amsdenj

Well, your cabinet model has made it into my goto electric guitar sound - I had already chosen the same amp: US Deluxe Vib. That cabinet model takes away the overly bright fizz of the amp, fattens and warms up the tone nicely. Works great for Strat and Les Paul. Thanks for the excellent contribution. Now I'd like to understand a bit better how to use the acoustic models. My understanding is that if we: take an impulse response from our acoustic guitars through the piezo pickup at the same time take another impulse response from a well placed mic on the same guitar somehow take the difference of these two impulse responses to create an impulse response that can be loaded into Helix that will translate the piezo tone to more closely match the acoustic tone of the instrument. I know how to get the impulse response by using a rod to tap the body. I can use Logic Pro X's impulse utility program to capture the two impulse responses, but I don't know how to take their difference to create the translation IR. Anyone know how to do that? I have a Variax 700 Acoustic that I really like. And it works well with Helix, it just needs a 6dB cut at 3.6kHz to warm it up. But I'd love to use a real acoustic, or get a closer representation of my mandolin which has a K&K pickup. Getting this to work would really increase the value of Helix.

Jazzing, what is the purpose of the Studio Tube Pre amp model just before the US Deluxe Vib amp? Seems the preamp is running flat with no can, and I can't hear much difference with it on or off. I also found it interesting that you put the mod, delay and reverb effects between the amp and speaker IR - meaning these are processed through the speaker instead of being applied after the speaker. I suppose the difference would be subtle, but do you have any thoughts on the pros and cons of putting effects before or after the speaker. Clearly this is very different than before or after the amp itself unless the amp is being run quite clean. I'm experimenting with using a footswitch to change the voicing of the Fender amp to go from clean to a little dirty. I find Fender amps don't distort well, and it seems its because they have too much bass before the distortion creating a muddy/ratty intermodulation distortion that isn't pleasant. As the Drive goes up on these amps, the bass needs to go down. But just turning the bass doesn't seem to clean up the distortion they way I like. But referencing against S-Gear (which to me is the gold standard of digital amp design), I found that cutting the bass with a low cut filter somewhere around 140 to 200 Hz does wonders to clean up the Fender distortion. I'm creating a patch that maps my Drive footswitch to change the amp Dive control, and a Low and Hi Cut EQ to toggle the low cut between two values. Higher gain has higher low cut, lower gain is flat since the amp can handle the bass. S-Gear uses channel and bass, mid and treble voicing switches to significantly change the voicing of the amp as distortion stages are added. I keeps the amp articulate and musical as distortion is increased. Helix can mimic that with EQ to simulate voicing changes linked to the Gain control for the amp.

I got my Helix yesterday and today the TAP scribble strip light went out.

Got my Helix yesterday, immediately updated to version 1.02.2. During setup, configuration and patch editing I had the following issues. Here's an update on the issues below based on OS X 10.11.1 releases Oct 21. 1. USB Audio/MIDI does not work properly on MacBook Pro 2015 Retina 15" (has USB3 ports) with El Capitan. Behavior is different on an older MacBook Pro running Yosemite. There are perhaps a set of related issues: USB audio now seems quite stable in El Capitan 10.11.1 for HD500X and Helix. Interesting that this was an OS X bug, not Line6. 1.a. The Helix audio device shows up as two devices in El Capitan Audi/MIDI Setup. One has 0 inputs and 8 outputs, the other 8 outputs and 0 inputs. The inputs and outputs work, buy this does not appear to be correct. On Yosemite, there is one Helix Audio device with 8 inputs and 8 outputs as expected. Helix now shows up as a single device with 8 inputs and 8 outputs as expected. 1.b. The Helix App does not reliably connect or stay connected on El Capitan. It is getting USB timeouts and either shows Disconnected or service not available. Others have reported this. Works fine in Yosemite, never disconnected once with the App up and used for hours. Helix app connects reliably and stays connected on 10.11.1 - but... saving a set list hangs the Helix app. And now I'm getting the black screen when turning on Helix. Not sure these are related but they happened around the same time. 2. Changing the Helix audio sample rate from 48kHz to 44.1kHz or any other value has no effect in El Capitan or Yosemite. The Audio device still shows 48kHz, as do apps like S-Gear that detect the sample rate. The sample rate dropdown list for the AudioMIDI Setup Helix device only provides 48000, there is no other selection regardless of how the sample rate is set in Helix. The sample rate still does not change when updated on Helix, its fixed at 48000Hz, and the Audio/MIDI Setup on Mac OS X only shows 48000. 3. Helix MIDI over USB does not work. I select MIDI over USB in the Helix global parameters, but no MIDI messages are received in El Capitan or Yosemite. The Helix MIDI devices shows up in Audio/MIDI Setup, and MIDI from the MIDI DIN input and output also work correctly. The USB MIDI is now working ok. 4. I agree with others that the joystick rotation is too sensitive and results in too many unintended model changes that result in lost parameter settings. This should be tuned to be less sensitive so that selecting blocks does not result in model changes. It is not reasonable to have to carefully handle the joystick while bending down to reach a device on the floor while you have a guitar in your hands, in a live setting. 5. Looper footswitches (record, play/stop, undo, etc.) don't send any MIDI messages like they did on HD500X. These are needed to allow Helix to control a computer looper in applications like MainStage so that you don't have to loose the ability to control stomp blocks. The looper block acts like a mode switch to temporarily reassign the footswitch functions. This needs to change the MIDI message too. It would be best if these messages could be configured - but fixed messages, as in the HD500X are OK. Helix receives MIDI to control the Looper, but the Looper doesn't send these MIDI messages like it does with HD500X. 6. TAP scribble strip light went out and no longer works. That's probably not a software problem, but possibly. Factory reset didn't fix it.

