can help you blend a little better. Again, not talking about a lot. My go to settings include a -0.8dB cut, which seems to work really well for blending with the band.
- I usually run my Auto Filter with a 90% mix so I have just a little bit better definition, keeping just a hint of the actual bass sound in my filter.
- If you're using a bass with an active EQ, experiment with making EQ adjustments to affect the filter sound. Works great for making changes on the fly during a gig. Turn up the Mid and/or High knob (depending on the EQ your bass has) for more quack. Dial back the Highs or Tone for a darker, more dubby sound (the filter won't open as much).


View attachment 3175206

Thank you soo much man! Now I have loads to try out and a good guide on how to use the controls!

 

[gregmon79]

BTW, I wonder if we could make a sticky 1st post for the thread or something that compiles sounds and sound suggestions. I am going to be trolling it for everyone's favourite fuzz sounds and that will take awhile to sort out. Mainly because I've found overdrives I like but not fuzzes (my preferred sounds come from VFE Woodchipper and Malekko B:assmaster).

I dialed in a pretty good b:assmaster on my HX. I’ll throw it up here in a few.

 

[JustSomeDude]

Yes I have but very briefly. How do you like it? Any sugestion for how to set it?

Mutant
Mode- Bandpass
Peak - 10
Gain- start low. 2.0
Range - Low
Drive Up
Mix 70%

Running it in Bandpass and using the Mix control will keep the low end from going crazy.
The Gain is sensitivity. Running it low keeps the filtering in lower/more audible ranges.
Same goes for "Range"...Low keeps it low as opposed to high frequency noise.

 

[gregmon79]

I think Gent and I weee hoping to get your thoughts on the delays and reverbs for both standard fare stuff, but also the more out-there sounds... the really ambient delays and verbs, the stuff that does like pitch shifting and bit crushing on the echos/ repeats and all those weirder sounds.

The delays and reverbs are great imo. Much better than the CDR. It’s got some pretty ambient and weird/ethereal ones. And normal ones. The last big update they did on it they really zeroed in on reverbs and worked on brightening them a little. Making them more lively I guess you could say. I’m no reverb buff but I like them. I was able to make a patch that sounded a lot like my afterneath so there’s that.

The delays are great to. Sound great. Function great. Many types and to suite all needs. Hooking up an exp can of course yield cool results. Imo, the verbs and delays are winners all around.

1) How's the treble response of the verbs on the HX? the CDR's either get harsh or muddy for me. In general do you have a preference for the verbs on the CDR or HX or do you feel that the difference is negligible

2) How are the ODs and fuzzes on the 60B vs the HX?

3) Creating chains of 'out there' stuff on the CDR vs HX - is it both wildly easier and 'better' sounding on the HX? I know 'better' is such a meaningless term, so I guess I'm interested again in how controllable the treble response is, with the CDR being difficult to find the sweet spot between harsh (esp after distortion) and muddy ime

1. I feel it’s good. I haven’t used them much in a live setting as of yet. But all the parameters and routing options will most assuredly get you where you want to be in most cases. I never really leaned more towards one or the other on reverbs. But the HX offers a lot. Simple to out there stuff. Not out there as much as some of the CDR’s stuff. But imo there’s a lot there. But again, I’ve gotta say, I’m no heavy verb user. I’ve heard some guys say they like their Big Sky more. But hey, that’s a Big Sky haha that’s kinda the end all be all of verb pedals ain’t it. The HX offers a ton more in all areas of the effects and routing.

2. I was just messing with the 60b the other night. Dude, there’s no contest. The 60b dirt is garbage compared to the HX. The dirt models was what I was skeptical about the most before I got the HX. After I got it, my concerns were quickly gone. There are some models that don’t suite bass that well. But, you can run them parallel with a clean signal in the HX, blend if you will, and it’s fine. I do still have a few dirt pedals on my board. But honestly, especially for live use, I could totally get away with and be happy with using the dirt in the HX. It’s good stuff all around.

