ColonelForbin

When I had the FH1500 I was reasonably happy with it at home; I had trouble using at band rehearsal, in terms of hearing myself. I didn't have any white noise or hiss isues, and I am guessing with some time spent on my patches, it would have been fine at band volume - I only sold it due to some financial car repair related issues. I've been using pair of L2t at band rehearsal, and/or a DT25 "stack" (combo on top of 1x12 extension cab); and a pair of L3m at home. I've gravitated back towards real tube amps, and getting really good things from Helix > Fryette PS2 > Friedman 2x12 cab.. The FH1500 as a powered monitor for Helix did sound pretty good! You will want to install the app on your phone so you can tweak the bass cut settings, global EQ, and volume level easily. Run your Helix into the monitor inputs on the FH1500, don't use the 1/4" guitar in. You can send 1/4" or XLR to the FH1500. The latest firmware allows to enable or disable the XLR pass-through, in terms of if you want the XLR outs from the FH1500 to route the monitor in or not. This can be quite useful if you are trying to go direct to a PA where you cannot disable phantom power on the channel - the FH1500 XLR outs don't seem to have the same problem going to a PA as the Helix XLR outs do.

Yeah, I finally got to test out the 'Blues Lawyer' amp model (Litigator) last night - was also working on a new pt jr sized pedalboard, so combined the two in a very fun little ensemble and recorded - mostly me playing chords in G and letting them ring out; some bad noodly bits too. I will need to spend some more quality time exploring with it, but a great 'real pedal platform' amp model for sure! I've got a Morgan germanium fuzz at the front of this board that needs to be connected directly to the guitar, won't work after buffers, and only sounds good using batteries. So, I did this: guitar > fuzz > pedalboard > Helix return 1 > Fremen 'Shiva clean' (with the shiva amp model replaced with the litigator model, and turned the gain down from the stock settings) I had some serious fun running the wah and fuzz at the same time, and had an 'ah hah!' eye opener running the Keeley phaser after fuzz, autowah and wah, before a Keeley germanium overdrive. Stacking just the fuzz into the od sounded muddy and bad, but then turn on the phaser, and everything sounded awesome! Was also way cool doing fuzz into wah; creates a cool gutteral almost vocal sound... Need to try to recreate all that using Helix fx next. The rest of the sequence after the germ OD was Timmy into a Keeley analog chorus. The preset I modified has some other stuff going on, delay, reverb, eq, maybe compressor - I just switched up the amp mode and changed the patch input to return 1.. Anyway, if you are bored enough, here's 20 minutes or so of all that.. :) Cheers! https://soundcloud.com/recordingforbin/fuzz

Anyone remember this version of the Avengers?

Honestly, that would be awesome to have a tuner in the editor!!! I often have my Helix on my desk behind my computer monitor, between a pair of studio monitor speakers. I have definitely wished for a way to use the tuner in the editor, 100% for sure...

Just saw this pop up on the Helix FB page!... Free 3Sigma IR; today only; Friday 11/11. (US custom, 3SA 4x12) (in this link, it's the center of top row) http://www.3sigmaaudio.com/items/category/artist-cabinets/

Ok, I have an idea I want to try, not sure what the limits I will hit, but here goes! I have four different distortion pedals that I want to compare; and was thinking of running each pedal into it's own fx loop in Helix, or at least, as many as I can also process through separate paths with amp/cab models, and send to different and or panned left right USB outs for recording. (IE, pan path 1 left send to USB1/2, pan path 2 right, send to USB 1/2...record path 1 as mono track USB1, path 2 mono USB 2).. I've done something similar sending an XLR of amp only from a powerstation into Helix, and through four different IR's. Is it even remotely possible to build a preset with four paths + four amp models? All set to guitar as the input, and through four instances of fx loops -> amp/cab and/or amp+ir, then send each to it's own recording track? No other fx blocks would be needed; just the fx loop sends returns and as many instances of the same amp/cab model for each. (For what it's worth, I'm comparing a Fulltone OCD, Friedman BE-OD, JHS @, and Bogner Burnley...) Cheers!

