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You would be surprised at what a great guitar tone in a mix actually sounds like standing on it's own. Find some "isolated guitar tracks" on the net and listen for yourself. Most of us would never think of dialing in tones like that... yet we love those sounds on the recordings. I haven't heard "your tone" so it's impossible to make any direct suggestions.... but here are three common problems for not getting a guitar to sit nice in a track. Too much low end. It sounds BIG on it's own, but it creates a mess in a mix. Dial it back and/or set some appropriate low cuts to the guitar doesn't interfere with the kick, bass and keyboards in a track. Don't scoop the mids... leave them in! Although it might sound "pleasant" on it's own when scooped, the guitar actually lives in the mid-range of a mix. If you take them out (even a little) then your guitar will become thin and lifeless in a mix. Don't add too much reverb. Unless you are using it as an effect (eg: surf guitar) then it should be applied naturally. You don't usually hear properly applied reverb... it just softens the part and sits it nicely into the mix with the surrounding tones. TIP: EVERY guitar tone that you love on a recording has studio compression applied to it. That is the magic sauce most people over look, and it is the reason many Helix users will apply an LA Studio Comp toward the end of their chain. Don't squish the signal, just let the gain reduction meter flicker while you play. This really refines the tone, like it does on a recording.

Here's what I did: On my HXS I created a preset with 4 wahs and 4 of the most DSP intensive FX. The HXFX is, in terms of DSP and MIDI, essentially the same as the HXS. I assigned Bypass and Position to MIDI messages that I already use in existing presets (I use them for controlling plugins) on my Helix Floor. I then connected the HXS to the Helix Floor by MIDI cable. In Reaper, I recorded a MIDI track in which I turned ON each wah, operated the treadle 0-100 (works flawlessly) twice, then turned OFF that wah. I repeated the process with each of the 4 wahs, then set the track to LOOP. I'll leave it running all night and get back to you in the morning. If nothing crashes, I'll ask you to attach your 4 wah preset. As long as it has 8 or less FX it should load fine on my HXS. I'll look for problems, then tomorrow night I'll repeat the test using your preset. If all goes well, it may be that there's a problem either with the MIDI configuration on one of your devices, or a problem with one of the devices. I sleep now. Talk to you in the morning.

That is the point. Actually, i play less guitar than i am occupied with installing and learning that simulator-technology. Never ever i had the intention to enter the universe of soundengeneers (MIDI, DAW, computers and all that stuff; i must now even buy a new computer because mine is too old for nowadays DAWs and Helix Native). If somebody would have told me that before i ever bought a Helix, i would now have at least 200 hours more on the guitar-time clock. :) Too late, i ate from that apple... ;)

Yes, that is certainly a big omission. Most of the difference I heard from same-mic IRs moving from center to edge is eq; bright (center) to dark (edge). So, being a stock cab user, I always add a tilt eq block after the cab, and do a slight tweak i needed to simulate the eq change from mic positioning. I find that adjusting this, along with a sprinkle of early reflections does the trick for me.

FWIW it's easy to capture IRs yourself, of cabs from other amp sims. It's much easier than capturing IRs from physical cabs and mics. I have some AmpliTube cabs I use in Native.

You have just described the same problem encountered by everyone who has ever mixed a multi-track recording, be it at home on a laptop, or in a million dollar facility. The guitar tone that sounds magnificent on it's own will often sound terrible in a mix, and vice versa. Doesn't matter if it's a recording, or playing live on stage... getting everything balanced so that individual instruments aren't stepping all over each other is an art in and of itself. That's why you see the same handful of names mixing album after album... if it was easy, anybody could do it. The short answer is that there are simply no universal settings or strategies that are guaranteed to work for everybody. Each track is unique... that's all there is to it. The tone that worked for Tune A, might not work at all in Tune B... it depends on what else is going on in the track. You can prove that to yourself just be playing along with backing tracks on YouTube. You might have a lead tone that works magnificently with one track, and completely disappears from the mix with the next. Learning to use EQ effectively is a trial and error exercise... the closest thing there is to "universal truth" , is that getting the sound you want is often more about removing frequencies which are too prominent, as opposed to boosting those that seem to be lacking... otherwise you tend to end up with too much of everything. Cut first, boost second. For example, if the mids seems to be lacking, try backing off the lows/ lower mids first, instead of just automatically cranking the midrange frequencies.

The single coils are nice... noisy as f@&$, though... Love it or hate, you just described every passive pickup on earth (to varying degrees), unless equipped with a treble bleed...

Have you tried the Ground Lift switch on the Helix?