Leaderboard

How do you dial in your overdriven presets? With my ears - not meant to be facetious, but really that's all that matters. 'Standard practice' is BS, it's just doing what others do and may not work for you. You may want/need to change your mic/cab approach for dirtier sounds, or even the amp settings. Luckily you can do all those changes with one button push using snapshots. I think you need to throw away analog approaches (which frankly were always a massive compromise (amp + cab with pedals in front) and embrace what digital offers in terms of clean and dirty and 'disgusting' can all be highly independent. You are no longer bound to amp/pedal/can settings based on what you have onstage. Play and learn, and have some fun.

Any FX blocks you place before the Send block will be included in the signal going out to your power amp/cab. Any FX blocks placed after the Send block will be heard only through the Main outs to FOH.

Here ya go - start out with the bite size chunks videos. https://line6.com/support/helix-minutes/ As for the "oldies" thing - pah! You're a mere child - there are quite a few forum users who are beyond their allotted years of "three score and ten". Then when it come to listening to your Helix, please read this: https://blog.line6.com/2023/09/15/eric-klein-at-least-half-of-your-modelers-sound-is-determined-by-your-playback-system/ Hope this helps/makes sense.

You can’t send them individually to the FOH but you can adjust all the things you mention in the Matrix Mixer, and then send the pre-mixed stereo signal to FOH from the Stadium Send 1/4" outputs, independent of the XLR outputs.

I'm glad I came across this thread (finally), I have been working on this for a few hours and your explanation made my "light-bulb" pop on. Now the preset does exactly what I wanted to. Syphus

Since your device is new you have no personal/ custom presets and hence no need to perform a backup first. However the backup is a mandatory part of the firmware update procedure, which you will appreciate when you DO have custom data. A firmware update does not overwrite any of the existing presets in the device, neither custom nor factory presets. It does not automatically install any factory presets. So if you want any new factory presets you should perform the recommended factory reset, which does install them. However, it also deletes any custom presets. That’s where your backup comes in. My standard firmware update procedure is: 1. Perform the firmware update, which includes the mandatory pre-update backup. 2. Perform the factory reset, which includes installing the factory presets associated with that version of firmware 3 Restore your backup file created in Step 1, but selecting not to install setlists 1, 2, and 8 (the factory presets). After those three steps you will have the new firmware, the new factory presets, and all your custom presets, Global Settings, IRs, and Favourites that were on your device before the update.

There is a very reasonably priced eBook available on Sweetwater called The Big Book of Helix Tips and Tricks. It is authored by a regular contributor here named Craig Anderton. I have no affiliation with him and I am endorsing, not promoting, his product. I find it to be an invaluable resource and, given your question, I think it would be a disservice to you not to mention it. Detailed explanations of all FX blocks and their parameters is just one of the many things it covers.

I raised a ticket on this problem and Line 6 confirmed its a bug and it will be fixed in the next update.

Sharing this because I went crazy trying to figure it out, and maybe it’ll save someone else some time. A few days ago, I tried logging into Line 6 Helix Stadium, but the QR code never appeared. The manual login didn’t work either. To make things worse, the HX Stadium App kept crashing, and I couldn’t update it from my computer or through Line 6 Central. Ironically, those were the two options the manufacturer recommended when I contacted support. Since I work in tech, something didn’t add up. Everything pointed to the app not connecting to the server, which explained why the QR wouldn’t generate. Then I thought: “What if it’s the time zone?” I tried something simple: Disabled automatic time synchronization Set the time manually And… BOOM! The QR popped up instantly, and I was able to log in without any issues. Hope this helps someone out there.

None of the manufacturer's recommendations fixed the problem. Considering that it appears to be a connection problem with Line 6's servers, I tried something simple: I disabled "Date Time via Wifi" and setting the time/date manually, and boom! It fixed everything instantly! Incorrect time zone prevents connection to Line 6 servers.

I was able to get this working in Mac OS 26.1 Tahoe on a Mac mini M2. Here's what I had to do: Start the Mac in Recovery mode. This took probably 5 minutes Power off your Mac Hold down the power button until you're prompted to select either your boot drive or Options Click Options Wait a bit while it scans your disk In the top menu go to Utilities...Startup Security Utility Select the system on which you want to install the Driver. If the disk is encrypted with FileVault, click Unlock, enter the password, and then click Unlock. Click Security Policy, choose Reduced Security and check the option to allow user management of kernel extensions from identified developers Click OK. Enter the password for your account and click OK. Restart your Mac from Apple menu Download the Line6 Driver here: https://line6.com/software/readeula.html?rid=11477 Install the driver Run the following from a Terminal window (you can press CMD + Spacebar to search for Terminal if needed): sudo kextload /Library/Extensions/Line6AudioUniversal.kext Reboot the Mac I hope that helps!

I connect it to my computer.

In Global Settings (maybe the Preferences area?) there is a parameter named Snapshot Edits that controls whether changes to Snapshot settings (like turning your overdrive block on/off) are retained or discarded when you switch snapshots within a preset. You want the changes discarded, meaning when you return to the snapshot the overdrive on/off will remain in its saved state, not retaining the change you made. However, it is a Global parameter. There is another option that may be useful but you’ll have to experiment with it. That’s the Bypass Snapshots setting available for each FX block. That removes the Snapshot control for the block, meaning that you turn it on/off manually using a footswitch.

