steelstringer

I would think that the one of the plexi preamp models would be a good place to start. The Brit Trem is my personal favorite model for classic Marshall crunch, though I’ve never used the preamp model into the front of an amp. You could also boost it with a drive pedal for a different tone, if it’s too harsh. Give it a try. 

12 hours ago, aepoc said:

 

No kidding time flies!

 

You could try the global EQ for working with multi-amp patches, but I do agree that it would only go so far.  Just wanted to chime in and share anyhow.  Hope you're doing awesome.

I always enjoy looking at other users’ patches. I’ve gotten so many cool ideas this way. This is especially true with more complicated patches, like yours, because there are so many different ways to construct these tones with the Helix. Thanks again for sharing. 

Ha! I did see it. Thanks for the response. Yep, I really like building patches like this. They sound especially great through a nice set of studio headphones. You can get some really inspiring tones this way.
 

But like I mentioned in my post from 2017 (wow, time flies), for any live application of the Helix, I tend to use very basic patches. One amp. One IR. Basic effects when needed. I just find that I can hear myself in a mix so much better, probably because it’s easier to eq fewer variables. 

Hello all. I'm packing up my Helix LT (one with a defective expression pedal). Line 6 instructed me to return the defective unit, but there is nothing about the USB and AC/power cord. Do I return them as well? I just don't want to end up without them. Thanks for any insight. 

Don’t be afraid to combine/stack pedals (if you can in fact do so with the hxfx). A low gain Timmy into the Tone Sovereign is one of my favorite OD tones on the Helix. 

Ok. This one’s a long shot on the Helix forum, but here it goes. I would like to connect my electronic drum kit (w/midi capability) to the PS4 so my daughter can play Rock Band. This would replace the really basic drum set that comes with the game. Typically, this connection is made with this midi adapter:

https://www.amazon.com/PlayStation-Rock-Band-MIDI-PRO-3/dp/B0042B3EOM
 

Unfortunately, this adapter is nearly impossible to find anywhere. I do, however, have a Helix LT. I have never explored the midi functions of the Helix, so I have no idea if it could function in a similar way to this adapter.

My kiddo loves rock/classic rock music, and I think this game might really get her interested in learning the drums. Help out a dad trying to keep rock music alive for at least one more generation! Thanks in advance to anyone with some insight.

2 hours ago, Hillman1312 said:

Actually I was thinking about buying a poweramp and a cabinet

I actually just use a 1x12 tube combo (Marshall DSL), and it cuts in a way that works great with a drummer. It’s also small enough to not encourage volume wars with other guitarists. Very little tweaking needed on the patch. No mic needed since I’m sending a completely modeled sound to the mixer via xlr. 

I get what you are saying though about keeping it simple and staying with an all modeling/frfr solution. I do that exact thing most of the time. But since the Helix provides such flexibility, I think it’s a good idea to check out other options. I mean, it’s always fun to buy more gear, right?

I’m just going to throw in another approach, which works because the Helix is such a flexible device. Create a hybrid patch that sends a path from 1/4 inch to the effects return of a real amp and a separate path to the xlr to the PA system. Of course, this is only an option if you have a guitar amp. 

In in my current band, everyone uses modeling devices and the drummer uses an electronic kit, so Helix to frfr works great. No real amp needed. But if I were competing with a tube amp and drummer, I would use the hybrid approach mentioned above. Again, this is just another point of view. The other users here have also provided helpful tips that might work for you with your current gear. 

6 minutes ago, willjrock said:

Im going to guess that anything that adds cleaner volume without a lot of gain will work pretty well.

Definitely. I had to bring the drive on the Timmy down around 2, and the Legendary to about 3-4. This pedal has A LOT of gain.  

13 hours ago, willjrock said:

Turning out to be a favorite part of the update.

I agree. I also agree with you that it works really well running straight into a cab or IR. I couldn't dial it in very well, even into a clean amp, but when I placed the Timmy before it (to cut some lows) and an EQ after it (to boost mids), it really sounded nice running into a dual cab. An unexpected bonus of 2.9 for me. 

4 hours ago, thaw said:

My Goal:  was to replace my Friedman mini dirty Shirley and pedal board ; Friedman board, volume pedal, wah, full tone 69, muff, Timmy, KOT, phase 90, flint, delay, EQ, boost, other odds and ends depending on the day.

That is a really great amp. I’m not sure if you already tried them, but the Placater clean and dirty models are based on Friedman amps. They’ve been my “go-to” models for a while. They both sound awesome with the Timmy OD, as well. You can cover a lot of ground in a cover band setting with them. Good luck with your tone search. 