I might have to bring my DT25 home from the jam spot and plug it into my new 2x12 cab, test some of this out! I'm glad we got Radatats to chime in on this; I knew he'd get you sorted out.. cheers!

I did some recording with Helix recently and split USB 3/4 by panning two different mono paths left and right and assigning both to USB 3/4.The other two paths were stereo to USB 1/2 and USB 5/6, and also recorded the dry tracks on 7 and 8. Works great!

Thanks!! I am going to mess with this more; once I got it set up realized how many cool options this opens up. I've been recording dry guitar on nearly everything I record at home since I made Helix my soundcard, but this was first time doing reamping - way fun!! Cheers!

Perfect- thanks!!

How would I send a mono dry guitar track from ProTools through a Helix patch and then record that to a new stereo track in ProTools? thanks!

Yeah; this pedal is fun! Once again, if you can overlook my sloppy lousy playing; here's a track I just did. One take improvised a rhythm track over SDX drums, then did an overdub noodling randomly over it. No editing, just mixed it together with a mixing limiter plugin in ProTools.. I will now warm up a bit and tune up and try to put something more listenable together... :) https://soundcloud.com/recordingforbin/be-od-helix_2

Nice! Except for the have to go to work part - been there, work comes early on just a few hours sleep! :) And Yeah; Glenn's new set of presets is dynamite! I managed to get the house to myself from Sunday to Wednesday, and I have Monday-Tuesday off work, so I'm making the most of my time! Back to work Wednesday a.m. for me so I will have daytime / afternoon tomorrow (today!) to mess with this some more before I have to wrap it up and get some sleep (was up late last night too lamenting the Cubs loss; but ended up playing a ton of guitar as a result, so it all works out!) That being said, I just did a very quick test; interesting results! I put the BE-OD pedal into an FX loop of Helix, and ran it into a clean amp model (twin), into a pair of IR panned hard left and right with some reverb on each. While I can say this pedal is pretty epic - I can also say so is Glenn's Friedman / BE100 patch!! He totally nailed the Friedman vibe! I also tried just running the BE-OD directly into IR; that sort of worked, but it seemed to hold together better going into a clean amp model. Will do some more messing with this tomorrow when I'm more awake; in the meantime - and please forgive my sloppy playing - here is a clip of that BE_OD + Helix thing... Cheers! https://soundcloud.com/recordingforbin/be-od-helix IR left = 3Sigma Friedman 412 2a IR right = 3Sigma Friedman 412 3a amp model = mail order twin default settings and noise gate after the fx loop

I just spent the last hour playing my BE-OD into my Friedman runt (on clean channel). Definitely a killer pedal! Sooooo much gain on tap. I've got the internal gain trim all the way down and the pedal gain most of the way down, and it's still got a ton of gain! It almost behaves like an amp and cab model; strangely. I will load up Glenn's boutique BE100 patch and give them a listen side by side.. From what I remember, Glenn's patch is very Friedman realistic! The Runt drive channel has a toggle switch to go from regular gain to higher / BE100 gain territory, and the BE-OD into clean channel can be dialed in quite close, so I would imagine Helix can get you there too!

