jpdennis

As most in this and many other threads have stated, the Helix give you what you tell it to give you. It gives you control for the most part.based upon the blocks it has and how they have been developed. For me I researched the speakers of my tube amps and have done my best to match their frequency curve using hi and lo cuts on the speaker IRs for the most part. Then i A/B against the FRFR I use. Next I add either/or both global and block EQs as I feel I need. Then there is the guitar impedance based upon my guitars and inital block. And finally the placement of every block I use. There is a wealth of knowledge from many of the users of this forum concerning everything I have shared. And it has been their input that has guided me. Since I have used many techniques to get the sound I want to be defined as "mine" I have also forgotten the specifics yet retain the ability to match what my ears want to hear as the final output. I will never get the amp in a room sound since that is no my intent anyway. I tend to go more for the "recording sound of a musical band" when the output is pushed through the FOH in the clubs we play using our PA if the room is under 5000 sq ft and trust the production crew if the venue is larger. YMMV At the end it is my ear I tend to please and it seems to work for the groups I work with and the audiences. Dennis

anyone hear more on the2.30 release date?

Add the Wah block but DO NOT assign it to one of the 10 switches. The toe switch will now activate the Wah when you want it on and deactivate it when you want it off. However, use caution if you are heavily using the Volume block. When activating the Wah the volume control is dimed. There is a feature which works well with a second EXP pedal allowing you to use the sweep of the EXP to turn the wah on and off. I have used it when Line 6 added the feature in a recent FW update. However, I really like the ability to use just the Line 6 Helix. So I rely heavily on my guitar pickup position switch as well as my pickup volume & tone knobs when using any and all patches set on my Helix. Dennis

For rooms under 5,000 SqFt the band I am in uses 5 to 6 of these for monitors based upon the stage. I am told the sound of my Helix on stage is amazing. I know I like it. So, from that perspective I find them to work very well. I typically go straight in to the PA with no FRFR directly connected to my Helix. However, this past Sunday I used my Alto TS215 as a FRFR in a church that is more "Wall of Sound" on stage and that sounded very good. I will see about using one of our ZLX-12P next Sunday and report back. Not to high-jack the thread but since this is really about FRFR ... we had a pro-setup last Saturday at a fair. The sound engineers were blown away that they could run my Helix straight to the board and have my Helix channel EQ flat. One of the sound engineers is also a guitarist and I do believe I have converted him as he said he now knows what he want to buy next. Resistance is futile ... you will be assimilated!

Hmm, since I always use guitar in as well as tones at 8 or so and vol at 7 or so with middle select on my LPs and neck for Start I took it for granted the tuner worked well for me. Thanks to all for the 411 in this thread. Now I'll have to test various settings and see the "why" of the on going tuner challenge. Thanks all

Well, you can't blame me for trying ... I am sure this is the wrong thread to have DI add any comment to that though ;-) :rolleyes:

Just downloaded the W10 Enterprise 1703. A 2-iso add-on pack is also available. Did first install the other day. Will see what really is the difference & yes, Pro and/or Enterprise does make a difference concerning better system functionality and control .... PowerShell anyone? :blink: Now about that Native ,,,

Line 6 emailed me to sign up to learn more about Helix Native if interested. Email came in at 3:45 PM Pacific yesterday and I just now signed up, :rolleyes: Now about the next Helix update ... :blink:

I use the looper for a fairly dry rhythm as well as to set volume. Then I move around the room soloing to see how it fits with the bass and drums and keyboards after they have been set. After that I get a fairly good idea of what I want the FOH to be like. I always have the monitors' EQ flat for level then set the EQ curve to taste and filter out any mike high end squeals per monitor. Works well for our group. In ear monitor system to come soon, but for the house PA it seems to work well as I have described

And Helix 3 to follow? Honest, I don't mean to stir the pot. Well .... :ph34r:

For live I just plug into the PA and use the stage monitors which are the EV ZLX-12P many are already sharing that they use. For home I use an Alto TS215 to dial in my patches since I practice dry.

Probably before the next Helix update. :ph34r: And I did see what happened. :blink:

Not weird in the least. I test guitars without any amp when going for the purchase. I like to hear the guitar natively without any amplifier or effects coloring. And practicing without an amp allows me to recognize how accurate my precision is in my playing; just makes the performance pronounced.

