amsdenj

Try using Workbench HD to balance the string volumes and ensure the 12-string tunings aren't too far off.

This blog post https://jimamsden.wordpress.com/2015/12/29/creating-a-helix-electric-guitar-patch/has some thoughts on effect order.

I did some work on my Variax Standard today to balance the strings. First I hooked my Helix up to Logic Pro X and used a good meter plugin so I could see the output of each string on each pickup. I first explored my Strat and Les Paul and found the volume levels of each string on each pickup to be pretty close to the same. I then used Workbench HD with the Variax Standard plugged into the same Helix input, same patch and compared the Spank and Lister patches to what I got with my Strat and Les Paul. What I found was that on my Variax, the high E and B strings were weak while the low E and A strings ever very hot. So the guitar wasn't well balanced on any models. I used the string adjustments to set the volume levels of each string to be the same. The result for me was E:45%, A:45%, D:82%, G:68%, B:100%, E:100%. I also raise the patch volume +4dB to match the output of my Strat and Les Paul. This compensated for the weak B and E strings. I then applied these settings to every patch since they reflect an imbalance between the piezo pickups on my guitar. The result was quite significant. The guitar now sounds much more balanced and natural. The low strings were so hot that they were causing distortion while the high stings seemed to disappear. Now the guitar sounds great. I suspect all the Variax Standards need to have their pickups balanced. These guitars may or may not have a matched set of piezo pickups. But even if they did, the strings you use, the tilt of the tailpiece, action, etc. could possibly effect the balance anyway. As you can see, my pickups were't balanced well at all. Maybe yours aren't either. This is an easy fix that really improves the sound of the guitar. I wouldn't consider this a defect in or problem with the guitar. Rather its part of a routine setup adjustment, just like setting pickup height.

Perhaps a related issue. I thought my mic input wasn't working either, and sent the unit back only to have Line 6 tell me there was nothing wrong with it. Turns out I was trying it with a Rode NT5 condenser mic that I leave setup for recording acoustic guitar. That mic seems to somehow cause the mic input o distort badly for a little bit and then fail altogether. If I try another mic, condenser or not, the input no longer works at all. That's why I sent it back for repair. But it turns out that cycling the power and trying a different mic works fine. Now I'm not sure if I plugged the mic in with phantom power on or not - likely it was since its on in global settings. My Beta87 seemed to plug in and out fine with phantom power on. But Helix doesn't seem to like that NT5.

Do what sounds best for you and your application, but generally the Leslie speaker is best without a cabinet or IR model unless they are in parallel.

Do a good setup on the Variax Standard, that might really help. I don't think they come from the factory with good setups, takes too much time and can change over time anyway. I thought the same as you and others, that the older 300 tones were more interesting, more spanky, more tele. But then I did two rehearsals, one with my Variax 300 and one with my new Variax Standard. Both were into the same Helix patch and FRFR amp. I did them on different nights so that I could just react to the sound in context, not compare one against the other. I was surprised to find that the Variax Standard modeling tones held up in the mix better than the 300, even though I thought I like the 300 models better standalone. I was not inspired to use the 300 again while the Standard models were just fine and worked well. It could be that the 300 models are more hyped, and so sound "better" when demo'd solo while the Standard HD tones are more natural and realistic, and fit better in a live band context. In any case, I don't expect the Variax Standard to be my main instrument, nor do I expect it to sound or play like a vintage guitar. And I'd probably never record with it. Rather its a gigging workhorse that provides serviceable tones that adds some variety and interest in a four hour gig that is convenient and not possible any other way.

Individual patch adjustments are easily done on the Helix. And its important to be fluent navigating the Helix device since you're going to have to do that in a live session. I went to one of the Line6 Helix demo sessions at Guitar Center and marveled at how fast the demonstrator could make changes. For navigating multiple patches, the editor is much better. I really wish it could have two windows open at a time, one connected to the Helix and the other off-line so its easier to compare and copy between patches.

I have my goto electric guitar patch setup with a volume pedal block right before the amp model to control drive into the amp and for volume swells. I also use the same pedal to control the uni-vibe speed, setting the controller range limits to the typical fast and slow Leslie speeds. (The Leslie speaker is one of the greatest inventions of mankind.) When the uni-vibe block is turned on, the volume pedal block is turned off. That way I can use the pedal for more than one block in the patch.

You can also blend the IRs using a computer, there's a number of apps/plugins that support it. Use this to create a blended IR that you can then trim and load into Helix.