Exactly - the L6link from Helix to DT ONLY sends audio (for now)

I can say, it's definitely worth it to run your M9 with two expression pedals! I am using the Mission L6 exp pedals; they are awesome! Also, quick note - I just added a small MIDI controller to my M9 board, and it's really cool! Allows scrolling between the 24 scenes with dedicated bank up/down switches, and it's very small box size. Has a third button that I have set up to do all FX bypass, but can also be set to change mode to control looper, then the other two buttons can do record, play, overdub, stop, etc. Love the M9 - adding the exp pedals and MIDI box just seriously enhanced the functionality for me! I've got the gen2 version; there is a newer version and a four knob that can be set to call up the tuner: http://www.disasterareaamps.com/shop/dmc-3xl-gen3 http://www.disasterareaamps.com/shop/dmc-4-gen3

Ok, this thing rocks!! (Disaster Area DMC-3XL gen2). Simple, but effective. Some notes on usage: - no delay / reverb spillover when changing scenes I ended up positioning mine on the top left of my Trailer Trash flat board; M9 below it slightly to the right so I can get to the scene up / down buttons on the DMC, and the Mission EXP pedals to the right of the M9. Since I have that third button set up to do FX bypass, it has to be pressed and held to do anything, so I don't accidentally trigger a function change. Works great! Ended up having just the right amount of space left to mount the channel switcher for my Friedman amp - ready to rock now!!! Tricky cable routing tip: I am running the George L cable for the far right EXP pedal through the inside of the EXP pedal next to it! I cut holes in the plastic hole plugs to allow the cable through but still keep dust out. If you look at the middle pedal you can see the George L cable coming out under the jack for that pedal. At some point I am going to get a right angled MIDI cable from Best Tronics; but for now the MIDI cable that came with the DMC fits in there fine, and coils up in the open space. I tested it all today, sounding great! So cool to be able to create all these variations of filter/mod/delay/verb in different combinations. Only slight oddity, the system settings - fulltime noise gate and exp pedal assignments - are PER SCENE - not global - so you have to set them up for each scene. IE, set FX 1 to no exp, FX 2 to exp 2, FX3 to exp 1, etc. Though that makes perfect sense, since each group of FX would likely need specific EXP assignments based on what the effect is and how you intend to use it. Cheers!!! :)

I think so! I don't have one so can't test it.. Here's the list from the old forum, I would guess this is more or less accurate Compatible: Ernie Ball VP Jr 25k ohm (log pot) Line 6 EX-1 Roland EV-5 Boss FV-500L Boss FV-500H Not Compatible: Yamaha FC-7 Ernie Ball VP JR Passive 250K & 6166 Any wah wah pedal Morley volume Pedals Behringer FCV100 M-Audio EXP Rocktron Hex Moog EP-2 (it is possible to swap the internal pot with a 16mm pot, though it might take some fabrication skills. This is not recommended for the inexperienced.)

I believe with the way I described you will get the two separate chains; that divide is based on where you tell the M13 you are placing the FX loop. It's the classic four-cable method! For reference, take a look at page 9-10 of the M13 manual, they actually describe this kind of setup and include a diagram. guitar -> tu2 tuner -> isp decimator g string gtr in -> gtr out -> m13 input -> m13 fx send -> ego comp -> oc2 -> octafuzz -> pharaoh fuzz -> syb 5 -> wah -> amp input > amp fx loop send -> g string DEC in -> g string DEC out -> m13 fx return -> m13 output > amp loop fx return Keep in mind that the GTR in and out on the Decimator is doing input tracking ONLY - the noise gate doesn't get applied until the DEC in and out circuit. Here's a slightly different option; place your outboard FX before the M13 row 1 effects: OPTION 2: OUTBOARD FX BEFORE M13 ROW 1: guitar > tu2 tuner > isp decimator 'gtr in'/out > ego comp -> oc2 -> octafuzz -> pharaoh fuzz -> syb 5 -> wah > M13 input > M13 row 1 FX > M13 FX send > amp By routing your signal out the M13 FX send, you are then sending ONLY the outboard FX and the M13 row one FX to the front of your amp. Then: Amp FX Send > Decimator DEC in/out > M13 FX return > M13 row 2,3,4 FX (mod,delay,verb) > M13 MAIN OUT > Amp FX return. By routing the amp fx send to the decimator noise gate, you clean up any hiss or noise that is being generated up to this point. Then that signal goes to the M13 FX return, which routes into M13 FX row 2,3,and 4. Then, the M13 main out sends only that signal of rows 2,3,4 to the amp FX return, which is the ideal placement for the M13 mods, delays and reverbs. Since the outboard FX and M13 row FX are routed out the M13 FX send, they are NOT passed on to the M13 main out until they are sent back to the M13 FX return, after going through your amps preamp. Essentially, the two chains are: 1.) guitar > decimator input tracking > outboard fx > M13 row1 FX > amp front input > and 2.) amp fx send > decimator noise gate > m13 rows 2,3,4 FX > amp fx return Cheers! :)