But what about Variax? I use a Variax acoustic 700, so the models are already in the guitar. I want to use the acoustic amp model not to convolve a piezo pickup into something that sounds more acoustic, but rather the usual tone tayloring that one needs to do depending on song, mix, venue, etc. There's enough EQ capability in Helix to do this, but you miss the ability to press the Amp button to quickly get to the amp tone controls in those cases where you might not use a footswitch to run an EQ on or off (so you can't just touch the footswitch to quickly get to the EQ). I'd also like to have an acoustic or preamp model for use with mandolin, vocals, etc., all the other things you migh connect to Helix.

Its still missing acoustic and vocal/mic amp models. Given the Variax and mic inputs, one would expect these amp models on a unit this expensive. I hope they, and a number of new effects models are on their way and we're just seeing the MVP introduction.

I see your point. HD500X could do this with dual amps too. But possibly the speaker impulse responses are better in BIAS FX, and the effects are very nice. The problem I felt wasn't so much the sound as the feel. BIAS FX doesn't seem to have the dynamic range and feel of the HD500X even though the tones are great. Could be an interface issue, I'm using an Apogee Jam HD. Could also be a bit too much amp sag. But the difference between BIAS and S-Gear is even greater. S-Gear just makes the guitar come alive. I'm hoping Helix is similar.

I tend to agree with you regarding using a computer with USB or FireWire cables, or relying on Wifi or Bluetooth communication between iPad and MainStage/Logic using Logic Remote or similar setups. My S-Gear (www.scuffhamamps.com) sounds and feels so good that I'm tempted. BIAS FX on an iPad doesn't compare in terms of tones, I don't think it can compete with an HD500X yet. It sounds better to me on the desktop, and is quite flexible with the effects and utilization of BIAS to design your own amps. However BIAS desktop is pricy and not ready for prime time - it doesn't have a standalone app, has no MIDI control, and doesn't expose any parameters to your DAW for automation. I'm sure that's all coming. And it still doesn't match S-Gear. I've preordered Helix mostly because 1) I've been loyal to Line6 for many years, not stopping now, 2) this unit looks like its been really well designed inside and out, 3) I'm committed to my Variax 700 Acoustic. But I'll have it configured to use as an audio/MIDI interface to MainStage with S-Gear and BIAS for additional options, using Helix for some front of the amp effects. S-Gear mod, delay and reverb are the best I've ever heard. Most live gigs though will use Helix only.

Does Helix send out different MIDI messages for Stomp, Looper and Patch Select modes? The HD500X sends out a fixed set of MIDI messages when the Looper switch is on. This can be used to get send different MIDI messages by using the Looper switch as a "mode" switch allowing the same footswitch to do different things depending on the mode. I used this for example to control MainStage. When the Looper is on, MainStage maps the fixed MIDI CC messages to its internal looper. When the Looper is off, the footswitches send the configured CC messages which are mapped SmartControls associated with a MainStage track. I'm hoping Helix behaves the same way and can provide the same capabilities.

