gunpointmetal

That DC-3 is super annoying. Almost as if it were specifically designed to be a pain in the lollipop unless its the only one you're using.

Thats what the Firehawk amp thing is supposed to be..... be nice if they did something sub-$1000, though.

You're feeding it two input channels. You're only getting one output channel apparently. The only way to get "expected" behavior would be a parallel path, but if you're stereo signal from one path is now basically a mono signal in the other path, who know what kind of phase issues it could cause. Seems stupid to me. I understand it theoretically, but it still seems stupid.

Why model a silly limitation? If you have a L/R Input on an effect, whatever is at those L/R inputs should come out of the L/R outputs whether the mix is 5% or 100%. Why would you even have stereo anything if reverb (which, 99% of the time is going to the last thing in the chain before the output block) isn't capable of passing that stereo signal at ANY mix level? If this is accurate, its something that could easily be fixed, and should be.

What's the benefit of using a real amp on stage of you're going DI with cab sims into the PA? Why not grab a powered wedge, or use the stage monitoring?

Why not just hook the helix up the audio interface if keeping the monitors plugged in is that important?

Isn't that what positions 2 & 4 on a five-way switch are for?

How 'bout a Center/Edge adjustment on the stock cabs instead of just distance? I probably wouldn't feel the need for IR's if that were an option.

Color and Gain Adjustments. Not really necessary if you're getting enough level to the FOH already.

I think the biggest hurdle for Android and audio versus iOS is sheer number of different devices and chips and hardware configurations. With iOS you have a very limited number of processors/hardware to achieve compatibility. With Android there are literally hundreds, if not thousands of different hardware configurations.

Android would only be useful for this archiving stuff, though, as I still haven't seen usable audio functions. But it would be cool to be able to do all that with a mobile device. I think iOS gets more attention because it has more music-centric functions. Those numbers for usage are a little weird too, considering just how many (as in variety) of devices and price points for Android, and certainly a large % of those devices are well below the processor/memory necessary for advanced functions.

Bullets!

Practice isn't the issue, lol. When you're skipping 5-7 strings with either hand and tapping with 3-4 fingers on each hand, depending, a high action and hitting harder aren't going to be friendly to that.

All depends on your goals, of course. I wouldn't even want to play guitar if I couldn't get my action between 0.75mm and 1.6mm all the way across the board. Everyone attacks the instrument in a different way, with a different goal in mind. I don't even play that fast, but I like to tap a lot, and some 2-3mm action isn't gonna let me do the things I wanna do at the tempo I like to do them.

Depending on how low you want to go with the action, some mechanical buzz is inevitable. As long as it isn't dominating your tone or killing your sustain, I wouldn't worry too much about it. I mean, have you heard the clean tones on any Animal as Leaders? its pretty much all buzz, lol

How were you monitoring when you went direct? Is is possible that you were hearing room reflections over your stage sound and experiencing it was latency? I play with a wireless and if I get more than 25'-30' from my monitor it "feels" like there is latency but its just sound over distance. I've experience similar in large rooms where I can hear the FOH bouncing back to the stage from room. But yeah, you should technically have MORE latency with 4CM because of the as-mentioned extra could AD/DA conversions.

I think this is true because everyone tweaks to their taste. For me, I can get the sound I want with either and they won't be much different from each other. The difference is I spend a lot less time getting there with an IR. I still use stock cabs on a lot of clean sounds.

I grabbed a Firehawk FX for home jams and a backup if the helix craps out.

Or just cut the bass in the boost and keep it minimal in the amp model. By decreasing your input gain you're somewhat negating the point of even having the boost in place. The whole point of the boost is to be able to use LESS gain in the amp stage so you get more articulation and note separation and then raise the output level of the whatever is boosting to hit the amp's front end harder. I'm playing 8/9 string guitars tuned as low as 4/5 string bass guitars and I have no problem getting a tight low end by cutting lows int he Scream/Comp/Boost model and boosting the output level into the amp model. I'm usually running my gain on the amp itself around 2-4 and it saturates just fine with easy harmonics etc.

So I've read through the Pilot's Guide...watched a few videos. Is it NOT possible to add the pitch for the Bender to be controlled by the EXP pedal? I got the Firehawk mostly for home jamming but I would also like to be able to use it in an extreme pinch as a backup for my Helix but I NEED to be able to do a two-octave drop with the EXP pedal to simulate a tape-stop style effect, but I can't seem to assign that parameter to the EXP pedal?

Guitar Center brand (musician's gear, i think)...sounds the same as the planet waves/low-end monster cables and they'll replace them in store without a receipt if they die. Used to use monster for the warranty, but now they make you mail the cable to them (on your dime) and charge you for return shipping. And the last time I needed to replace one customer service were total a-holes. Everyone acted like they couldn't believe I needed a cable replaced....

When you press down on the parameter knob you are telling the Helix that the particular paramter will change when a different snapshot is selected. For instance the reverb decay, if you turn the knob WITHOUT pressing the button that parameter will be changed for ALL snapshots, but if you press it and adjust it, it will be at that setting for ONLY THAT SNAPSHOT and change back to whatever it was previously for the other snapshots. If you're not using snapshots, just don't press the button when you adjust the parameter and you won't have to see it. Side note: what kind of music are you all playing that you're adjusting your FX in the middle of a set?

OK, so... To do what you want to do, just build your patch the way you normally would for use with speakers, don't worry about leaving a "dry" path for the clean guitar. In your DAW settings, make sure that Helix Inputs 1-8 are available (some settings automatically set it to only having 1-2 available). Make sure your speakers/monitors are connected to the Helix outputs (1/4" or XLR doesn't really matter) Set your track that you want to record the EFFECTED (amps/cabs/FX) signal to record on USB 1 or USB 1/2 for stereo. Set the track that you want the DRY guitar to be recorded on to USB 7. No when you arm both of these tracks the first one will be the "full" signal with everything on it and the second track will be JUST the guitar directly from the input on Helix. I know it seems silly, but I've seen a few people out there trying to monitor through the speakers that are already hooked up to their computer. To use the Helix as a USB interface, you have to hook you monitors up to the Helix. No condescension intended, just trouble-shooting.

Gaming/casual listening cans are usually designed to sound good in almost every use, so they are rarely accurate.

Streaming audio/video from the internet definitely eats up more resources than loading up a couple audio tracks for playback in Reaper.