Yes; I think that's what radatats was saying( those are all his threads and comments that I just copy pasted in that last post) Idea being, once you have voicing I, A set to topo I, and any other specific power settings, the only midi command you need to send is for DT to change voicing, rather than telling it to change topo, class, pentode, etc. One midi cc instead of several? Radatats, chime in brother! We need your expertise!! :)

Here's those posts from Radatats: http://line6.com/support/topic/23030-helix-and-dt-amp-integration/?do=findComment&comment=175178 Step 1 - choose a Channel and voicing in the DT (or all of them) to use specifically with the Helix. - Use the first 4 midi commands as necessary ONE TIME to select your choice, turn off the amp and cab and optionally turn off the DT reverb. - It will stay this way unless you change it again with midi or do a factory reset. - now you have a dedicated slot in the DT for using with Helix. Step 2 - in your Helix patch use instant commands to select the same Channel/voicing, Class A or AB, Topology I-IV, and optionally Pentode/Triode. - now when you select that patch it will change the DT to the right slot and configure the power section for you. My Preferred Method - I used Step 1 to configure all 8 slots in the DT for use with Helix. I don't use my DT for anything else. - I changed Channel A, I-IV to be Class A, topology I-IV and Channel B, I-IV to be Class AB, topology I-IV. - I set them all to Pentode. (As far as Pentode/Triode, I use Pentode for all models and only use the physical switch to select Triode if I want to play at lower volumes at home. I can't remember for sure but I don't think any of them were Triode in the HD500.) - This was a ONE TIME deal. You don't need to do it again. - now in my Helix patch I ONLY use a midi command to pull up the right slot for the amp model since it is already configured. http://line6.com/support/topic/23030-helix-and-dt-amp-integration/?do=findComment&comment=175119 Helix - HD500X Settings for DT Series Amplifiers.pdf http://line6.com/support/topic/23030-helix-and-dt-amp-integration/?p=174960 using midi with Helix works the same as using DT Edit. The DT will remain in the last configuration you set. Knowing that, I found the best way is to choose a voicing in the DT to always use with your DT and turn off the internal DT amp and cab modeling. Then you can use specific midi commands in your patch to configure the DT the way you want it. However, for me since I don't use the DT for anything else, I turned off all the modeling and cabs in all 8 voicings in the DT and configured channel A to Class A, topo I-IV and Channel B to Class AB, topo I-IV. Now I only need a midi command in the patch to select the right DT voicing and its already configured. Midi CC 122, 0-3, selects Ch A, voicing I-IV Midi CC 122, 4-7, selects Ch B, voicing I-IV Midi CC 12, 0 selects no amp/cab Midi CC 36, 0 or 65 DT reverb On or OFF Midi CC 73, 0 or 65 Class A or Class AB Midi CC 77, 0-3 Topology I-IV Midi CC 75, 0 or 65 Triode or Pentode Remember that the switch on the amp says Topology but really just changes the voicing or preset. The midi command actually changes the topology (negative feedback loop configuration) of the power section. You can use either full amps or preamps in Helix with the DT. Personally, I find the full amp models MUCH better than the preamp models. There is a huge swing in preamp model volumes and the full amp models just seem to capture more of the flavor of the originals. You can use Helix cabs or IRs even with a real guitar cab. Just adds a tone variation that you may or may not want. Totally up to you.