What can you tell us about hat mic preamp model? I couldn't find anything in the amp or effect models listed in the product site that looked like a mic preamp model. Maybe I missed it.

iPad and computer based guitar effects and amplification systems have come a long way since POD 2.0 was released. Now we have Helix. But this is a somewhat closed environment - it does get updates and extensions, and does allow installation of user IRs, and that's a big change. But a PC with S-Gear or BIAS FX Pro, or an iPad with BIAS FX is quite incredible sounding, flexible, open, extensible, can be used directly in DAWs and customizable performance applications like MainStage. Helix has the advantage of being an integrated hardware unit, but that's also a disadvantage in terms of flexibility and end-user upgrades. Ultimately its down to the usability and tone. Helix easily wins on usability, as does the HD500X. But what about the tones? Has anyone had an opportunity to compare Helix with similar S-Gear or BIAS FX tones? The HD500X doesn't stand up to either. I'm hoping Helix will.

That's great and minimally what I needed. Thanks.

At least power them and produce sound, if not control them too?

S-Gear on a Mac or PC is impossible to beat. Play along with backing tracks in iTunes or VLC, or direct from YouTube. You'll need an audio interface. There are many and they are no longer expensive.

Ed_Saxman: "Mic sims: By choosing the "Combo Power Amp" output mode the mic sims are deactivated. Choosing a Preamp model (without poweramp emulation), the cabs works just as a kind of EQ, without the annoying poweramp crossover distortion coming from the poweramp emulation." Can you show where this is documented? I thought the Combo Power Amp would have disabled the speakers and the mic sims since the combo power amp (or effects return) would be expected to have its own speakers. And aren't the mics included with the speaker when creating the impulse responses - meaning they couldn't be separated?

rd2rk, very well said, and I completely agree. However... an iPad is a pretty solid device, can be placed in a stand or case to harden it and is small and quick to pack away. Many of us who don't play out that often need them for lyrics and arrangement reminters too - but there's no excuse for not knowing the songs you're getting paid to play. The issue though is getting sound into and out of the iPad, and getting MIDI control of the effects. An Apogee Jam HD is pretty solid and can be velcro'd to the back of the iPad stand or something. The audio output is a little more challenging - I use an adapter and a long-ish TRS insert cable to get stereo to my FRFR amp. That needs to be attached to the stand too to prevent anything from pulling on the iPad connector. The Blueboard is a toy. It would likely never hold up in a gig situation, its too small, light, battery powered and only has 4 switches, not nearly enough. Positivegird may have something better, but its still only 4 switches and Bluetooth which can have connectivity problems. And you have to run a seperate app to convert Bluetooth to MIDI. Is all this more convenient and reliable than a real amp and complex pedal board? Maybe not, but it might be getting there. This is the challenge for me regarding Helix. At $500 I can justify the POD, and it makes a reasonable audio/MIDI device into a computer too. But at 3x that, I'm starting to think the power and flexibility of an iPad or MacBook Air with a good interface like RME Babyface and an FCB1010 might be a better option.

Re: Apogee GiO, it doesn't recover from sleep well, doesn't reconnect well, especially the MIDI. Apogee needs to update the drivers but haven't since 2011. It doesn't add to the reliability. It also isn't Class Compliant - meaning it requires a driver and doesn't work with iPad. RME Baby Face and an FCB 1010 might be a better choice, but its starting to get expensive too.

I tried BIAS FX today using an Apogee Jam HD into the same FRFR I use with my HD500X. I used a similar amp and effects setup, same speaker and mic, etc. I have to say BIAS FX sounds pretty fantastic and is pretty convenient. The UI is very nice, easy to use and accessible. I used an BlueBoard to get MIDI control through Bluetooth. Then I decided to see how far BIAS FX could go. I designed my own amplifier, based on some circuits I built years ago in typical Fender mods, and added all the effects I would ever want to use: noise gate, Wah, compressor, octavier, overdrive, distortion, phasor, UniVibe, dual amps with different cabinets, tremelo, chorus, two delays, one short and one long, reverb and global EQ. BIAS will run both amps and all these effects at the same time without a glitch on an iPad Air! How is it that an iPad has so much more computing power than an HD500X DSP? And what does this mean for Helix? I like the idea of a good hardware device, but I'm thinking a good audio/MIDI interface, similar to an Apogee GiO into an iPad would be an interesting configuration, something that hardens up the connections. I wonder how BIAS FX and something like S-Gear compares to Helix both in therms of tone and flexibility.