On 11/24/2019 at 9:12 AM, amsdenj said:

I find it is better to get increased saturation by gain staging multiple pedals then it is to get all the saturation from one pedal. This keeps each pedal working in its sweet spot while also giving a lot of flexibility in distortion voicing.

Thanks for the insight. I tried your suggestion of the OCD-Minotaur-Timmy, and it is a great pedal stack. 

3 hours ago, willjrock said:

 

Yeah im just trying to simplify some of the reasoning, not make it sound like you havent found anything new. sorry if it came off that way.  Maybe because i tend to place little importance on how i arrived at X. 

 

No offense taken here, and thanks for your reply and insight. When I was gigging often, I totally shared your perspective - if it sounds good, it really doesn’t matter how I got the tone. Now, due to work, grad school, flaky bandmates, etc, I find myself dialing in tones at home just for fun. So, I guess I’m getting wrapped up in the how and why of tone creation as a means of entertainment for myself.

Like you mentioned, the Helix provides many avenues toward the same result. I’m focusing (maybe too much) on the subtle differences between a traditional high gain model and a clean amp with pedals. 

Also, just to clarify, I know that I haven’t discovered anything new here, it’s just a different approach for me. I guess I just wondered about different perspectives of getting a high gain tone this way versus selecting a high gain amp model. 

Hello all. I recently created a high gain patch in a way that changed my thoughts on Helix overdrive tones. I had an existing clean patch (Archon clean), and I added the Tone Sovereign in front. It got pretty crunchy. Then, I boosted that pedal with the Minotaur. The resulting tone is on par with many of my “go to” high gain models (Badonk, Placater, Archon). In fact, the note articulation seems to be an improvement overall. 

Does anyone one else use this approach for high gain tones on the Helix? Is it a viable alternative to just picking a high gain model?  Why or why not? 

5 hours ago, emagli said:

Sounds interesting and I’ll try that too. Isn’t resonance going to increase the low end? For leads I generally like to cut the lows — I find it makes the guitar less muddy so that it cuts through the mix better.

I find that the resonance/depth controls thickens the overall tone, but doesn’t add mud or flub. It’s too bad that only a few of the models have this control. I also used to dial back low frequencies for leads, but then I felt that the tone was too thin. It’s always a balancing act...Good luck with your tone search. 

I’m going to throw in a really simple approach that works well. 

1. Find an amp model with a depth/resonance control (archetype clean or lead, badonk, etc). 

2. Set your rhythm tone.

3. Using snapshots, set a lead tone that only bumps up the gain, master volume, and depth/resonance. Leave all other eq settings alone. 

This results in a fat, sustained lead tone, in my experience. It’s very simple, but give it a try. 

It becomes problematic to me when I’m reaching across the switch and my forearm touches it. I have my LT on a stand, and I often sit and edit patches that way. I have the “touch” control set to “off” in the global settings, as well, but that switch still responds to touch. 

Same issue here - also 2.81

Just a quick tip that works for me. Try an amp model that has a “fat” or “thick” control. Set up a snapshot to turn it on when you want your lead tone. The Placater Dirty and Texas Cali CH 2 are good examples. This approach works well if you are happy with your rhythm tones, but feel like the lead tones are a bit thin. It works nicely in conjunction with a master volume boost. 

Is his comment around the 2 min, 8 second mark a hint that the update is already on his Helix. A Beta, I suppose? 

I often hear that kind of fuzz/fizz on cleaner tones when I use the bridge pickup, which means, in my case anyway, that it is too hot. I tamed the issue by switching to the middle position (Les Paul style guitar) for clean/edge of breakup tones. That, in combination with low/hi cuts recommended by others on this forum, fixed the issue for me. 

20 hours ago, robmutilva said:

Like when your sound is clipping or a busted speaker cone, or farty low end sound.

I tend to lower the gain, bump up the master (around 6-7) and add a Minotaur (gain between 1-2) when I dial in the higher gain amps on the Helix. This approach tightens up the low end, in my experience. 

https://www.thegearpage.net/board/index.php?threads/helix-2-8.2004443/

On 5/19/2019 at 6:06 AM, codamedia said:

MK spends a lot of time on his tones, he would never compromise. He would only do this if it equaled the tones/feel he was used to... plus gave him the other benefits. 

One other benefit that comes to mind is stage volume. It is so much easier to keep volumes at a comfortable level with modeling tech, especially if both guitarists and the bassist are using it. This benefit is even more noticeable to guitarists who sing, since they often get used to singing over loud amplifiers. I wonder if this figured into MK’s decision.