DunedinDragon

How about putting it in IdeaScale so that someone from Line 6 takes the suggestion seriously????

I can probably explain if you can explain what you mean by "sweep a frequency". Are you referring to the process of identifying specific frequencies within a frequency range that are problematic in order to notch them out?

No real pattern. It changes depending on what's being worked on and what the focus is in overall product development. Sometimes it's once a year, sometimes twice. One thing for sure you'll never get any kind of definitive answer from Line 6 about when it will happen and what will be in it.

I think this sort of thing varies with the approach one takes to writing music. I'm more of an old school conventional songwriter in that I don't come anywhere near a recording session until I pretty much have the song completely worked out. In my case the song itself will have a certain feel that determines the overall sound. Once I get all the technical details of the song worked out (melody, progression, theme, lyrics, intro, verse, lift, chorus, bridge, ending, hooks and arrangement) I pretty much hear the finished song in my head which then dictates the tone I'll shoot for. In essence at that point it's no different than what I do with any cover song and the sound is really determined by the genre or overall feel I want the song to have (rock, jazz, funk, blues, ballad, etc.). From there it's just a matter of putting on my producer hat and performing the mechanics of recording and mixing.

My approach has evolved over the years. In some cases in which I'm looking to emulate a certain artist's sound I'll do the research to find out what their rig consisted of and select amp/cab setups that are similar. More often nowadays it falls back to a more generic sound that's consistent with the style or genre of the music. So a Jazz song played on the Gretsch will tend to dictate a certain amp/cab setup that's different from a funk/motown style played on a Tele, or a crunchy rock sound from the 70's with a Les Paul. Over time I've begun to depend on just a handful of amps I turn to consistently rather than a broad range of different amps. Similarly I have a fairly small and consistent set of IR's consisting of about 30 to 40 different IRs.

It's not much of a problem for me. I take the patches I've worked out for playing the song live and record it. I simultaneously record a dry track should I need to work with it, but I find I rarely need to. Other than that it's standard mixing operations to develop the soundstage I'm looking for. It may be that you're overcooking your tones. It's easy to do to chase after something on just the belief you can improve it. Sometimes I may tweak something but generally if it works live, it will work on a recording.

I've had intermittent freezes on both of my Helix units, but it was during the boot up process. Never when it was up and running. When it stalls during bootup I just power cycle it and it comes up. I assume it probably has something to do with the connections I have to the laptop or other equipment causing the bootup problems. It's never occurred when it's been disconnected from everything.

This is why I'm so supportive of people like Jason Sadites in that a person is FAR more likely to benefit from his video tutorials on YouTube for getting a great sounding preset to meet their needs than they are to expect any preset they purchase or download to be instantly useable for their configuration.

What you're dealing with is a manufacturer's proprietary implementation for amp control. The industry standard way of controlling external devices is through MIDI, which Helix has. I'm not sure it's reasonable to expect the Helix to address each and every vendor's proprietary amp switching solution. That fault lies with the amp manufacturer for not using an industry standard implementation.

Oddly enough the same lack of respect goes to posters who go over the top with their anguish over minor minutiae..... Just sayin'.....

Yeah..after reading about the designed 3db drop in split blocks it all makes sense and a quick experiment with it today proves it out. It just never occurred to me to adjust the merge block's output volume. Simple fix, just not that intuitive.

Oh, don't get me wrong I'm not dismissing the idea out of hand. It makes logical sense. I guess it's all in your perspective. I can't really say I've struggled at all in the last maybe two years or so managing EQ problems in my patches. I've found the simplest and quickest ways to get me what I want using a final parametric EQ and the crossover split (thanks to Jason Sadites on that one). Not to say if I get a few extra cycles to play with this idea I might dive into it. It's just not a compelling issue for me so much any more. But..YMMV.

Although it's intellectually interesting it seems like the cadillac approach to a volkswagen problem............

I'm not sure that's working as you describe. I've noticed when I use a crossover split block in the manner demonstrated by Jason Sadites that the overall volume level drops after it's combined even if the gains in the crossovers stay at 0. It's clearly a noticeable drop as well as measurable on a signal meter.