+1 Yep. Just like Johnny B. Goode will never be covered on stage after the year 2000. <smirk>

I have 2 direct boxes one for the Helix and one as a backup for the Helix. Hmm that was redundant ... I guess I could have said yes! B)

We have 6 of the 12" of this model for our monitors. I tried one and while it was very well defined for me. YMMV I also use the Alto TS215. The way I set my patches seem to work better for me with a 15" ... Moral of the story is that the EV 15" may be a great choice for you however I'd take your Helix to someplace that had one and let your ear decide.

i find it helpful to make sure my global setting for snapshots is set to discard

Peter, Thank you for this information. I have been having the "crackle" issue and it was Vintage Delay block. I have taken it out for now, as I was out of town when it was discovered at a gig. I'll add it and boost the headroom. Respectfully, Dennis

I have a open back rhombus angled enclosure I built for the outside venues. Strips still hard to see but I know the buttons

True. +1

Hello all. I have read a lot of Line 6 Helix Tuner posts since I arrived here. I have also used Peterson Strobe tuners (my first in in 1968 or 1969 I believe). I used several foot pedal tuners as well as clip on tuners. I also had to make sure my instrument(s) had perfect intonation for the tuners to work they way I need them to work or one bad intonated string can frustrate my tuning needs to no end (and I use 18 instruments now over a period of 12 shows ... yes my wife did say I need to stop). LOL POINT The tuners all took awhile to get use to, Eventually I got the darn instrument in tune quicker and quicker to the point that I could then use my ear to make sure it was right. One thing I did notice back in the 1960s to the 1990s was that for the best experience on stage everyone would use the same tuner. Not the same type but the same exact one. Then we all use our ear to make sure based upon the instrument as we work with keyboardists as well as reed and horn and other instruments. Today we can usually find a good tuner that is close enough in cents to fairly match "perfect tuning" for all (and I do have relative perfect pitch but one of our daughters has perfect pitch and yes I "hate" her .. OK not really hate as I am envious) GOOD NEWS Line 6 does listen. I have lived through the Helix tuner being "off", being "too touchy", being "not touchy enough". being "fairly decent", being "usable" to ... well I think you get my point I hope. FINAL TAKE I have to adjust my tuning technique to get the current version to work for me at a 3 9s level and having to adjust my methodology can be frustrating but it does work at the 3 9s level for me. Line 6 will probably always get to the tuner during various versioning paths. END GAME I'm neither a fanboy nor a troll. Keep these tuner threads coming if necessary. However, for a real positive game plan for me I have sent many requests to support via the bug report feature, phone calls, and emails. The vast majority I never spoke of in the forum. Several have provided factual and specific information which ended up correcting items I have read about in this forum as versions came out and bugs were corrected. Hopefully someday the tuner will be perfect for use without anyone having to use an external tuner but Line 6 does give us that option if and when necessary Have a great day. Just Plain Dennis (no one important and not such a much)

I am in the "pictures on phone" camp. I find it takes just a few minutes to reset the Global Settings and when new global setting features are added, modified, or even taken away I just re-click the pic. It would be nice to have a save like that available but like I found out when several amp model perimeters had been adjusted and added; sometimes it is just necessary to know your settings. I have even learned how to read the helix files in formatted clear text just for that reason. Still ... Dennis

Bought this and it is amazing for those moments when you might want to use a capo https://www.thaliacapos.com/ Dennis PS: I've had a few months which is before the changed their packaging

Sounds like the OP was asking about cab IRs. However, like others I use IRs for acoustic, mandolin, dobro, and other instrumentation. So here is an example of the signal chain for instrument IRs; IN --> other blocks based upon sound for patch (trem, or phase, or chorus) --> instrument IR --> clean style amp head --> maybe an eq --> maybe a reverb if the FOH isn't the one I want to use --> cab IR --> echo block --> gain block just because --> OUT For the cab IRs basically; IN --> similar to above nxt but no instrument IR --> then maybe single path with amp head block or split path with two amps in each path at this point and again I put maybe an eq then a reverb block before the cab IRs for each path --> whatever else I feel I need then --> OUT Now for me this works. Others have ears and imagination which may turn this on its head. YMMV Dennis

Yes I have used a pre-amp block as a mild overdrive more for using the tone controls to shape and saturate the mids. I setup a patch awhile ago that I shared with another member during the 1.xx firmware days for an autowah preset and he asked why I used the pre-amp in the signal chain. In the early 70s many of my friends and I used old Champ amps running into the late 60s Marshall heads to get good tone at lower them pegged at 10 volume. At least the best we could when we needed to play dirt floor clubs and not get told to "turn it down" which would not work for UFO and Nazareth songs. To quote my message to the other member when he asked me how I figured to put a pre-amp block before a amp block I said; "Oops. I forgot to answer the other question. Back in the day we would use an old Champ amp to feed signal into our double stack Marshalls. Then when Mesa started using cascading pre-amps signals it was moot. I just figured what works in the real world can work better in the virtual :-)" Dennis