Not really but so far that we can do nothing but praying self update over intermet will still work or updatimg with Apple stuff. Last one isn't possible for me. We did everything a customer can do. Now it is Line 6' move.

I believe we will have to wait until at least firmware 1.6 for the M3 (MetaMIDI-Mind) interface. In the meantime, the following worked for James McAvoy as Professor X.

TLDR: Don't expect global assignment of a cab-free output in a hurry. Its not stumbling over this, its how its been done with the Helix since the OG. The exception to this is the Pod Go, which has fixed block placement. You will need to adjust your workflow, and quite possibly your approach to patch building (see below). The flexibility the Helix allows (1/4 inch, XLR, Digital, sends and returns) makes a global response near to impossible and, for many, highly undesirable as their needs may vary in terms of how outputs are used and can be managed on a by patch basis. If you want a standardised approach use templates to set-up your master approach and add/change as required. The idea that the cab should or must be the last block is also false. There is lots of post cab processing you may want to apply before going direct - eg compression or patch specific EQ - that you do not want going to your cab. The only consideration for your tap point (to cab) is does it include all the processing you want/need for the cab. Some users have a wetter send for FoH than to onstage monitoring/cabs. Again, why a global setting for no cab on output X is problematic. I can't answer your other question re the Agora amp interaction with cabs - however logically, if you're tapping the signal before the cab, and the cab still exists, the relationship between amp and cab still exists, and should impact all signal leaving the cab independent of tap point.

I learned about the Command Center on the old Helix. The Command Center is far easier to use in Stadium than it was in the old Helix. On the Helix, the Command Center button assignments were unique to each snapshot within a preset, which meant that if you wanted to assign 8 snapshots to stomp buttons, you would need to program the 8 assignments within each of the 8 snapshots, or 64 separate button assignments. It was a total pain in the butt. In Stadium, when you make a Command Center button assignment, it works in each of the snapshots, so its very easy and intuitive to use. I read somewhere that its still possible to program Stadium to have unique button assignments within each snapshot, but I don't know how to do it (and I don't want to know how to do it LOL). In all of my presets, I like to have the buttons I use most often along the bottom row for easy access. This means having a mix of Stomps and Snapshots within the same row, which is an easy setup on the Stadium.

It’s very easy to do. I use a combination of stomps and snapshots on all of my presets, so I keep the unit in combo mode with both the top and bottom rows being stomps. When I want one of the buttons to be a snapshot, I do the following: Select the menu in the upper left of the touch screen (three horizontal lines). Select the Command Center icon. Select the button you wish to program from the screen, then select Preset/Snap from the lower left. Select "Command" and then turn the knob to the far right to "Snapshot". Now turn the Snapshot knob to the desired snapshot number and that's it, the button is now programed to go to the specified snapshot. If you would like to change the name and color of the button, select the camera icon in the upper right of the screen, choose the snapshot you wish to rename, then select "Rename/color" from the screen. PS: You might want to edit the title of this thread LOL

That’s the way I’ve always done it. 1/4” direct, XLR with cab.

Would it be possible to change the color of the tap tempo encoder. Just for the vanity

Of course we need a firmware update to support the Variax model change with preset/snapshot and hopefully control of a powercab to go with the D10 box. Seems like profiling is going to come before support for Variax. It might be fun to make a profile of my old ADA MP1 preamps (one stock one modified)

I found this in the HN a manual. It may be relevant: NOTE: You’ll need to configure your DAW host application to receive MIDI Control input from your external MIDI controller device or software. These settings are typically found within the DAW application’s Preferences. Additionally, it is often necessary to configure your DAW host track routing so that the external MIDI Controller data is fed directly to your current Helix Native plugin instance. This often requires using a MIDI or Instrument track to receive the MIDI input and then route it to the audio track on which the Helix Native plugin inserted. Please see your application’s documentation for details.

I raised my own ticket with Line 6 to confirm it affects Ableton, and their response confirms the workaround provided by Silverhead: This is a bug with the additional USB audio busses (all after 1/2) -The workaround is to have a track or tracks with the "previous" USB busses armed in addition to the other USB outputs. For example : -USB 3-4 and 5-6 will not record without USB 1-2 armed, USB 7-8 needs to have all previous USB tracks armed in order to record in the DAW -this will be fixed in a future update -but we cannot provide any timescale for firmware updates and which fixes will be included in the next update Best regards Line 6 /Ampeg Support Europe