Nothing is really particular to a snapshot since a snapshot is just a specific specialized view of a single preset. But as far as a preset is concerned I think the most general approach is the one that's used most commonly in regular setups in the real world. Something similar to: input block -> compressor -> modulation -> overdrive -> amp -> cab/IR -> pitch effect-> delay/reverb -> EQ -> output block. Of course there's lots of ways to vary that and many people insert delays/reverbs and modulation effects between the amp and the cab/ir, or moving the compressor to the final block in the signal chain. It would probably be worth your time to watch a few of the Jason Sadites videos on YouTube and familiarize yourself with how he lays out his presets and then applies presets to them.

The simplest way for you is to go get a good pair of powered studio monitors and hook them up to the Helix either through the 1/4" output or XLR output. They come in a range of quality and sizes so pick the best for your budget. However, bear in mind you get what you pay for, so it may not make sense to hook up a set of cheap speakers given what you paid for a premium modeler. That will allow you to play just fine at normal room levels. If you want to play along with backing tracks the simplest way is to just hook your PC or Mac up to the USB port and play them from the computer. If you have them on a smartphone it gets a bit more complex in that you'd have to probably use some sort of conversion cables and run it into a receive loop. It's easier and better to just convert them to a computer format and play them direct through the USB port.

When I was considering getting a LT for my studio and as a backup to my live Helix Floor unit, that's the reason, as well as the Mic and additional inputs, I chose to get a 2nd Helix floor instead. The headphone volume control is a major asset when recording. The only thing I can think of is maybe using two of your sends into a small headphone mixer unit.

I own 2 Helix floor units. One is my live unit and the other is connected to my home recording PC. If needed I simply import the backup from one to the other.

You're going to have to be more explicit in what you mean by not recognizing "IT". Do you mean the Helix LT unit itself, or not recognize the program, or what? Does the HX Edit package run and install the HX Edit program, Line 6 Updater, and device drivers? If that's runs successfully what happens when you run the actual HX Edit program (not the HX Edit Install package)?

It shouldn't come as any surprise that there would be a significant difference in the construct of your signal chain if you're going from using a guitar amp to an FRFR. The primary difference SHOULD be that the presets that were going through your amp wouldn't have any Helix cabinets or IRs in them because they're relying on the physical guitar amp cabinet. Of course if you DID use a Helix cab/ir on the preset and corrected for it, well that correction isn't going to be relevant and likely detrimental to an FRFR setup. The ideal and expected situation would be that your presets used with the amp and it's cabinet wouldn't have a Helix amp/ir, so the FRFR preset would simply add a cab/ir to the signal chain and all would be good.

The most important question to ask here is what are you using as an output device? If you're playing through a physical guitar cabinet then you don't need a modeled cab in the signal chain.

It's also HIGHLY dependent on what you're using for your output device (amp/cab, powered speaker, headphones, etc.). That's going to have a MAJOR influence on the sound you hear. Technically speaking there's really not much in the way of subjectivity when it comes to modeling these amps. They're simply mathematical simulations of what happens to an input signal as it passes through the stages of real-life amp circuit based on measurements taken. In these cases an actual Uberschall or Shiva amp. All the subjective influences happen around that amp model in the signal chain or in the real world when it's ultimately played through a speaker.

It's not clear what you're referring to here. The number of parameters an effect has is determined by the effect that's being modeled. All parameters an effect has are always available to be changed although you may have to page over to see them if you're using the Helix display and controls. If you're talking about the order of those parameters, i.e. which parameters are on which page, that's all hard coded and isn't changeable.

Just a quick note on your guitar teacher. Not all guitar teachers, and in fact probably MOST guitar teachers have little to no experience with modelers. They tend to be more amp and pedal guys and might be somewhat dismissive of your modeler since they don't always speak fondly of things they don't understand. Just be aware of that and I'd still suggest you depend on resources like Jason Sadites YouTube videos as a way to really understand how to get the best out of the unit. Leave your guitar teacher with just the job of teaching you guitar, and leave the job of teaching you modeling to someone who really knows what they're doing.

No one is going to hear anything publicly until it happens. That's just the way it is with most of these companies and especially with Line 6. There's been all sorts of speculation about it, but that's all there is..speculation.