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Line 6 Helix 2.70 Mega-Setlists · 4 Setlists: IRs LG + IRs HG & Cabs LG + Cabs HG. · 232 Presets, each with 8 Snapshots. · 57 solo amp & 175 dual amp presets. · Cab Sets feature L6 Cabs. IR Sets feature IR blocks, but not IR files are provided. BYOIR. · LG = Low Gain (Supro->Plexi Jump). HG = High Gain (2204->L6 amps). · Each amp features Snapshots for Low, Mid, & High Gain settings. · 2 formats for dual amp presets: “Channels” & “Parallel Amps”. · LED rings color coordinated for Snapshots view. · All FX Blocks are custom named. · All Snapshots output leveled to -28.5 LFKS Integrated, ITU-R BS.1770-4, over 15sec of looped open G strumming. · EXP Pedal 2 has additional Mod, Delay, & Reverb settings. · Amp and FX settings largely derived from the SOAS Project (25%) and personal preferences (75%). · To Import, Drag + Drop directly into Helix. Or hit the top left yellow “Import” button & search for “all files” instead of just .hls. I am not sure why the Setlists are saved as .hlx instead of .hls files. · For more information, including lists of all of the amp and effects settings, along with the OwnHammer IR’s I used, please visit: https://l6helix.wixsite.com/helixsoas · To Download the Setlists, please visit: https://line6.com/customtone/profile/Noobian_Prince https://imgur.com/a/Gic53qq

If I read you right, this is the same boat I'm in. I'm in awe when people lay out 13 effects and make some sort of strange cosmic sound that's beautiful and appealing - but it's nothing I would do. Most of the time it's a distortion pedal and reverb, delay, chorus, or phaser on a crazy day . . . throw in one or two boutique pedals occasionally. That's why the HX Stomp largely fills my needs. BUT the one thing I still really wish it had because I know it's possible is a polyphonic drop tune pedal similar to Digitech's. I keep almost breaking down and buying the bloody thing but then I stop and hold out hope a little longer that Line 6 has one in the works.

I'm getting ready to haul out my HD500 to compensate for processing power limitations. Aside from that, there is really no need at this point for a Double-Helix. Unless they're adding a salsa dispenser. That would be awesome.

Yup... that and I'm lazy...I want a master volume right in front of me at arm's length, not on the floor. ;)

Benvigil - That solved the problem. Thank you. It was the session key. Glad to be able to test this thing out again.

https://www.thegearpage.net/board/index.php?posts/25318121/ Indeed. The Cosmos Echo has three heads, equally spaced. The delay time sets the time for the third head. Head 1 is 1/3rd of the displayed delay time. Head 2 is is 2/3rd of the displayed delay time. So in terms of note values, I guess Head 1 would be a quarter note triplet and Head 2 would be a half note triplet.

All true. No HX2 needed yet. The original Helix platform can continue to evolve, and be injected into all manor of hardware and software "skins" or form factors. So far we've seen the Floor, Rack, LT, HX FX, Stomp, Native — who knows what else we'll see. And the processing power in these things is sufficient to support more firmware-based goodies over time. I love the updates — its been like getting a new and better unit every time! Me? I'd love to see better polyphonics and pitch-shifting stuff.

My latest go to phones have become the open back Sennheiser HD650 300 Ohm. They are exceedingly comfortable for extended periods. The sound source is ideally positioned in their natural and most comfortable fit position. They sound excellent. Regardless if I force them to fit higher or lower or further forward or back, the sound does not change. I find very minimal ear fatigue with the HD650. I have found that the Beyerdynamic DT770 250 Ohm are far more sensitive to having them positioned just right. A bit higher or lower or forward or rear changes the high end significantly. They are very clear and bright, but do lead to a bit more ear fatigue in a long session than the Sennheiser, and they have slightly less bottom end than the Sennheiser. The Sony MDR-V6 have been my go to standard for decades. I have several pairs and they cannot be beat for convenience, price, and a smooth sound. They are the only pair of these three that are able to be folded, so they are the most compact. I know them so well, that I can use them for nearly anything with very good results. YMMV.