A long one.. but very informative ! Update on my 'Quest to play LIVE with a Stadium XL and a vintage Fender Deluxe reverb' . I'm new in the amp modeling pedalboard's needs for good sounding. After many replies from nice Helix users it seamed to me that someone cannot connect a Stadium directly to the front of a vintage Fender amp. Sure ?? Well if someone patient and tenacious (like me) do some technical readings with meters and oscilloscope it can crack this myth.. Here is why: Making some browsing about common Fender amp's tone stack freq response I found that even with its Bass & Treble controls set to 50% These Fender amps have an agressive 'scooped' EQ at around 500hz from the start ! See the attached graph.. So to 'correct' this very curved freq response I connected my Stadium to the Fender NORMAL channel (no 250pf bleed cap on Vol), Then I connected a signal generator to the stadium input #1. I chose an empty pedal line and placed the 10 band graphic EQ. Then I set the output line to 1/4" connector #1 'instrument' type. I swept the input with a 100mv sinus from 50hz to around 10khz. and at each of the 10 band EQ slide values I corrected the measurement I had to the Fender speaker (8 ohms dummy load to spare my ears) so I made all the measurements there. Sweeping the frequencies I saw the correcting curve emerge on the 10 band EQ. The 500-1khz region needed to be boosted because of the Fender EQ scooped nature in that region, then some highs starting from 4khz to 16k also needed to be lowered. Now I know this EQ curve will make my Fender behaving flat in freq response. I saved my EQ block settings for latter uses. To test it I used the factory preset named Double Double (Stevie Ray Vaughn ??), copied it into an empty USER presets section, removed all the pedals but kept the amp/cab blocks.(2 x US Double Black amps). I then put the cab to OFF and placed my 10 band EQ block right after it. And I removed one of the two amps that were in the Double Double original preset, and kept only one (set to clean). See the attached Helix Stadium screen snaphot.. Now you know what ? Setting to OFF both the amp + EQ on the rig line (straight signal) to the ext Fender sounded about the same as putting the amp/EQ back ON ! To conclude: Can someone connect a Stadium XL directly to the front of a vintage Fender amp and play LIVE ? The answer is YES ! Use this EQ settings with your NORMAL channel . Without selling my vintage stuff to buy new amp with SEND/RETURN connectors. BTW, message for vintage Fender amp users: Just use my EQ setup (placed just after the amp model you'll choose, with cab OFF), The Stadium connected to your Fender vibrato channel and you won't have to struggle to get a fine tone while trying new amp/cab models ! And to wrap up; The only distortion pedal that fitted in front of the amp model I used was the Valve Driver because of it has Bass + Treble and a nice clipping sound. MANY of the other overdrive/distortion pedals only had a TONE to tweak the sound which is very limitating (at least to me) and produce a muddy or very MID oriented sound which destroy the amp model sound. Because I 'decyphered' the possible amp to use with a Stadium XL myth I decided to keep it and not return it. Have a nice day.

If you understood the 500, you will (with time) get the Helix. I went from the 500xHD to a Helix about 10 years ago. The sound quality jump was amazing, as was the learning curve. Stick with it. Jason Sadites has already been mentioned. I also used Marco Fanton (youtube) as a resource and dropped a couple of each's presets to help understand it. FWIW I went from tweaking every preset on the 500HDx EVRY gig to reviewing patches occasionally with the Helix once I got it. I use a patch per song with minimal reuse.

airguitargb, Never fear. You will not just figure it out, you will have fun with the unlimited ways the Helix can open your mind. Also, I can't believe I am a few months away from being 76 years old. I started the path to the Helix about 10 years ago and have not looked back. I did just trade up but that discussion is for another time. There is a person by the name of Jason who is one of many Helix tutorial "kings" on youtube. You can start by listening to the default presets that come with the Helix. Many are named "similar" to the songs they represent. I found that a decent 250k ohm open back headphone set like the beyerdynamic dt990 works well for in room testing for tone and sound level. datacommando is correct hat you will need to work with the sound person for your playback system. I would continually work with our soundman at least once a month when possible. Anyway, here is Jason's Line 6 KB page and also his youtube channel. And as you search you will find more tutorial videos. You should find that your pace will quicken as you develop a self-learning path as most of us have. https://kb.line6.com/helix-tutorials-by-jason-sadites https://www.youtube.com/@JasonSadites/search?query=Helix Floor You will want to focus on the Helix Floor as opposed to the Helix Stadium XL for now. Again, have fun and enjoy the ride. jpd

thanks for this, the videos are good but they still go too fast for me lol. I will persevere

Thanks, no I can literally watch/hear it glitch. But actually I've just figured it out... I found that Logic MIDI 'chase' CC#64 will send messages that confuse the Helix tempo. Disabling it solves the problem! This is quite a breakthrough and I can't see any discussion about it. Perhaps rarely used. I still don't understand why: Global>Footswitches>FS4 Function is assigned to Stomp 4, when the expression pedal is effectively taking that slot. Is this correct anyone?

What do you mean by "patch button"? Footswitches in Preset Mode? - No. You can customize footswitch colors in Stomp Mode - look for a "Customize" option in Bypass Assign, Controller Assign or Command Center.

looking through the online manual for the Stadium XL, it doesn't look like it currently supports global midi commands for the footswitch emulation like the original helix. Are there plans for adding support for footswitch emulation via MIDI?