When I still had mine, I ended up using it primarily as a powered speaker for Helix - no shame in that!! I tried to do the wet/dry/wet thing but always just preferred cranking standard Helix patches through it in stereo. Definitely an awesome amp for that purpose! I did also have the FBV3; I just couldn't get into using the Firehawk modeling and FX, since Helix is well, better! Or at least, at the time, newer to me and so I maybe didn't explore using the Fh1500 on it's own enough - I am sure with appropriate time and some good patches, the FH1500 holds it's own - the amp itself sure rocks! And as a self-contained backup to Helix it's certainly efficient use of the gear. I run my Helix through a pair of L3m at home now, and L2t and/or DT25 at the rehearsal spot; though I do miss the FH1500! I would totally replace it if I had the $ and found the right deal. Such is life; car repairs trump all!

Once you get that sorted out, a couple other tips I can offer that have MAJORLY enhanced the use of my M9 for me - I use it in amp fx loop only, for mod/delay/chorus - are the following two things. 1.) get one or two expression pedals to go with your M13. I use the Mission L6 exp pedals, but the L6 brand exp pedals are fine too and cost much less. This opens up TONS of cool options that you cannot get just toggling fx on and off. I use it to vary the reverb mix, delay repeats, pitch shifting, Q of the mutron, all sorts of stuff. It's AMAZING how cool the M series gear becomes once you add expression pedals. 2.) I recently picked up a Disaster Area DMC-XL3 'gen2' MIDI controller. It's a small three button MIDI box that interfaces with the M-series (M5, M9, M13). The gen3 is out now which adds additional function, and there is a four button option. This is a game changer for me with an M9! In the simplest manner, it allows you to scroll between the 24 different 'scenes' available using the left and right buttons, and bypass all FX with the center button. I know the M13 has a bit more functionality with button access to scenes and looper, so this won't do as much for you as it did for me with the M9, but it's still a definite bonus, since you could set it up as dedicated scene change, looper controls, etc. Between those two, for you, get the expression pedals first! For anyone with the M9, definitely look into outboard MIDI...24 scenes!!!! AND being able to bypass ALL the fx with one button - also cool. You can bypass all the fx, scroll to a new 'scene' then un-bypass all the FX.. I am totally stoked to program a ton of new FX scenes for my M9; one button scroll between scenes? yes please! :) Cheers! p.s. Morningstar MC6 is another more robust MIDI option - fully programmable! http://www.morningstarfx.com/

Here is what I *think* you are going for - (I've also got the Decimator G-string..) guitar -> tu2 tuner -> isp decimator g string gtr in -> gtr out -> m13 input -> m13 fx send -> ego comp -> oc2 -> octafuzz -> pharaoh fuzz -> syb 5 -> wah -> amp input > amp fx loop send -> g string DEC in -> g string DEC out -> m13 fx return -> m13 output > amp loop fx return The Decimator g-string guitar input 'tracks' your playing, so you had that set in the right spot. However, I think the error was placing the M13 main output after the M13 input; that should be the M13 fx send, into your pre-amp FX, into your amp. Then, amp FX loop into the 'DEC' in on the Decimator - that is where the noise gate is actually occuring, which you would want before the M13 mod/delay/reverbs. then Decimator "DEC" out to M13 FX return, and then finally, M13 main out to Amp fx return. For what it's worth, I actually really like the noise gate built into the M13! Not as an effect block, but the noise gate in the setup menu, in the MIDI /Gate / Display page - but since you are using the Decimator, you would want to disable the M13 noise gate by turning it fully counter clockwise: Gate - Think of the Gate as a special additional pedal that applies to each scene. There is no footswitch control for this effect so only use it when you always want the gate engaged. THRESH (upper middle) sets the threshold of the gate, turn this knob fully counter clockwise to bypass the noise gate. DECAY (lower middle) adjusts the decay of your noise gate. Cheers!