Leaderboard

There are a lot of ways to control volume with Helix, and the choices can be a bit confusing. I like to keep each block close to unity gain - meaning that the overall Helix output volume level doesn’t change that much when the block is bypassed. This ensures there’s no volume buildup in the signal path that could lead to digital clipping or volume drop that could lead to increased noise. This general rule doesn’t apply in two special cases. You might be using gain or distortion blocks before the amp to gain stage your distortion. In this case, the level of a block might be set higher or lower than unity gain to control the level into the next block. The second is when you actually need a lead boost. I usually use the output level for this, setting the normal level down a few dB, and having the boost switch simply remove the cut back to 0dB. This again ensures there’s no chance of digital clipping. As a general rule its better to cut what you don’t want/need than to boost what you do want. Using this approach works well for the typical blocks that go before the amp (compressor, Wah, drives, phaser, UniVibe, etc.) and blocks that go after the amp (chorus, flanger, delay, reverb, etc.). But what about the amp block itself? Typical amp blocks will have one or more gain or drive controls that control the preamp levels and distortion voicing, a master volume that controls the input into the power amp, and a channel volume that controls the overall output of the block. These controls are all interactive, so its helpful to have a process for setting them. I start with a reasonably clean preamp (drive controls not too hot), and work on the Master volume to get the power amp distortion I need for the patch. Power amp distortion can be a bit harsh, and abrupt because of symmetric clipping and the effect of negative feedback. So I like to voice this distortion first. Then I adjust the drive controls to get the overall level of distortion I want from the amp. For most of my patches, this is on the edge of breakup where the amp is the most dynamic. I will often use a Drive footswitch to move the drive control from a min to a max value to control the amount of distortion from the amp. Distortion blocks are then used for additional distortion control. For amps that have multiple drive controls, I set Drive 2 for the overall clean tone (because it will often have a bypass cap that adds treble as the control is turned down), and Drive 1 to control the distortion levels. Preamp distortion can be smooth, but can sometimes limit dynamics, get muddy, or loose too much articulation. I might try moving the Master volume up and down while moving Drive 1 down and up to compare the relative amount of preamp vs. power amp distortion, setting them for the desired distortion voicing. If the master volume and drives are up pretty high, the amp block can add a significant gain boost in the signal chain. I use the Channel Volume to bring the overal output of the block back to close to unity gain. This way I’m pretty sure there’s no chance of digital clipping, and I’m hitting the post amp blocks with a signal level that’s hopefully in their sweet spot, the levels at which they were designed to operate. This also helps to keep levels between patches somewhat normalized and makes sure I’m not sending a really hot signal to my FRFR and/or FOH.

The stock JVM footswitch uses a proprietary communication method, possibly MIDI, for controlling the amp. MIDI is your only option for what you want to do.

I'm going to say the opposite to those above - if the Helix frustrates you, don't go down the modeller path - well at least anything that doesn't just come with a ton of presets. (you did try the presets?) Firstly, you have to have had experience of a number of amps and had a pedal board that you understood - if not, you won't understand what it is trying to model. And yes, you got to be prepared to spend a week with the thing even then before you start to get the thing working for you. If any of that is not you - don't do it!

Hey man, don't get discouraged, just like any floorboard, it takes time. You can def plug in chug and get some decent sounds, but probably not the ones you are looking for! This was my experience. I like rock / metal / heavy tones with really full lead tones. I didn't get that out of the box, but I did get interesting tones that I still use though. I used this as an emulation guide: http://dshowmusic.com/line-6-helix-amp-models/ This shows what gear line 6 is modeling after. Depending on what tone / artist your trying to sound like, you may need Impulse responses. I got my best results with IR's. Which if you do enough web searching you will probably find what you are looking for. Otherwise, I suggest patch artists like Freman: fremenpresets.com/downloads/category/line6-helix/ Best of luck Edit: Line 6 Custom Tone may also be a good starting point for you. Check it out!

99.9999% of my support calls over this issue come from something else in windows grabbing that driver. Its not just with Line 6 devices, but across the board. Hopefully you already set your windows system to "no sounds". At least that way *some* windows events won't trigger grabbing the drivers. After that its time to look for the next 400 billion processes which may try and grab that driver. An especially fun one is when another process grabs it and changes the sample rate. For more super happy extra funtime value, it wants to happen while a client is out there in the vocal booth with their headphones on, the sample rate switches, the mic preamp/A/D loses clock sync and the client gets a BZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZAAAAAAAAAAAAAAAAAAAAAAAAAAAAAPPPPPPPPPPPPPPPPPPPPPP!!!!!!!!!!!!!!! at 0dBFS straight to their ears. Yay!

Now this makes sense! Thank's very much....I'll set this up now! Brilliant, thank you. Works like a charm! And I simply assigned a foot switch to the send on the mic path and can choose to loop my vocals or just guitar. Stoked.

Tagmusenmagnus1 has it right. Just grab any effect from path 1 and drag it down to create what will now be path2 and two new split/merge blocks, then follow his directions to drag the split and merge blocks down to create the separate route. You can copy the block your dragged down back to the path 1 after you create the new route but remember you need to leave at least one block on what is now path 2 or it will collapse back up into path 1 again. The key is always having a block on a path other than the merge and split as a placeholder or the two paths collapse back into one.