Ok, for all of you readers that were sitting on the edge of your seat to see why this was happening, well, here is what Line6 found out. The bump in volume which happens after selecting the same preset again had something to do with the Ampeg B-15 Cab I was using. They switched the cab and the volume bump went away. I confirmed this also worked for me. Josh (Line6 guy) said he would send this to the developers.

Thanks for the response, it's greatly appreciated. If I decide to get the Catalyst 100, I'll still be using my Helix amps and cabs along with the effects. I've heard some Youtube demos using the Catalyst with and without the cab sims and IR's and I didn't think there was a huge difference thru the amp. I currently run my Helix L and R outs to my PG Power Cab and FOH since I don't use anything in stereo. Replacing the PG with the Catalyst also provides a "backup" in case the Helix fails (it hasn't in ten years of use). I am currently in a cover band but I rarely set up my tone exactly like the record. I play the rhythm and lead parts pretty close but I kick everything up "a notch or two". I can play all of our two - three sets using two presets. I could use one preset if someone in the band didn't insist of playing quite a few songs using capo's and off keys like Eb, Bb, Db, etc. I refuse to use capos! One preset is for standard tuning and the other uses the Helix Virtual Capo.

For anyone hitting this post searching for how to run Helix Stadium on Linux, I've figured out one way to do it - but it only works if you have Wifi setup on the Stadium Install Steam Download the Helix Stadium installer In Steam go to Library > Add a Game > Add Non-Steam Game and select the downloaded installer exe Find the entry in your Steam Library and click Play, the installer should show up. Go through the install steps choosing the defaults Once that's done you'll need to find the directory that Steam puts file under. For me it was ~/.steam Under that directory you need to find where it installed Helix Stadium. For me it was ~/.steam/steam/steamapps/compatdata/{the most recently created folder}/pfx/drive_c/Program Files (x86)/Line6/Helix Stadium/Helix Stadium.exe. Copy the full path to the EXE In Steam right click on the entry for the installer and choose Properties... Rename it to Helix Stadium Change target to "{path to the exe above}". For me it was "~/.steam/steam/steamapps/compatdata/{the most recently created folder}/pfx/drive_c/Program Files (x86)/Line6/Helix Stadium/Helix Stadium.exe" Change Start In to "{path to the exe above but without the exe filename at the end}". For me it was "~/.steam/steam/steamapps/compatdata/{the most recently created folder}/pfx/drive_c/Program Files (x86)/Line6/Helix Stadium/" Close the Properties window Click Play and Helix Stadium app should start I had to cancel the auto connect, and manually type in the IP address, then click Connect (this needs to be done at the start every time) Once I did that it works as expected! Hope that helps somebody.

Hi, You say that you only received the unit yesterday, but you didn’t mention if this is a box fresh new Helix, or pre-owned. If it is new, then simply have it replaced for another new device. It will be covered by the Line 6 standard warranty. If it is an older unit, and out of warranty, then you should raise a ticket with Customer Support, because it looks as if the issue might require a technician, and probably is beyond the scope of anyone in here, as this is a peer to peer user group. Hope this helps/makes sense.

I recently watched Rick Reato's interview with Simon Phillips, and they talked a lot about microphones on drum kits. One of the points that came up was that real microphones can get louder when placed further away. It can happen!

boynigel, Have you opened a ticket and then kept it open? What you can do if you have opened one and it has been closed is to continually add info which will reopen it until you get a final word as to what Line 6 tech is doing concerning updates or fixes. If you haven't opened one you can open one now and follow the previous suggestion to get some final resolve. jpd

The most obvious response is you're driving the powerstage. No idea what sort of level it expects to see (line/instrument/mic), but start there in terms of output from the XL globals, and work backwards to find what's making it saturate. The patches sounding good in cans suggest its post preset, so could be as simple as turning down the output of the preset. Keep in mind the powerstage and your speakers will colour the sound very diferently to cans, so expect to tune patches for the amp and the speakers. A final consideration is whether the powerstage is turned up to the point its saturating at its output - you may need something beefier to get the volume level you want whilst being 'transparent'. Your reproduction set-up (amp and/or speakers) is crtitical to your tone. Maybe more so than what's before it. A final consideration - do your speakers load the powestage in a way that causes it to drive? You've not mentioned them, but keep in mind the extent ohmage impacts on power amp efficiency/volume with/without saturating. Most of this also applies to the 5150, but mostly the output level it expects in a loop and/or direct in. They may be different and require a mix of instrument into the front vs line in the loop.

Finally had some time today to set up a test using the Helix in a loop switcher so that I could quickly compare the engaged and bypass tone using a straight-thru signal path (no blocks). What I found when engaging the input pad (on the preset input block) was that the makeup gain needed to compensate at the output block (to my ears) was +12db. So - at least now I know where to start for unity gain when dialing in my presets using the input pad.

Do you have this? MIDI1 If you want to build an individual programmable guitar system using the MIDI controller of your choice, you can control AMP1 ™ using the BluGuitar® MIDI1 ™ adapter interface. This turns AMP1 ™ ’s remote port into a MIDI In port. This allows you to recall all of AMP1 ™ ’s switching functions (Clean - Overdrive, Boost Reverb and the overdrive channel selector switch) via MIDI program change commands. Additionally, control change commands CC 007 (2nd MasterVolume), CC 020 (Gain) and CC 030 (PowerSoak) are also received. You put MIDI1 ™ ’s adapter interface’s port into AMP1 ™ ’s REMOTE port: on the opposite end is a 5-pin DIN socket for the MIDI IN. The interface elec tronics are powered by AMP1 ™ , meaning that no extra power supply or cables are required.

