Tv No Signal Video Effect !!TOP!! Download With Sound
Remona Lostetter
Just finished updating firmware on my HX Effects from 2.60 to 2.71. NOTE: HX Edit and Updater were both updated prior to the firmware update. Plugged unit into my Deluxe and heard no sound through my amp. Put HX in bypass and no sound. Turned HX off and heard guitar through amp. Did complete reset ( F6 +Tap ) and heard guitar through amp. Turned unit off and back on and no sound. Repeat several time with same results. I looked through my settings and couldn't find anything that had changed after the complete reset.
May be relevant to this thread...I recently acquired an HX effects, and love it so far. I had 2 odd behaviors after updating to 2.71 immediately after unboxing (it was loaded with 2.50). I put the init into analog bypass, and got no sound at all, on any patch. Couldn't toggle back out of analog bypass. The only thing that fixed that was reinstall the firmware. But the problem that persists is the all four patches in bank 15 have no sound at all...no effected sound, and no guitar-only sound....nothing at all. All other factory presets are fine. I've tried other firmware versions, and have reinstalled 2.71 again...same problem with all. Suggestions?
Let's look at my observation through two scenarios. 1. Using several pedals in a stock pedalboard, with all pedals in series. Then 2. using a multi-effect unit, in this case, HX Effects as a stand alone pedalboard, one that offers all the pedals you used in the analog pedalboard ( ie: distortion, delay, modulation, etc.) but making use of the presets and snapshots as a switcher, allowing creation of groups of effects into presets for songs in programmed banks.
In scenario #2 ( in the HX effects for instance ) let's assume you have created a bank of of four presets, 28 A,B,C,D, each using an identical overdrive and distortion effect, but making use of different modulations, delays, pitch, and eq settings to make it easy to set up for four specific songs. You have obviously spent hours diligently constructing perfectly balanced groups of effects to play each song. During Song 1 you notice that the gain or eq in the overdrive you've chosen for all four presets is not working. You need more gain, more level and the treble needs to come down. While you are playing the song this is fairly easy to change, so you change it. However, for the next song you select the next preset, with different modulations and delays and special effects that are crucial to this new song and the overdrive is back to where it was before the changes you made in Song 1, ( changes that are now REALLY important because without them your playing will suck and everyone will know something is NOT RIGHT ). Compound this with the fact that you are the featured vocalist on this new song and you can't take the time to make the changes necessary to not SUCK and so you forget the words and play BAD NOTES and decide to sell all your pedals and plug your guitar straight into your amp and get the GOD TONES like real men do.
So the snapshot function in HX and Helix helps with this problem, however you are limited to whatever effects are chosen for the particular preset used to create the snapshots. If edits are made to one effect they'll be evident where that effect is used in the snapshots, but they don't apply to the same effect in any other presets. You have to copy and paste to make those changes to those effects in other presets. During a show this is distracting, time consuming and, let's face it, not cool!
SO....what if units like the HX or Helix allowed you to activate a setting in an effect that would cause any other instances of that effect (with that setting checked ) to update and reflect your edits. This way there is no need to copy and paste edits to effects shared in presets that have the universal change setting checked.
I perform in two different contexts. I do a high tech solo and play in a band. I bought the HX Effects in the hopes of simplifying my setup by using a compact programmable switching pedal with all the effects I'd need. And with the exception of this programming dilemma I find the HX a great sounding and very functional tool. The basic building blocks for me are the overdrive / distortions that I program to presets. If I've programmed a show and then find edits are necessary while onstage I either do my best to copy and paste to my other presets or settle for one edited preset that works, and intermittenly stare at my pedal trying to will the edits to my other presets. The best work around is to use my favorite distortion pedals in the send/return loops thus having the ability to make edits universally, But that compromises my desire to downsize, to carry the ultimate box that's easy to set up without the clutter and threat of cable failure.