I updated the website with some additional information including the list of all of the IRs that I used to dial in the tones. I also included all of the amp and effects settings, additional Distortion level settings/, and Dist Blocks popularity by amp model. I also added an Easter Egg/Purloined Letter to the site

I use Sennheiser HD600 300 Ohm and they've been the ones I've like the most. Helix has no problem driving 300 Ohm headphones so no need for a preamp. http://a.co/d/f16nOsW I also use Sony MDRv6's with my Stomp ($80) and they sound very good, too - lower ohms so the Stomp can drive them better. The Stomp's headphone amp is not as strong as the Helix so it had trouble driving the HD600's. Note - I've tried many headphones back-to-back - Sony MDR 7520, Sony MDR 7506, Sony MDRv6, Sennheiser HD600, DT770's, and the two I chose to keep were the Sennheiser HD600's and the cheap Sony MDRv6. If I was doing it again, I'd have to try the HD650's, too. Many people like the DT770's or any number of reputable headphones. I think it comes down to personal preference, comfort, whether you like open back or closed back, etc. After buying a few pairs that came highly recommended by others here, and not caring for them, I decided to buy a bunch, pick the one pair or two I liked the best, and send the rest back. (Thank you Amazon no-hassle return.) Each of the ones above have their strengths, though. Open back, closed back, more comfortable, not as comfortable, frequency range and flatness, etc. The Sony MDR 7520's are great for blocking out external sound - I used those when doing Kemper profiles with pretty loud amps and positioning the microphone and they do a great job of blockout out very loud amps while monitoring the mic through the 7520's. So actually, I guess I kept a few of them and use them for different purposes. A buddy of mine got the DT770's and likes those better than the HD600's. So really, it's hard to say which ones YOU will like the best. If you can buy from a place with a great turn policy, I recommend buying several, trying them all back-to-back, and choosing the ones you like the best for your purpose. For me, it's really hard to beat the prices of the MDRv6 and MDR 7506. I liked the sound of the MDRv6 on the Helix and Stomp very slightly better than the 7506's. I like the 7520's for their sound isolation, but thought the lower priced Sony's (v6 and 7506) sounded better to me for Helix and Stomp. I really didn't gel too well with the DT770's. And I've never tried the Senn HD650's.

Best of luck, psarkassian, and to all of your cohorts at Line 6. Hope you all come away with no damage and injury!

I've used an HD500 and Variax 300 for a few years now but just recently picked up a HELIX LT. For anyone interested in connecting an older Variax and a Helix... take the time to learn how they will interact with each other, or you will be left scratching your head in confusion... especially if you came from an HD500 or earlier POD. The two most important things to understand... when you use "force mode" to load guitar models from a preset or snapshot change.... You can only set the model access from the HELIX... You cannot change the model on the guitar, then save on the Helix like you used to with an older POD The HELIX can only access the FACTORY Variax Models, Custom 1 and Custom 2 locations. Read that carefully! Here's why! If you customize your variax guitars in Workbench, then store them over their original location the Helix cannot access those. You can call them up on the guitar itself, but the Helix cannot load them through preset or snapshot! Any custom guitars you need instant access to from the Helix (ie: loaded with a patch/snapshot change) must be stored in a CUSTOM 1 or CUSTOM 2 location. If you change guitar models via snapshot... and are in the habit of changing pickup positions on the fly... I strongly suggest you set Snapshot behavior mode to "discard". If not... it won't take long to learn why :) IMO: The reward of having guitar model changes available via snapshots more than makes up for any inconvenience of learning a few quirks. My Variax 300 has new life under the HELIX... now that I've learned it's new personality :)

In order to use Variax and Helix features together you first need to make sure you are connecting them using a VDI cable. If you just connect the Variax using a standard 1/4" guitar cable then the Variax is just another guitar as far as Helix is concerned. Although the Variax 300 is not officially supported with Helix (too old) you can control a V300 to some degree with a VDI Cable connecting them. Helix can store Variax 300 model selections in its presets and recall them properly when the preset is selected. However the interaction is not as complete as it is using a JTV or a Variax Standard/Shuriken as described in the manual.

Another option that I find to be a nice compromise are 9.5's from DiAddario. I use them on my JTV69.

POD Farm 2 standalone, launched outside of Cubase in mixer view will have the dropdown selections for instrument/mic. Using this you can hear your tones in real time with or with out Cubase. POD Farm 2 plug-in is launched inside a host DAW, such as Cubase, and you cannot select instrument/mic because it is the track that is feeding it. In the standalone mixer view you can select what you send to your DAW. I typically arm 2 stereo tracks to record and send dry to one and wet to the other. Then after your take, insert an instance of the POD Farm plug-in on the dry track. I would suggest reading the manual and watching some youtube vids. Not being that great with the tech just means you have a bit of a learning curve, but it shouldn't take long to get over the hump.

Just sent you a PM