Yes. Open a support ticket to report a bug.

Hi all, I used AI to draft a free, open-source reference document for all 384 factory presets across the Factory 1, Factory 2, and Templates setlists in Helix Native v3.82. As far as I know, Line 6 has never published official documentation for the factory presets - and the preset names are deliberately cryptic to avoid trademark issues. Some of the names are obvious, others less so. I realize opinions are divided on the value of presets, but I'm of the view that understanding the sound designer's intent makes them more useful as starting points and examples. For every preset, the document includes: • The decoded real name (artist, song, or tonal reference behind each factory name) • A tonal description explaining what the preset is going for • The complete signal chain with every block mapped to its real-world hardware equivalent • Recommended pickup type and position for the target tone • Song-matched tempo where relevant The document includes a table of contents and four cross-reference indices, listing presets by amp model, artist, genre, and pickup configuration (eg humbucker vs single coil). The TOC and cross-reference entries are all clickable links. The preset name decoding draws heavily on the community knowledge from this forum - particularly the "Let's put the REAL name to the presets" thread - so thank you to everyone who contributed there. The current PDF file and code used can be accessed on GitHub at this link. Remember this was generated using AI, and AI can produce crap. I have verified the contents, and they appear to be reasonably accurate. If you spot any errors or missing attributions, feel free to open a GitHub issue or reply in this thread. Hope it's useful!

See this thread. There isn't one in the Stadium Editor.

Thanks all, for these very helpful responses! I will most definitely go straight to my DAW via USB and can now rest easy. Had to laugh at the 24k gold ears comment: I definitely don't have them--pretty bad tinnitus, alas--and so that's why I need the psychological reassurance of people way smarter than I (and yup--I think you absolutely called it: I did pick up that "coloring" comment on an audiophile forum. I try to resist the BS but, gosh, those guys are so good at creating some sort of weird audio-specific FOMO anxiety (what will I miss if I don't choose the right cables and best signal path!!!!). I genuinely appreciate the patience and advice here

You might be interested in one of the following 2 posts that belong to the same old thread: https://line6.com/support/topic/33436-pod-hd-300-problem/?do=findComment&comment=497988 https://line6.com/support/topic/33436-pod-hd-300-problem/?do=findComment&comment=314129 Or for an AI generated Overview (probably based on those 2 posts linked above here): A 10-20 minute warm-up time for a Line 6 POD HD300 is not normal operation; it indicates a hardware fault, specifically failing electrolytic capacitors in the pre-amplifier input circuit . Affected units often produce no sound until warmed up due to corrosion or faulty components. Key Details regarding the Issue: Symptoms: No audio output upon power-up, requiring 10-20+ minutes to produce sound. Cause: The problem is typically linked to the pre-amplifier section of the guitar input. Solution: The common fix involves removing the metallic shield covering the pre-amp circuit and replacing the four faulty electrolytic capacitors, often caused by corrosion. Alternative Check: If you cannot replace components, some users have reported that re-soldering the OP-amp legs can sometimes resolve audio issues, though this requires precision. If your unit requires this warm-up time, it is highly recommended to seek professional service to replace the failing capacitors. Good luck! _______________________________________________________________________________________________________________________________________________________________________ All about POD HD500/X help and useful tips

I have moved this topic to ‘the right place’. But more importantly,

I purchased Helix Native and after logging in inside my DAW I just get this screen and the plug in never loads. It says authorizing, authenticating licenses and then never goes anywhere. I've been in contact with Tech Support and tried the thorough uninstall method, turning off wifi logging in and turning it back on , and I don't have a firewall and I'm not running a VPN. I'm running a Hackintosh with Mojave installed. All other programs and plug-ins I own work fine. I'm at my wits end in troubleshooting. If anyone out there could help it would be really appreciated. Thanks.

Well getting all technical, Bias is the only thing you can alter on a real amp and it's not a user adjustment because if done incorrectly you'll need a new set of output tubes. Sag is inherent to the power supply design but it will increase over time. Hum and Ripple get worse as an amp ages or get better as it grows some mojo depending on your viewpoint. I'm not sure about BiasX but it probably relates to the biasing and crossover distortion which never sounds good. Real valve amps all have some hum and ripple but mine hum at 50/100Hz not 60/120Hz so the modelled versions sound wrong.