I bought and unboxed a new HX Effects today and I can't get it to work OUT OF THE BOX. It came with firmware 2.71 installed. I have the same problem described above: Signal flows to amp when unit is off, as well as when bypass is activated (tap + mode). When I'm in stomp mode, there's no sound at all. I've tried downgrading to every available firmware and nothing fixes it. This is a really disappointing experience. This thing cost a lot of $ and my eager anticipation has been squashed right out of the box. Any ideas? Should I downgrade my Line 6 Updater? I just opened a ticket but it's very disappointing to see that others have had this problem for months and it is apparently unresolved.
What's up with 2.71 not working? I completely agree with everyone else who had the same issue -- which was -- update firmware sequentially thru all versions, ending finally at 2.71, then all audio stopped passing. Only when HX was in standby, or completely turned off, would it pass signal. I have these on both my road boards, and one of my studio boards. What gives?
I have a pair of 20 years old electrostatic speakers that have an analog first order high-pass filter before the electrostatic panels, so there is a capacitor in the audio signal path. The original capacitors were electrolytic (I suppose the capacitors were about the same age as the speakers) with a capacitance of 100 uF which I replaced (by recommendation) with Mundorf MCap 250 MKP capacitors. After the switch I subjectively heard an improvement in the sound quality with a more refined upper end. I should note that I do use a calibration system with mic that should fix most big problems in the signal frequency response.
My question is if it just was an placebo effect or if there is actually some measurable quality in the capacitors that can cause the improvement in sound/signal quality? If so, what causes this and is it a consequence of the aging of the capacitors or have the type of capacitor a measurable effect on sound/signal quality (there are very expensive "high-end" capacitors sold by DIY speaker stores)? Does the same differences exist with different types of resistors that are in the signal path?
I have replaced electrolytic capacitors in both my Sansui au-555 & sp-100 speakers (circa 1960's). The difference in sound quality in the speaker crossover capacitors was largest. 4x original electrolytics swapped for poly-propylenes. The sound was certainly slightly muffled and compressed in comparison to the new caps. The difference was more so in dynamic response than the freq. response. A much more open and lively sound.I measured this with my ears - I am trained in Audio production and live audio.
The behavior of sound propagation is generally influenced by three factors. The first is the relationship between the density and the pressure of the medium, which is influenced by temperature and determines the speed of sound within the medium. The second is the motion of the medium: if the medium is moving, this movement may increase or decrease the absolute speed of the sound wave depending on the direction of the movement. The third factor is the viscosity: the average viscosity determines the speed at which the sound is attenuated, but for water or air the attenuation due to viscosity is negligible. In addition, during propagation, waves may be reflected, refracted, or attenuated by the medium.2
When sound propagates in air, high frequencies are absorbed more than low because of the molecular relaxation phenomenon, and the amount of absorption depends on the temperature and humidity of the atmosphere. Precipitation, rain, snow, or fog has an insignificant effect on sound levels although the presence of precipitation will obviously affect the humidity and may affect wind and temperature gradients.4
Many species such as frogs, birds, marine and terrestrial mammals, have also developed special organs to produce and receive sounds, and they can detect the sound pressure and the vibration of the particles associated with sound with specific organs (i.e. ears) or with the totality of the body surface (somatic hearing).10,11
Cells respond to sound as to mechanical stresses, such as shear stress, changes in plasma-membrane tension, hydrostatic pressure, compression with changes in membrane traffic. The plasma membrane has an associated tension that modulates both exocytosis and endocytosis. As membrane tension increases, exocytosis is stimulated, and endocytosis is slowed down. The decrease in membrane tension stimulates internalization, thereby slowing exocytosis. Secretion is stimulated by external mechanical stresses, although in some cells mechanical forces block secretion. Transduction of mechanical stimuli in changes in exocytosis and endocytosis may involve the cytoskeleton, stretch-activated channels, integrins, phospholipases, tyrosine kinase, and cAMP38 (Figure 1).
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