To my ear, S-Gear is a cut above them all since it doesn't attempt to replicate existing amps but rather is a digital design of a small set of boutique amps. But S-Gear doesn't have the hardware, I/O routing and front of the amp effects options that Helix has. And the Helix tone is very good too. At some point they all just sound a little different, not necessarily better or worse. And that diversity is good. I'm very happy to not use a computer with live gigs, it's complicated enough without adding a computer to the mix. I tried, and it worked, but I like Helix a lot better. I still use S-Gear for all recordings though. The simplicity, tones and feel are just fantastic.

Using Workbench HD you can create custom patches in Variax Standard that mix magnetics and models. There may be phasing issues. Play with that too. I found Helix pedal models much better than the similar HD500(X) models. I could never get a compelling tone out of the HD500X into the front of a guitar amp. But Helix does this with no problems.

I wonder if Helix is more sensitive to fret buzz and that's what we're hearing as digital distortion? Try reducing the default Sag value to get a tighter sound. And a little bass cut before the amp distortion with a tube preamp or high and low cut EQ can work wonders for cleaning up mud. I find the mud creates some intermodulation distortion if the bass is too high into the distortion preamp or effect, and this can increase what we hear as fizz.

See this blog post for using Helix into the front of a guitar amp: Using Helix as an Effects Pedal Board. If you use 4CM then your guitar amp is providing some of the preamp and Helix is providing effects. In this case your guitar amp is also providing the power amp and speaker, so you don't generally want to include those models in your patch. If you want Helix to go into the PA too, then you have two options. One is to continue micing your guitar amp as before since its providing your overall tone. The other is to create a parallel path in Helix with a cab model or IR, or even a whole amp and cab model that is in parallel with your 4CM path and has the output set to the PA. Frankly I think this is overkill and too complicated. You have to assess your guitar amp with Helix in terms of tones and convenience. To me the big advantage of Helix is that I can get more than one amp sound out of the PA or a stage FRFR that isn't possible when going into a guitar amp. This is especially true if you play multiple instruments, some of them acoustic. A guitar amp just can't do this. So although would could create a parallel hybrid patch that has amp models going into the PA and 4CM going into your guitar amp, that may be more trouble than its worth. Try it and see what works for you. The key is to get the tone you want, and not have the setup become a distraction that takes your attention away from the music.

Ok, we all love the free upgrades, from the editor to new amps and effects. But let's give something back to Line 6. Tell your band mates and friends, Facebook followers, Twitter. Let's spread the wealth and help Line 6 sell some more Helix units. That's how we help generate new feature opportunities. I see this as a demand/supply collaboration, we have a part too.

The JBL EON10's I use have internal DSP and EQ presets. One is for monitor to compensate for the bass boost resulting from having the monitor on its side on the floor. I found this useful and take advantage of it. But the real issue is getting use to the difference between a guitar amp behind us that's mostly catering to our pant legs, and a FRFR monitor in front of us that's more or less faithfully reproducing the chosen Helix model. The Helix cab and mic models, or similar speaker IRs do a pretty good job of reproducing what a mic in front of a speaker would do. But that's not at all what we're use to hearing. Rather what's coming out of that monitor is a lot brighter and a lot closer to what the house is actually hearing. This can take some getting use to, and the brighter tones can be tiring over a long gig, and can be more damaging to your ears. What I found is that I have to use ear plugs when playing. Otherwise my ears ring very badly after the 2nd or 3rd song. And then I can't hear that well for the rest of the night. And I know if my ears are ringing, I'm damaging my ears. Its real, and its permanent. Wish someone had told me when I was younger. When using a stage amp behind me, the ear plugs do take away some of the connection to the amp. But when using a FRFR monitor in front of me, I tend to hear the guitar very similar to how I heard it behind me without the ear plugs. This was a nice surprise, and something I quickly got use to. I also find ear plugs make doing harmonies and vocals easier because I can hear myself in my head better, like sticking a finger in your ear to help zero in on a harmony. The ear plugs I use are professional created by an audiologist. The cost $100 year ago, probably more than that now. I can use different capsules for different noise reduction. I found 10dB to be just about right. It was a great investment and really makes getting through a 4 hour gig have no negative impact on my ears, and isn't nearly as tiring. Highly recommended, and has the side benefit of making a FRFR monitor in front of you feel more like a guitar amp behind you. Win-win.

Try this blog posting: Creating a Helix Acoustic Guitar Patch. For the mic input, I use a TC Helicon Harmony-G XT when doing acoustic solos. I use path 2 for the mic, and let the G XT do most of the vocal effects. Helix provide flexible routing for this using the effect return inputs.

I found wrapping plumber's tape around the tremolo bar works very well.

