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That's "New Multi-Dimensional Reverberator Day"... Strymon Big Sky has arrived! I sold a Telecaster and a Blues Deluxe to finance it, and I have no regrets. In stereo, in headphones, it is LUSH. I'm working on putting together stereo monitoring in-the-room, weighing some options there, but for now playing in the headphones is plenty. I've only had it a couple of days and have only scratched the surface of what it does, but man is it fun.... The underside of this board already looks the inside of a PLC cabinet, I'm going to have to tear into that to get a good clean permanent installation. Gotta figure out if I like this layout or if I want to move things around...

Thanks for the reply Kilrahi. I'm going to go the dual switch route. I like being able to see what two blocks are assigned to FS 1 & 2 in stomp mode.

If you’re using Helix over USB, as your input, it is your sound device, and whatever other sound device you might have is not involved.

The power of your PC has nothing to do with clipping, it only determines how much latency your system and tolerate. If you are driving Reaper too hard, you just need to turn down the input level in the audio device, or use the drive switch in Helix.

Some people will claim that ASIO4ALL is good. I disagree. Use the ASIO driver that is designed for your soundcard, which is a....?

Looking forward to this amp and hope they get it as close to the original in every way, it would be awesome.

just finallly got a chance to watch this. what a great review of the amp, and this amp might be replacing several of my presets. lol

Sorry, I don't know of any such resource... although I have seen similar resources for various line 6 products over the years.... eg: if you find an "M Series" resource it would apply to the "legacy effects" in the Helix. I second pretty much everything that @rvroberts has said above. Line 6 has done a remarkable job not only creating models that sound like the originals, but also operate like the originals. The best thing you can do is learn what Helix models correlate to which original models then you can You Tube the originals and come back to the Helix to apply the knowledge. Example: If you try to dial up the ESSEX 30 on the Helix but you have ZERO experience with an AC30 - that would be a lesson in frustration. You need to know how the AC30 works to be able to dial in the Helix effectively. Now... multiple that learning curve to "x number of amps" and "x number of effects". Learning how to use the Helix and get around it is relatively simple and is the only thing unique to the Helix itself. Understanding how each piece of gear works and how to apply it is actually independent of the Helix.

It is generally assumed that Helix users have some experience of a variety of Valve (tube) amps and a wide range of conventional pedals. As the Helix does a pretty good job of simulating these devices, and the IRs do a very good job of simulating cabs, that you just plug together modules based on that experience and you pretty much get what you'd expect. However, it's a digital age, and as you read this forum, it becomes very clear that there are a lot of younger players out there for which the above doesn't apply. This gets a bit more confusing because Line 6 avoids copyright problems by calling them something slightly different. A lot of what you want is here - https://helixhelp.com/ But the broader question - what does every knob do - including the intention - so gain might just increase volume, but it might also be a distortion control for example - no one has tried to do that. With the above link, you could do a lot of that for yourself - once you know what that amp is actually modelling, you could google the manufacturer and possibly download a manual. You can also look a YouTube videos of the real devices to get a better idea of how they should sound and what the controls do. The Helix often gives you controls the amp does not though - like Sag - this lets you get under the hood in a way that only really good amp techs once did. Again you could google it. So it's not all in one place - and it would be a huge job if it was - but there is the 'how to' you might be looking for.

Dang it. Why did I have to read this? My go to presets are fine. But I just casually decided to put a Tweed Blues Brt preamp in front of the clean WhoWatt. Wow. Rabbit hole, here I come.

When I got that either my cord was damaged, not inserting all the way, or the jack was damaged. Have you checked all of those?

Are there any published frequency charts that give the specific frequencies used by each channel on a g50 and the g70. We have a pretty good number of different wireless devices by different brands, those are only two of them, that we need to make play well together on one stage without conflict. Having charts would be useful for figuring out on paper what’s the best freq to use. Easier than hunting down using everyone’s scanning. (Not all these devices even have scanning)

Any or all of those EQ options might be necessary...depends on the room. And thats the thing, global EQ is for fine tuning everything for the room you're standing in, not creating your tones. If you try and build patches with the Global EQ on, you're gonna end up with a colossal mess that will require constant tinkering. I was just having a similar discussion in another thread, I'll cut and paste: "Bottom line is, you have to set up your patches at the volume at which you intend to use them, with the Global EQ OFF, otherwise there will be problems. Trying to EQ the Fletcher-Munson curve away doesn't work...it's putting a band-aid on a bullet wound. You're likely to have the opposite problem now...if you apply tons of EQ to account for large volume differences, when you try and use those same patches again at bedroom levels and the same global EQ settings, they're not gonna be anything close to what you now have at stage volume...you trimmed the highs. When you now lower the volume significantly, they're gonna disappear altogether, and it's gonna sound like your treble and presence are at zero. Global EQ is really for fine-tuning for the room you're playing in, not patch creation, or for boosting/cutting large swaths of the audio spectrum. You need to start with a clean slate, everything flat...otherwise you'll find yourself overcorrecting for volume differences all the time." I can't play at concrete-melting volumes at home either...I have 3 sets of patches. One for live, one for comfy living-room volume, and one for headphones. It's never gonna work any other way, at least not conveniently. You're better off spending the extra time at the outset, creating patches for different uses, rather than constantly re-EQing everything to account for volume. It's more work up front, but you only have to do it once. The first couple of rehearsals/gigs with new gear are always dicey. In 25 years, I've yet to find a way around that...