gunpointmetal

You can absolutely set two tracks or one stereo track to record USB 7/8, but as mentioned, its a dry, uneffected sound, so recording it in stereo doesn't really serve a purpose unless you just want to have two identical DI tracks to work with for some reason. But that can be done by recording one track and duplicating it, as well. If you reamp your mono track back through the Helix with stereo effects, then you'll definitely want either a single stereo track or two separate tracks for both sides of the signal.

Nope, you can load exactly one preset at a time into the display. What you're asking the hardware to do isn't a feature that can be achieved manually at this point. If you're already playing to a predetermined set that you aren't stopping/starting manually (I do this too, with both of my original bands), you should be able to just have the preset switch on the 8th note before the "1" of the next song on your count-in. If you're going to have you drummer or keyboardist manually start each song, you should be able to add a "Stop" command into Cubase at the end of each track so the backing will stop but your preset won't change until you start the next track in the set.

I'm not sure why you would need that. If you have it set up to go to a patch/snapshot with a command at the beginning of each song, there shouldn't be a need to show you the banks flashing on the board ahead of time, it will just go there when the command comes through. Unless I'm misunderstanding you and you want to "pre-load" the next patch into so there's no drop out when the patches switch, but that's not possible on Helix no matter how you have it set up. There is always a slight delay between presets.

Gain control is in the Global settings page, as mentioned. It sounds "fine" on its own, as in it pretty much puts out exactly what you put into it. I just did some really aggressive death metal vocal recording this weekend with it. For that particular sound I used the Studio Comp with the DarkGlass model in front of it for a little bit of breakup, and it sounds 'uge!

Godsmack's old album tone, new album tone, or live tone? If its the live tone, just dial up an unboosted Mesa, scoop all the mids, get the fartiest cab you can find, then put an EQ after it, scoop even more mids, boost the bass, then turn it up till it sounds like a distorted bass played through a broken 18" driver. Seriously, worst live guitar tone I've ever heard. For the album tones I'm pretty sure its mostly Mesas.

If you edit anything and then change presets without saving, none of your changes will save. If its just clearing snapshot names after saving, that's not normal behavior.

My $500 Agile 8-string is nicer and plays better than the $900 Schecter Banshee I had, and the 9-strings are super quality. Great fretwork, solid construction, great electronics (all mine have EMG pickups stock). If I wanted to replace the 9s with something from Schecter or Ibanez, I actually couldn't, lol, because their 9s won't support the strings and tuning I use, and it would still cost me twice as much and I'd still be stock with stock electronics. My Agiles get more play time than my name-brand guitars, partially because of the extra strings and extended scale length, but mostly because they just play better. I wouldn't go for their sub-$400 guitars, though, their OEM electronics and tuners aren't so hot.

Yes. I have two Agile Interceptor Pro 930 9-string guitars (30" scale) tuned (low-to-high) A(5-string Bass)-E(4 string bass)-A(7 string guitar down a step)-E-A-D-G-B-E.

I have guitars tuned to the same pitch as your bass and they don't distort unnaturally. Something is awry somewhere along the signal path.

I get that, I'm usually standing when I'm practicing stuff I already know, too. I don't wander too much, though. If Line 6 could use their digital wireless tech for a stereo IEM that would be SWEET. As long as they don't go proprietary with the output of the bodypack, you could use whatever cans you wanted. People has asked about them doing this for YEARS now. Hopefully they're on it.

IME, most guitar players aren't wandering much further than the seat in front of their computer or TV if they're casually jamming at home.

Most definitely! There's a lot of rock in these boxes.

Are you doing it all in DSP path? (i.e. everything is on the "top" path?) Two amp/cabs on one DSP path are not going to leave with many options, however if you send the output of the top path into the input of bottom path, you can load all kinds of effects in each chain on the second path.