I believe only the JVT and Variax Standard guitars can be updated to the new HD guitar models, and use Workbench HD. That's not to say the older Variax guitars aren't sill useful and reasonable instruments. Some of the old models sound quite a bit different than the newer HD models. They're both useful, and it's a matter of taste which one you might like better in different situations, just like any other guitar or amp. I'd suggest that if you like the way a guitar plays, feels, and sounds, don't worry to much about not being able to update the models.

I use a Variax Standard (or Variax 700 Acoustic) for acoustic tones through a specific acoustic guitar patch in Helix. Sometimes I use my Martin 00C15AE if I'm playing a lot of acoustic. In this case the Helix patch is modified to include an acoustic guitar body image I extracted from my Fishman Aura Spectrum so that I can compensate for the piezo pickup. In any case, the Helix output is to the PA and my FRFR stage amp. I like the FRFR approach because it gives me a lot of flexibility. I can play bass, acoustic guitar, electric guitar or mandolin through the same setup just using different patches. And I can use a different amp model then the other guitar player in our band to provide contrasting tones in each song. The HD500(X) can be used similarly, but just can't have any acoustic guitar body image IRs. I use this setup for a number of years successfully with the same FRFR amp and PA. Helix is a game changer for tone and feel though. Can't recommend it enough. If you're using a guitar amp, you can't use it with acoustic guitar patches, you need a FRFR amp or PA for this. The HD500 routing options aren't as flexible as Helix, so you will probably need to do some switching to engage the PA input and mute your guitar amp input when playing acoustic guitar. You'll need a monitor to hear yourself. If you have a good one, you might find its a reasonable FRFR for electric guitar too and can be an option for going without a stage amp, especially in small club situations.

I use a JBL EON610 as my monitor for vocals and Helix through a monitor output on the PA. This way I can control what I hear in my monitor for what I'm missing on the stage and what helps me perform. Other small PA cabinets as monitors for Helix will be similar, some better or worse, but likely not that different. The EON610s are reasonably priced and light to carry. There's a number of choices on how to position the monitor. The best configuration depends on what you're trying to accomplish. If the monitor is just for you, try placing it on the floor in front of you on its side and tilted back so you're looking directly at the horn. In this configuration the horn is positioned vertically, not horizontally. This ensures you hear it even though you might be backing up to solo, or getting up close to the mic for vocals. It also ensures the typical horn dispersion in the other direction is limited and helps isolate your monitor from others. Make sure the horn is on the side (left or right) away from your nearest neighbor so that you can further isolate your monitor from the guy next to you. This might take a little getting use to if you've always used a guitar amp behind you. But it does work very well and gives a more realistic expression of the tone you're actually delivering. If on the other hand if the monitor is for you as well as the rest of the band to hear your guitar, then setting the speaker upright and behind you might be a better choice since the horn dispersion is now wide horizontally instead of vertically. This way you and others can hear your guitar. A combination of the two can be useful if you use a stage amp and direct to the PA with Helix. But you have to control the overall volume in this situation to ensure the audience is getting a good balance and not too much guitar close to the stage while it disappears in the back of the room. Individual monitors are really a must for performing. Such monitors are now high quality, relatively inexpensive, and self powered. If you have the monitors in front of the musicians, not only do they hear them better, but they are not providing uncontrolled contribution to the FOH mix. Beware the wall behind you though. If it's close and highly reflective, the monitors can still put a lot of sound to the audience reflected off the back wall. This often will be out of phase and delayed from the FOH speakers and should be avoided when possible. Slightly angling the monitors could help disperse and control these reflections.

I had some work done on my Variax 300 a few years ago, fret leveling, new, wider, bone nut, etc. The guitar actually plays quite nicely, better than my new Variax Standard. I can make those same changes on the Standard, but the fret board seems to have some sort of coating that doesnt' take neck oil well. And I think the 300 neck is better. I wonder if they are compatible?

I believe the intention for the SPD/IF to be unity gain. You might need to use a gain plugin in your DAW to adjust to meet your needs, or the needs of the plugins in the track effect chain. S-Gear has an input gain control which I turn all the way up for Helix SPD/IF or dry USB. The gain seems low to me to, but if it's unity gain, I'd rather have it low than high to avoid digital clipping.

The primary advantage of separate amp and cabinet models is that the cab models support two cabinets, not just one. And they can be set a bit differently to get a nice stereo effect. Another advantage is that you can easily change the cab block to an IR block, and don't have to change anything in the amp.

This link show how easy it is to get started with Helix:

I agree that this is the purpose of the Auto option, but I think the tone control on your guitar gives a lot more control a lot easier. That's my point, there's other ways to tame the highs into and out of a distortion block. I'd rather use those and keep the life in my guitar tone.