vmoncebaiz

That is a ridiculously nice sound. I skipped right over the IR files with the "FRED" mic position. Guess I just lost a weekend due to having to reopening them and mix them into patches. Super clean looking video, and I am a huge fan of those pickups. I think we just became best friends. :)

Just a heads up, it is not just a simple neck swap for the Variax Standard. I swapped in a Fender neck as a test. The neck pocket on Variax Standard had about a 1/4" of difference on where the nut position was. So even though they were same number of frets and same scale length, the fret positions were off, which would wreak havoc on note intonation all across the new neck. It can be done, but would require a lot more work to modify the neck pocket. As for the Standard's stock neck, it is definitely thinner than the JTV-69. But it is not flat like the JTV-89 (or a Ibanez Wizard neck).

I don't think I have any true single coils at the moment (looks like I just justified getting a new guitar). So checking my own settings, the threshold is usually -65db and the decay is almost always 10ms. Some people think its more natural sounding with higher decay settings, but I want the gate to release as fast as possible. This is usually just on the input block gate. I only have 2 patches that use a dedicated gate block.

For the functionality, the Spider V + FBV should be very similar to the Pod XT Live. Bank Up/Down and Preset A-D are in the same spot. you will have a little more flexibility since you can assign 3 FX to different foot-switches (they were fixed positions in Pod XT). The PodHD500x would be even more flexible and offer 8 assignable stomps. It also offers more flexibility in your signal chain and can run 2 amps at a time. For the sounds, The Spider V has a similar model set to the Pod XT, but also has the speaker built in (so it might be more convenient as an all-in-one). The HD500x is a newer range of amps and effects (HD amps, cabs and FX) There will of course be some similarities in what the models are based on. The only model set newer than PodHD, that is found in Helix family products.

For any parameter on Helix, Press and Hold the encoder knob underneath it for about two seconds. Then press Knob 6 labeled "learn control". Move your external expression pedal and it will assign automatically. It will start with 0%-100% sweep, but you can adjust it as needed in that same screen. You can assign multiple parameters in a preset (up to 64). So, repeat the process mentioned above for any other parameters you want to have tied to the same expression pedal. If you want two parameters to shift in opposite directions, just have one of them set so the "Minimum Value" is higher than the "Maximum Value". You're basically setting what you want each to be in the heel position (minimum) and then again for the toe position (maximum)

I would have said the same things, but you guys all beat me to it. Bunch of early risers we got here, getting stuff done before noon. Are you sure you are real musicians? Just kidding of course. And, I love that so many here subscribe to the idea of "if it sounds good, it is good."

For high gain sounds, I've had luck with the 4x12 XXL V30 almost exclusively (4x12 Greenback is probably the only other one that sees much use, and thats only when I'm getting wild on a Friday night). One cab pretty much alway has a 57 mic and the other an RE30 mic. I keep changing the distances, one mic will be set 1-3 inches and the other set 2-6 inches. For clean sounds I'm either using the Match H30 + Match G25 or the 1x12 US Deluxe + 4x12 Greenback. Mic is 121 ribbon 95% of the time. I keep them mixed 50/50, and use the mic distances to make them more/less prominent in the tone. I always use High cuts (5kHz-7kHz) and low cuts (80Hz-95Hz) wether its stock cabs or IRs. I definitely favor more modern sounds, I'm mainly a metal goon, and my clean sounds I like not overly pristine (Litigator model all day).

I generally use my set up exactly as the OP described, and I also prefer to be in Stomp Box Mode too. But for what you are describing, Snapshots is the best solution. I get that it isn't using snapshots to its maximum potential, but it will do what you are asking. Have you thought about using the Snap/Stomp layout so you can have snaps change your amps and gain staging and still have individual stomp control on the bottom? The other way I've seen mentioned somewhere on this forum was to assign midi control to do this for you and patching the helix midi out to its own midi in. I've never done it, but just wanted to throw the idea out there if snapshots option doesn't float your boat. It might more freely assignable, but seems like a roundabout version of snapshots and would eat up more footswitches.

I'm admittedly not much of a fuzz user myself, but in helping a couple others dial in sounds with fuzz I've had some luck with the following: Clawthorn Drive: set the OD parameters to 0 and use it as a fuzz ( my favorite of the bunch) Thrifter Fuzz: its thick but allows you to dial back in some of the attack Triangle Fuzz: sustain set lower (3-5ish) typically better sounding to the guys I've sat down with. Arbiter Fuzz: gain set low or to 0 (mentioned above by arislaf - I can second it) The KWB doesn't quite sound like a fuzz to me, but it is probably the best sounding distortion pedal in Helix (in my opinion). And it has the germanium/silicone/LED options if your looking for those flavors. For guys needing more level on any of these, the kinky boost set to 0 drive works well with these (and just about anything in Helix)

The FX loops can be noisy when placed in front of certain amps (or even amp models). Try to use the 1/4" output instead of the second set of Send/Returns. See if the noise level changes at all. You could also try to use the 1/4" outs into the front of the amp, and put the Helix's send/return in the amps fx loop.