3. Again, the HX is hella easy to use. It’s so easy to dig in and learn it quickly. And if you have a verb that’s giving you trouble, just add an EQ block to it and tame it. It’s that easy and quick.

yeah.

Also, any thoughts on ease of use + tonal characteristics on DD500 vs HX.

Thanks!

Both these units sound great. The DD500 obviously wins out on the broad spectrum of the amount of different types of delays in it. But for the HX being an all in one unit, there are quite a lot of delays in it. Tonally, they both sound great. I can’t tell if ones better than the other sonically. They both sound good to great to me. Natural. There are some types of things that are easier to do on the DD but then there are others that are easier to do on the HX. It just depends on what you’re trying to do. Both the units are all around pretty easy to learn and use. It just depends on what you’re after. If you want a powerhouse packed delay modeler, the DD would probably be you’re better bet. But if you want an all in one effects modeler that offers almost anything you could want or need from octave to delay to verb to dirt, and is easy to use and offers a ton in parameters, routing, EQ and blending, then be HX is your best bet.

I’ve bitched and moaned lately about the HX not getting the amps and cab models after the release of the stomp. But I still really love the HX. It’s pretty amazing imo. You can do so much with it. I was holding on to my DD500 just because I wanted a nice delay for my second board (that I never use). But I just sold it. I won’t miss it much. But my HX is still here

 

[gregmon79]

Oh, and @GentProvocateur and @TheEmptyCell, imo the only thing kinda weak on the HX is the pitch shifting and octaves. They work well enough on single notes but chords aren’t happening. However, Line 6 has confirmed that they are working on it. So I’m sure one day in the near future they’ll release an update that fixes these issues. The bass octave is good. It’s no OC2. But it’s good.

 

[BunchyMutt]

The delays and reverbs are great imo. Much better than the CDR. It’s got some pretty ambient and weird/ethereal ones. And normal one. The last big update they did on it they really zeroed in on reverbs and worked on brightening them a little. Making them more lively I guess you could say. I’m no reverb buff but I like them. I was able to make a patch that sounded a lot like my aftermeath so there’s that.

The delays are great to. Sound great. Function great. Many types and to suite all needs. Hooking up an exp can of course yield cool results. Imo, the verbs and delays are winners all around.




1. I feel it’s good. I haven’t used them much in a live setting as of yet. But all the parameters and routing options will most assuredly get you where you want to be in most cases. I never really leaned more towards one or the other on reverbs. But the HX offers a lot. Simple to out there stuff. Not out there as much as some of the CDR’s stuff. But imo there’s a lot there. But again, I’ve gotta say, I’m no heavy verb user. I’ve heard some guys say they like their Big Sky more. But hey, that’s a Big Sky haha that’s kinda the end all be all of verb pedals ain’t it. The HX offers a ton more in all areas of the effects and routing.

2. I was just messing with the 60b the other night. Dude, there’s no contest. The 60b dirt is garbage compared to the HX. The dirt models was what I was skeptical about the most before I got the HX. After I got it, my concerns were quickly gone. There are some models that don’t suite bass that well. But, you can run them parallel with a clean signal in the HX, blend if you will, and it’s fine. I do still have a few dirt pedals on my board. But honestly, especially for live use, I could totally get away with and be happy with using the dirt in the HX. It’s good stuff all around.

3. Again, the HX is hella easy to use. It’s so easy to dig in and learn it quickly. And if you have a verb that’s giving you trouble, just add an EQ block to it and tame it. It’s that easy and quick.