And the HD500X models sound quite a bit better than Pod Farm, as does BIAS FX and S-Gear.

Can you put a link to that audio fundamentals course you mentioned? I couldn't quite make out the URL from the video.

It stays put for me, but I don't use it for a volume control. I prefer the control on the guitar, both for where it his, how it connects my hands to the volume, and the slight high-end rolloff that comes from cable capacitance. Basically one's foot is too massive for fine-grained volume control during playing. Its too easy to make volume changes that aren't easily controlled or musical. And it restricts your physical position too much.

Here's a way to re-amp with a POD HD500X in Logic Pro X. Your DAW may be different, but will likely have similar capabilities. First, you want to use the HD500 as an external plugin - that is, it isn't used for guitar input at the same time. So you need a separate audio interface for the initial tracking. Here's an overview of the steps. 1. Create a audio track, set the input to an input of your audio interface, use one that has a Hi-Z input for guitar. Plug your guitar into that channel of your audio interface. 2. Set the output of the audio track to stereo out (the default). If you turn input monitoring on for the track you should now hear your raw, unprocessed dry guitar. That's what we want to record. That way you can change the plugins to process that dry input different ways without having to re-record - the essence of re-amping. 3. Next add a Utility > I/O plugin to the track, you'll use this to patch in the HD500. 4. Set the output of the I/O plugin to an output of your audio device. This takes the dry output of the track (or your monitored guitar input) and sends it out through an output of your audio device. You'll need more than one output for this. Not all audio devices support this. If you have a simple 2-channel audio device, you can create an aggregate device (on Mac OS X) and include the computer output in the aggregate device, then use this for stereo output. This frees up your audio device to use for re-amping the HD500. 5. Connect that output of your audio device to the Aux input of the HD500. Use the Aux input, not the Guitar input so the impedance is better matched. 6. Next connect the output of your HD500 to the another input or pair of inputs in your audio device. I use a Focusrite Saffire Pro which has 8 inputs and 6 outputs. 7. Set the input of the I/O plugin to the input of your audio device that is connected to the output of the HD500. Select your HD500 patch and you should be good to go. You've used the I/O plugin and your audio device inputs and outputs to insert the HD500 as a plugin into the track. This works, but is complex and inconvenient. When you mix down, you have to bounce in real time, and you can only re-amp one track at a time. You can use the HD500 on multiple tracks, but you have to do them one at a time and bounce to a processed track to free up the device. This doesn't work well in practice because you generally want to re-amp a guitar in the context of the whole mix, changing the amp settings as you re-amp other tracks. A much better solution is to invest in a plugin like S-Gear or BIAS FX. These make re-amping easy and will sound better than an HD500 too. The HD500 is great for live use, but not the best solution for recording and re-amping. I highly recommend S-Gear (www.scuffhamamps.com). This is one of the best digital guitar amplifiers on the market.

I'd recommend using something like S-Gear for recording, and always record dry guitar input. The HD500X is a good live device, but there are better and more flexible solutions for recording.

The rotating speaker effect in Logic Pro X has many controls including fast and slow speed. I use the POD HD500X as an audio device into Logic Pro X and use the Mixer as a live digital mixer. You can use MainStage for similar purposes. Remember to turn off the speaker emulation when using a Leslie cabinet as it already has speaker emulation and you generally don't want it twice.

Boosting for a solo depends on what you are trying to accomplish. If you just want a gain increase, then a studio EQ at the end of the signal chain can do that. However, most of the time you want to do more than just increase the volume - you also want to change the tone, distortion, sustain and feel of the guitar. I use a four-way selection to do this: Base - no additional effects, good for rhythm and quite leads. Boost - a gain boost with Studio EQ with little or now EQ change. This just provides additional gain Channel - a larger gain boost with additional distortion and sustain. Use a distortion effect like Tube Drive or Screamer to set the level of distortion and use the tone controls to get more mid-focus - cuttin the bass to reduce the mud and cutting the highs to reduce the fizz/ice pick Boost + Channel - turn on both to get even more distortion. I use this inconjunction with the drive and tone controls of the amp to get four different tones out of the same amp with just two foot switches.