UPDATE: Good news!! after playing around with the XTLive and thinking there has to be something wrong... (else why even have a RJ45 on the guitar!) I finally found the problem. Each patch has a setting waaaaayyy at the end of the menu stream to turn on "Control" of the Variax Acoustic. Once I found that setting I was able to dial in the model I want to use and save it with the entire patch. Voila!!! Now I can accomplish what I originally intended to do. I was discouraged for a while - but my persistence paid off. Now I can have that acoustic 12 string intro, and with my foot change the patch and the guitar model simultaneously, to enter overdriven acoustic heaven! LOL

Here is a document I have been working on but is not really ready for prime time yet. It is drawn from a variety of unquoted sources (my bad) and as I mentioned not yet fully edited but in the interests of giving you some general knowledge to work with I will post it up. There are probably other users on the forum who can provide more explicit settings for the compressors on the Helix and there are also user provided presets on CustomTone (good luck sorting through them) that serve as great examples. Anyway, here goes, a completely deranged and disorganized guide to compression that is designed to give you a working knowledge of compressor settings and operation rather than provide you with the settings but may nonetheless shed some light on the subject. There is a great link to suggested compressor settings for a variety of instruments as well as some other sample settings towards the end of this post. There is also a section further down on how to use the Helix 'LA Comp' compressor as well as a general section that applies to the Helix's 'Deluxe Comp'. For those of us who use compressors in a preset, most of us probably have it on all the time (and that is ok), or perhaps have it setup to switch off when we want more dynamics, for instance when we kick in a distortion pedal or heavier sound on a solo via a snapshot or pedal assign. I think however that the compressor is a prime candidate for assigning parameters to snapshots so that you can change the values on the compressor to match your tempo, attack, or song part (intro, verse, chorus, solo, bridge, outro) instead of just switching it in and out or leaving it on all the time. The HX line of devices added a gain reduction meter to the firmware at some point. You can use this by selecting any compressor block and look to see when the threshold you set is being crossed, and also how long it is being engaged until it is released. The gain reduction meter is extremely helpful for setting the threshold and release settings. I have gathered a bunch of notes together over time from various websites regarding compression so this work is the result of others much more well versed on the subject. My apologies in advance for any inadvertent plagiarism. I would be happy to cite sources or remove text if anyone sees their text here. Some notes may be redundant as they came from a wide variety of sources. I hope this assists some folks in getting their heads wrapped around compression parameters and their usage in different scenarios with the guitar and bass but also with vocals, drums, etc.. Why use compression?: Reduce sudden peaks/spikes. Smooth and make levels more uniform and less jarring on guitar, bass, drums, vocals or other instruments As a boost Add sustain, particularly on clean presets, but can also sound great with distortion and overdrive Articulation, dynamics (incorrect settings can squash these) Push an instrument more out front Make an instrument sit better in the mix 'Chicken pickin', funk, and other particular genres or styles Special effects (sometimes pumping or breathing can be a good thing) Suppressing microphone feedback, 'ringing' out a PA Leveling overall recording output in the mastering process Reduce masking of overlapping frequencies between instruments by sidechaining (description further down in document). First a brief description of common compression parameters (the 'Deluxe Comp' on the Helix has all these settings): Note: On some simple, for example two knob compressors, two or more of these parameters' functions may be collapsed into one knob. For example, turning up the ratio may simultaneously turn down the threshold. (contributor: njglover) Threshold is how loud your signal has to get before the compression kicks in. This is essential because you may not want your entire signal to be compressed. Some units have no threshold knob- for them, the threshold may be "fixed" and can only be adjusted by changing the input level of your signal. In other words, increasing the level of your signal by turning up the guitar volume or adding a pedal with a boost, etc. before your signal goes into the compressor. Alternatively on some two-knob compressors, as mentioned above, turning the compression knob may simultaneously raise the ratio and lower the threshold. Ratio is how much your signal gets compressed once it passes the threshold. Ratios are figured in decibels (dB); a dB is a unit of how much a signal increases or decreases relative to where it started. With a ratio of 4:1 for example, the idea is that for every 4 dB your signal goes over the threshold, the output level will only go up by 1 dB. Generally, ratios of 2:1 to 4:1 are considered light or moderate compression, and ratios of 10:1 or higher are considered heavy compression or limiting. A hard "brick wall" limiter has a ratio of infinity:1, meaning that once your signal crosses the threshold, the output will not increase more than 1 dB no matter how high the input signal spikes. Attack controls how quickly the compression reacts to your signal, and Release controls how long it takes to "let up" and stop compressing after it's triggered. These controls are interactive, and the right settings for them will vary depending on the music and your playing style. You'll have to experiment, but for some compressors (not all) a decent rule of thumb is to start with the attack and release knobs in their middle position, and adjust from there. Keep in mind that on most compressors the 'Attack' setting gets longer, aka slower as you turn the knob clockwise. That means when the knob is at its minimum, all the way counter-clockwise, the attack will be at its fastest(e.g. 1ms); this means that the compressor will almost immediately start applying compression to your signal. Somewhat counter intuitively too fast an attack setting on the compressor can actually squash your guitar's attack and dull the transients at the front of the picked note. Turn it all the way up