I've tried the K12.2 just once. It was just at low to moderate volumes in a store demo situation, but I thought it sounded noticeably better than the K12. I didn't get into any of its bells and whistles, just ran it in studio monitor mode. It had less of what I think is a compressed high frequency driver sound to it. (If you've ever been afraid to play hard or use more gain because of the FR/FR speaker sounds worse the harder you hit it, thats what I'm talking about - not sure what is actually causing it though)

Every time I start thinking I might be a vet, I learn something new and it gets me to look at how I use Helix in some new way. There's usually a few different ways to accomplish something in Helix . So, my advice would be "Don't get stuck thinking anything has to be done a certain way". That and "Use High-Cuts" for stock cabs or IRs.

Another way to assign the amp's drive (or any Helix parameter) to a footswitch is to press and hold the encoder knob for a second or two (it will be knob 1 when you highlight the amp). Then press knob 6 for "learn control" and press which ever foot switch you want to use for that. It's probably a good idea to also have the same footswitch control the amp's channel volume. But for volume, have the minimum value set higher than the max value. Now as your amp drive goes up, your channel volume will decrease to balance. It takes a little bit of tweaking to balance, but its a useful way to gain boost an amp.

Nice. Stumbling across the sound thats been rattling around in your head is always exciting. I did the same thing. Everyone always used the words "Fender clean" as the clean by which to measure all other cleans. But it wasn't my thing. With physical or modeled amps it took my years to find I like Marshal or marshal inspired amps more. With Helix specifically lowering the master volume will make a mid/gain amp more useable in the clean category (seems to work well when the model is based a non-master volume amp). My favorite has been the Brit J45 Brt.

Compulsive Drive set to V4 is my favorite when using a pedal to produce gain. The kinky boost is my new best friend since firmware 2.3. And the minotaur is amazing for subtle pushing into more breakup. Screamer 808 is so close to the physical pedal, which means I prefer others, but it is accurate. The only fuzz I like is the triangle fuzz, but I don't use fuzz pedals so I have no idea what is accurate compared to the physical version. Im guessing if I don't like them on Helix, its probably not my thing with physical fuzz pedals either.

I think thats whats happening with my Mesa Grid Slammer. Yes Please. I'd love an input meter or input level knob! I tried that just for the switching control from Helix. Gain based effects in the loops can introduce some extra noise on Helix, especially if run into certain Hi-gain amp models. I just turn the level down on the pedal if things don't sound right.

I did not enjoy the factory profiles, and I never got along with profiles made by others, even ones that were purchased from studios or one my favorite producer. It's the same way you and your favorite guitarist would play the same amp with different EQ and gain settings. I'm not very good in a studio setting, but the Kemper profiles I made sounded better for me than any of the ones I tried from other people. If you can even rent or borrow an amp or two, you'd really open up the Kemper's potential. But if that's not in the cards a modeler might be the way to go. BTW I think that is a huge complement to the Kemper doing exactly what it says it does, and doing it very accurately.

Clever. Nicely done.

When setting up the amp before you profile, have the boost engaged and get things where you want them. Then when you actually start to profile the amp, remove the boost from the chain. The resulting profile should respond better when you use the physical boost into the Kemper. When making a profile, you can also just profile the engaged boost pedal at the same time as the amp/cab. They recommend against it but you can do what ever you like, right? It works out ok at best I thought, but you don't have to bring the pedal with you. If you are using distortion from the pedal, it could cause extra fizz and top end, especially through an FR/FR system (it probably causes extra fizz/top end in physical amps too but cabs don't reproduce those frequencies as well as FR/FR, so it's like it's got a natural roll off built in).

Helix amp models do behave as expected when boosting them. The bottom end drops a bit, the amp models are forced into a bit more break up, and it feels more compressed (in the fantastic way it is supposed to). I run Helix at home with two of my favorite ODs strictly as boosts (but I'm only using one of the two at a time). I use both of the with the gain on the pedal set to zero. The output is always somewhere between 80% and 100%, usually closer to 100%. The MXR Custom Badass Modified OD works out really well with it. The Mesa Grid Slammer doesn't work as well as it does with physical amps. Using it with Helix, I have to adjust or add in a secondary gate sometimes.

Impressive all around. Just the concept of the over the internet jam band is blowing my mind. Improvising in the same room for an hour is hard enough. But not being physically in the same country?! Haha. Nice job.

I loved the Bad Horsie sound and its sweep. But if you're not using it with a few other pedals, its buffered bypass has a very noticeable change to your signal (and yes can be noisy). Pretty much the same reason I switched.

I think thats most likely the answer. Assuming you are using a Helix Floor, not LT, try using the XLR output into Helix. Or, I could recommend using one of the FX Loop returns on Helix over the aux in. I think they sound better and they open up more routing options if you need them. I'd set that return set to Line level for the cab clones output.

I believe he's saying he plugs helix into the amp's guitar input. Then the amps speaker out goes into the cab clone and he can send that back into Helix

I didn't even realize they offered spring loaded versions. I have the regular one with the toe switch "SP1-L6 Helix". As soon as the auto engage feature was added to Helix I stopped using the toe switch. I always loved the Morely Bad Horsie wah or the Dunlop 95Q, mainly for the spring/switchless feature. Auto engage is easy to set up. You set the position value for it, and it will bypass the block when it drops below that value. There is even an adjustment for how quickly or slowly it bypasses the wah, so it doesn't constantly accidentally turn off while you sweep through the lower range. Just a heads up, with the spring always returning it to heel position, it won't be a very effective expression for anything except wah and whammy uses.