Both these units sound great. The DD500 obviously wins out on the broad spectrum of the amount of different types of delays in it. But for the HX being an all in one unit, there are quite a lot of delays in it. Tonally, they both sound great. I can’t tell if ones better than the other sonically. They both sound good to great to me. Natural. There are some types of things that are easier to do on the DD but then there are others that are easier to do on the HX. It just depends on what you’re trying to do. Both the units are all around pretty easy to learn and use. It just depends on what you’re after. If you want a powerhouse packed delay modeler, the DD would probably be you’re better bet. But if you want an all in one effects modeler that offers almost anything you could want or need from octave to delay to verb to dirt, and is easy to use and offers a ton in parameters, routing, EQ and blending, then be HX is your best bet.

I’ve bitched and moaned lately about the HX not getting the amps and cab models after the release of the stomp. But I still really love the HX. It’s pretty amazing imo. You can do so much with it. I was holding on to my DD500 just because I wanted a nice delay for my second board (that I never use). But I just sold it. I won’t miss it much. But my HX is still here

Awesome. You've made me look seriously at how I can swing it financially. Maybe sell my Nemesis, CDR, Conductor trem, and ehx bass clone

 

[gregmon79]

Awesome. You've made me look seriously at how I can swing it financially. Maybe sell my Nemesis, CDR, Conductor trem, and ehx bass clone

It would def do a great job replacing all those. The choruses are good too. Someone here in this thread made a chorus patch out of 2 dual pitch shifters. It sounds awesome!

Let me ask you, how do you use your nemesis? Just normal delay type uses or do you hook up exp, get crazy with swelling and oscillating feedback??

 

[J Posega]

Oh, and @GentProvocateur and @TheEmptyCell, imo the only thing kinda weak on the HX is the pitch shifting and octaves. They work well enough on single notes but chords aren’t happening. However, Line 6 has confirmed that they are working on it. So I’m sure one day in the near future they’ll release an update that fixes these issues. The bass octave is good. It’s no OC2. But it’s good.

I was literally just going to ask about pitch shifting. I know you're a B Wham guy, too. I've missed mine since I sold it and have been hemming and hawing over getting another. I tended to use it more for pitch shifting up and harmonies. If it can't handle three note or barre chords in the upper register then that's disappointing, but also not something I do a ton of anyway.

I'd be very interested in seeing someone show what the HXFX can do as far as pitch shifting +1 octave when playing melodic lines above the 12th fret.

Good to know on the B:assmaster'esque setting. I think if I get an HXFX (maybe in January when money is less tight), I'd plan on keeping my BEAD Fuzz, Joshwah, and Broughctave run in the loops. Maybe by then they'll have also improved the pitch shifting with bass, too.

My current plan of action is to pick up a Darkglass box for the gigs I have coming up this winter, then I'll flip the DG unit for an HX once the gigs are done and I have more time to play around with and program the HXFX.

 

[BunchyMutt]

It would def do a great job replacing all those. The choruses are good too. Someone here in this thread made a chorus patch out of 2 dual pitch shifters. It sounds awesome!

Let me ask you, how do you use your nemesis? Just normal delay type uses or do you hook up exp, get crazy with swelling and oscillating feedback??

Both. I'm assuming the HXFX can have the Controller jack assigned to delay feedback controls, correct?

I also use it manually for one piece to get weird repeating segments by messing with the time, feedback, and mix knobs. Then I gradually speed up the time to get a single drone note that a riff is then based around

 

[gregmon79]

Both. I'm assuming the HXFX can have the Controller jack assigned to delay feedback controls, correct?

I also use it manually for one piece to get weird repeating segments by messing with the time, feedback, and mix knobs. Then I gradually speed up the time to get a single drone note that a riff is then based around

Yeah you can get some crazy stuff going with an exp. However, I can tell you nemesis is probably better at some of the more specific things you do. For instance, I’ve been trying to get the HX to do like a low speed oscillation sweeping into a high one with an exp. I couldn’t do it. If you can, I haven’t figured out a way to do it. But I know there are some things you can do with an exp with end HX that will yield some crazy runaway stuff. I just haven’t messed with it enough. Maybe try the line 6 forums to ask further on that one. But yes, you can assign the exp(s) to control any parameter you want.