and your attack will be its slowest setting with the compressor taking the longest time possible(e.g. 1000ms) to engage. "So the fastest attack will be the knob at 1, the slowest attack will be the knob at 10. (contributor: optimist)". Extreme min/max settings on either attack or release can cause pumping or breathing. Output Gain controls how much the volume of your signal is increased coming out of the comp, and this is necessary because compression lowers the overall average levels of your signal. Increase gain when using higher ratios and lower thresholds to maintain your output level. Almost all compressors have a booster at the end, which provides "makeup gain" to bring your signal back up to the level you want. This is what accounts for both the increase in audible sustain and harmonics, and also the increase in the noise floor. Knee - Set on hard-knee, the compressor waits until the signal crosses the threshold, then it reduces the signal at the specified ratio for a punchy sound. With soft-knee compression, the ratio gradually increases as the signal approaches the threshold, resulting in a more natural feel and a wider dynamic range. So here goes, some general information and tips on using compression in no particular order: Note: Sometimes 'pick attack' or 'string attack' is mentioned in this document and refers to how fast or hard the string is being plucked. This is not the same as the 'attack' setting on the compressor although 'pick attack' may influence your choice of the compressor's 'attack' setting. Use increased sensitivity(lower threshold) on slow attack times to make sure compressor engages. Use a higher ratio for more pronounced compression. The more compression (higher the ratio) the higher the makeup gain needs to be set. Compression ratio and threshold are related, since both increasing the ratio and lowering the threshold will result in more compression being applied to the signal. Use a fast release for faster return to normal level. Tempo as well as string attack can profoundly affect compression. Set attack and release settings shorter for fast pick attack or fast tempo otherwise you may hear pumping or the compressor may not kick in properly and miss notes that are above the threshold you set and should have been compressed. Slow attack times allow the transient and initial attack of the note to come through. Setting attack too fast/short may cause the initial attack on the string to be squashed and result in a loss of dynamics. If release time is set too long, it may compress a quieter note that rapidly follows an above-the-threshold note. Medium release allows a quieter note that is below the threshold to not be compressed. Longer release times can add sustain and sound more natural on acoustic instruments like the acoustic guitar where a note or chord may ring out for quite a while. Electric guitar ratios are often 4:1 or even 6:1 although lower settings work fine as well. You may want a lighter compression on overdriven or distorted tones as there can already be a fair amount of compression from the amp and distortion effects. A ratio of 2:1 or 3:1 may be sufficient here. Mastering and busses often uses slower attack times depending on the source material. Pumping, breathing, and distortion: Attack time settings affect the sound quality in terms of overall perceived brightness or high-frequency content. If you use very fast attack time settings, the compressor will activate very quickly, reducing gain instantly at the waveform level of the sound. However, too fast an attack or release can cause distortion or unwanted artifacts like pumping or breathing, particularly on bass or low notes as the attack and release are actually faster than the cycle(hz) of the note being played. Since transient information at the front or attack portion conveys brightness character, especially with percussive sounds, immediately reducing it with the compressor will dull the sound. Selecting a slower attack time will allow the transient portion of the sound to pass through before the compressor starts clamping. However, if the attack time is too slow, ineffective and tardy compressor action may result. Low frequencies (e.g. bass guitar, detuned or just low guitar strings) can be distorted by too fast a release time. Super fast release times, along with a fast attack time setting, will distort low-frequency sounds, as the compressor is capable of gain change within the period (the 360-degree cycle of the lowest fundamental frequency) of the sound's waveform. Likewise, over-long release time settings are another form of distortion, since gain reduction is "stuck" clamping the sound down for an unnaturally long time period. "Pumping" and "breathing" are engineer jargon words for obvious compressor artifacts or side effects with maximum compression. Sudden and usually unwanted deep gain reduction is called pumping, while a slower return (release) to operating level with a noticeable rise of the noise floor is called breathing. For a more transparent sound you may prefer a release time that has the shortest possible time that does not produce a "pumping" effect, caused by cyclic activation and deactivation of compression. These cycles make the dominant signal (normally the bass drum and bass guitar) also modulate the noise floor, producing a "breathing" effect. For more sustain you may opt for a longer release time. As previously mentioned, fast release/attack times may create distortion, since they modify the waveform of low frequencies, which are slower. For instance, one cycle at 100 Hz lasts 10 ms, so that a 1 ms attack time has the time to alter the waveform, thereby generating distortion. Compression settings especially for guitar: This is an interesting blurb regarding the Rockman compressor. The problem to solve, when you want to design a compressor for the guitar, is a double problem: Act as a limiter during the first part of the note - a strong peak (think fast attack) Act as a sustainor during the second part of the note - a slow decay (think slow release)" Side-bussing compression: You can side-buss the compressor with an EQ block to selectively compress frequencies or provide both a direct signal and a compressed signal to the mix. Sidechaining compression: You can sidechain the compressor such that for instance a kick drum hit will momentarily compress the bass guitar in such a way as to reduce the masking of the kick-drum by certain frequencies in the bass guitar. Sidechaining is essentially used to cause the trigger instrument to cause another target instrument to be momentarily compressed. Ringing out microphones and