Weird, my bands both use these systems in a variety of high-interference environments with little-to-know issues. Occasionally some DMX dimmers will give some interference, but its just a matter of moving the transmitter a foot or two, usually. ALL musician-designed IEM systems will have a limiter or hard compressor built-in as a safety feature and your volume will be limited. The idea behind IEM is to operate with less volume, but I can't image every needing anything to be louder than what the bodypack puts out, especially for practice.

Just to trouble-shoot, try plugging the 1/4" outs into something else (PA/Mixer) and run through some factory presets. Double-check all your cables straight into the front of your amp with the guitar to make sure everything is copacetic in that department. I don't know what level the loop is looking for on your amp, but there are settings in the Globals to adjust for line and instrument level, which can definitely cause volume issues. Also, check and make sure that the headphone output is giving you sounds that aren't awful with reasonable volume. There is always the possibility of a hardware issue, however there are A LOT of options in the box and its easy to skim over something import.

You shouldn't actually need to truncate the .wav, as I believe Helix will automatically do that when you load it into the board.

I think 4K might be a little bit drastic of a low-pass for live tones. You have to keep in mind that if you're getting a tone from a FRFR speaker pointed at you that sounds like your cab did when it was on the floor blowing passed your knees, it's probably pretty dark compared to what those guitar speakers would have sounded like. Also keep in mind (as mentioned in another thread about high/low passing with Helix recently) that some of the "fizz" and "sizzle" is actually necessary presence to get a guitar to cut/sit in a mix. On some of my lead-ish snapshots I actually have the Low-pass dialed completely off. On their own at band volumes they're a little "hard" but when everyone is going they cut and the extra sizzle gets washed out in the cymbals, but you want everything up to that range to get out and over without being silly loud. If you're after some killer rock tones, I highly recommend Studio Cat's IRs. They're very lively, for lack of a better word.

I ran an old Carvin X100B FX send into a powered monitor (because I didn't understand how guitar speakers and power amps filter the sound and how proximity would change the tone) and it sounded pretty much would you think plugging headphones directly into a Metal Zone would sound like, lol. Honestly, the speaker is almost MORE important than the amp when it comes to the final tone because of how it filters out sounds and how most guitarists are used to hearing their tone (firing at the back of their legs from a loud cabinet). Glad those IRs are useful! I love that pack and use them on all my live heavy and clean tones. I've never bothered with commercial patches to I haven't had the storage/organization issues, but I only keep about 15 IRs on the Helix anyways.

It would be nice to have a way to virtually "move" the microphone, but I think at that point you're requiring more processing (or a series of microscopically different IR's) and it makes more sense to locate Impulse Responses that are more accurate to your preferred mic'ing method. The Studio Cat IR packs have center, edge, and cone mic positions at varying distances and give your the option of "moving" the mic around. I do think a less "clinical" approach to the L6 original cabs would probably yield results immediately that more people would be happy with. Instead of a perfect capture of a cabinet, get the right guitar sound out of it so its familiar sounding. But sizzle or fizz is almost a crucial part of a lot of guitar tones, and I push my low-pass up to around 12K when recording to have the option still there to use it if I need to.

I've been trying to explain that to people for years.....

A loud room-filling sound from a speaker isn't going to sound the same run into little tiny earbuds. If you get things sound fat in the IEM, the FOH guy is probably going to have to cut a lot of bass from your channel to compensate for volume. My solution is having one speaker on a pole behind me just loud enough to get a little thump, so I can still "feel" it even when the IEM isn't my ideal tone.

Mine does it twice with each update, the first time you power-cycle, and then the second time its restarted. Never had it do it more than that, though.

Fletcher-Munson still works in the digital realm, too. Build your patches at playing volume through your intended playback device, and you should be good. Pretty much all of my live patches are HP ~110 and LP ~7k, with some amps as low 5k.

That's odd, I haven't seen that with my presets since updating. Is that on all patches? Newly constructed ones?

There are three reasons Helix wouldn't sound good in headphones. 1 - the headphones suck (and no you don't need $400 headphones, my $50 AKG's work just fine) 2 - there is something physically wrong with the device 3 - you're doing it wrong