feedback in a system: A compressor can be used to aid setting up a system when it is being ringed out, i.e. its main feedback frequencies are being removed with an equalizer or a feedback elimination type unit. The compressor will have a low threshold level and infinity-to-1 ratio with hard knee characteristics. With no signal present, we will gradually increase the volume until the first feedback frequency rings. The compressor will catch it and keep it at a constant safe level, making adjusting the equalization an easier task. The process will typically be repeated until the third or fourth feedback frequency has been ringed out. Sample Compression settings (source citations needed): First a great link for compression settings for various instruments: http://anythingpeaceful.org/sonar/settings/comp.html Note: You may want to try an attack setting of 20ms-25ms or more for electric guitar. This will allow more of the initial transient of the guitar note through and make for a more articulated sound with better attack and dynamics. The recommended value of 7ms in this chart for electric guitar is fairly low although good for fast picking or catching and suppressing loud sudden peaks/jumps. An interesting article on how to set different compressors http://www.ovnilab.com/articles/setup.shtml Helix 'LA Studio Comp' Parameters And Usage Tips Note: The 'Mix' control as on most compressors can help by adding back in the initial pick attack as well as potentially brightness or tone to the signal by providing some of the uncompressed signal in your path, particularly on higher 'PeakReduc' settings. PeakReduc - This will set the 'amount' of compression and also adjust the threshold (how high the input level, or the often related, how aggressive the pick attack needs to be, to trigger compression). These two parameters(ratio, threshold) are collapsed into this single control on the 'LA 2A'. The ratio control being the ratio of dbs being reduced you are used to seeing e.g. 2:1, 4:1 and threshold referring to what input level is required to trigger compression. I don't know how or even if the attack and release are figured into the PeakReduc when it is adjusted. The original 'LA 2A' analog compressor the 'LA Studio Comp' is based on did not have attack and release controls (similar to a two knob compressor pedal) but instead used the "combination of an electro-luminescent panel and a photo-cell to determine the attack and release characteristics of the LA-2A". I am not sure how Line6 modeled that circuitry but that is what would set the attack and release in the original effect. Gain - This is referring to the 'makeup' gain knob you see on most compressors. Generally the higher you set the compression (PeakReduc) the more the signal will be reduced and the higher the 'Gain' will need to be set. "This control does not affect the compression. The gain control should be set after the desired amount of compression is determined using the Peak Reduction control. Once the Peak Reduction control is set, adjust the Gain Control to achieve the desired output level." Emphasis - Use this to have more or less compression on the sparkly high end of your guitar signal. "The LA-2A was designed for use in broadcast applications. The audio signal in FM broadcasting undergoes pre-emphasis and results in a 17 dB boost at 15 KHz. Due to this increase in signal level, transmitters are subject to over-modulation. The LA-2A provides a control (R37) which controls the amount of high-frequency compression. Increasing the resistance of this potentiometer on the original device by turning it counterclockwise will result in compression which is increasingly more sensitive to the higher frequencies." So, to put it another way, this large 17db bump at 15khz in the original LA-2A compressor meant that they built in an 'Emphasis' parameter that kept compression flat across the frequency spectrum but allowed you to apply additional compression to the high frequencies. I suppose in some respects similar to a two band "multi-compressor". I don't know exactly at which frequencies Line6 or the original effect applied that additional compression; on the original maybe around 15khz as that is where FM broadcasting signals were boosted. I am not sure of the answer to that question. It is worth noting that on the original device turning the 'Emphasis' control counter-clockwise (down) actually increased the amount of compression applied to the high frequencies. Type - This parameter will adjust the ratio settings used in the 'PeakReduc' parameter to much higher values, generally you will set this to 'Compress' for guitar. Setting it to 'Limit' will change a 2:1 ratio into for example a 10:1 ratio more ideal for limiter use. A few sample settings for different instruments: If you want to use a little compression to bring the electric guitar forward and give it some punch or sustain, try these settings. You may have to experiment with the threshold setting in particular as various compressor models use threshold differently: Threshold: 1dB Ratio: 2:1 - 3:1 Attack: 25-30 ms Release: About 200 ms Gain: Adjust so that the output level matches the input level. You don't need much added gain. To get a handle on the potential muddiness of the amplified bass guitar use a little compression. Compression can also help control uneven levels that result from overzealous or inexperienced bass players. Remember too fast an attack or release on bass because of the lower hz cycle can cause distortion as the compressor is cycling faster than the note. Try these settings for a start: Threshold: 4dB Ratio: 2.5:1 - 3:1 Attack: 40-50 ms Release: About 180 ms Gain: Adjust so that the output level matches the input level. You don't need much added gain. These are good settings for strummed or picked acoustic instruments: Threshold: 6dB Ratio: 3:1 - 4:1 Attack: Around 150 ms Release: About 400 ms Gain: Adjust so that the output level matches the input level. You don't need much added gain. The release is set very high because of the amount of sustain that acoustic instruments such as a guitar or dobro can have. If you play an instrument with less sustain, like a banjo mandolin, or even a ukulele, you may find that a shorter attack and release work just fine. Excellent video on compression - more general and less guitar-centric:

That's still highly insulting considering that the JTV is a 1k guitar, is meant to be a more high end version of the Variax guitars, and was also released to fix flaws in the first generation of Variaxes. You really want to be that anal about saving money, just make the guitar 1000.30 and call it a day.