gunpointmetal

The difference between guitar speakers and full-range speakers. . . Do you want ALL of the colors the paint with and the option to choose what suits, or do you want to always be stuck to a limited range. If everything comes out of V30 12" guitar speaker, you've only got a few colors to work with on the output no matter what you're putting into it.

This is about my only real gripe with the Tuner. It won't even pickup a bass tuned below B (and B can be a real PITA on certain instruments) and my 9-string guitars are tuned to A (one step below that five-string bass B) and they won't pickup up that either. It will pickup everything from the second fret (B) and up just fine, but not Bb or A. I thought maybe it was just a string physics thing since I'm down so ridiculously low, but since it doesn't register on a bass with adequate string tension either, it seems to be some sort of software issues, especially considering my stand-alone $15 korg chromatic tuner reads all those notes and all my tuners in my DAW pick them up without issue. As far as the OP, I've never seen a string show a m3 off from overtones or harmonics. Is it possible there is some interference noise from somewhere, or really low action that would cause the the string to rattle of the third fret slightly when you're tuning?

Pretty much this. And a "good" cable might not always stay that way, and having three (or in my case four since the headphone output gets run to our IEM rig) cables is three POSSIBLE points in the signal chain for something to go wrong. It doesn't make sense to me that you'd need to run this way vs stereo just to use the full capability of the amps volume.

thats still one extra cable I don't want to have to set up. half the point of a modeler (to me, IMHO) is ELIMINATING cables and fail points from a rig.

Anecdotally, I've used Helix's standard XLR outputs everywhere from massive systems to basements, and have yet to have an issue with level or grounding.

You could probably make an IR that would give you "flat response" for the particular speaker, but it would never be "full range". Having a flat response IR WOULD probably make using other cab models/IRs more pleasant, but in changing the response that way, you're probably also going to limit the efficiency of the speaker.

So the only way to get it to REALLY work with Helix is to set-up a W/D/W patch, run the "dry" into an ampless preset on the input, then send the L/R "wet" into the FX return? F'n A L6....no stereo inputs on the Spider V combo....no "2CM" for the Helix with Firehawk 1500....guess I'll stick with my PA speakers until they figure it out...

Thats really disappointing to hear, actually. I really like the idea of stereo in one box that looks roughly like an amp, and that it has my "backup rig" built-in is a major plus, but if it's not going to play well with my Helix, I'm not interested. Similar solutions are ridiculously priced for the features and don't even have built-in modeling. I can just get a FireHawk FX for a back up and keep running my Mackies, which for my use sound great with the Helix. With what you're saying about the Helix via stereo inputs, I'm curious as to how the loops would work with line-level rack FX or similar, and why bypassing the modeling/FX would put the limiter (or whatever it is) into effect.

I guess I could download the manual...figured I'd ask someone who is already using the thing.

is it possible you have the monitoring on in your DAW and you're getting the signal twice, with a slight delay on the signal through the DAW? I have to turn the in-program monitoring off when I record otherwise its super annoying.

So, if you plug into the "Monitor" inputs you're not using the center horn? Do the monitor inputs get sent to the XLR outputs, too? I've been considering this as an amplification option, but I keep hearing random things about having to run certain configurations to make use of the entire speaker system if you're not using the on-board processing. If I were to run the 1/4" outs of the Helix into the stereo effects return would I then be using the full spectrum of the drivers AND pass the audio out of the XLR outputs on the FH1500? Ideally, it would just be my amp unless something went fishy on the Helix then I could switch to the onboard processing.

I'm sure they could do Polyphonic pitch shifting to a pretty decent degree, but if it eats up the DSP of two amp models or a couple of IRs, its basically useless because you can't add much else to a patch that involves its use.

Is it the "Line 6 2204"? Because that one is a L6 original BASED on a Marshall.

I have one room in apartment that I get this type of noise from consistently unless I face my guitar straight at the ceiling. It's an old building and I wouldn't be surprised if some of the electrical work isn't exactly to current standards.

A unique pedal that no modern modeler makers wish to replicate, you mean? Hahaha. I always thought they sounded like a can of butts, but to each their own. Maybe try a mesa model with the gain cranked, then put a OD boost also with the gain cranked, then an EQ with everything between 200Hz and 900Hz completely cut out?

Where is DI to confirm this?

I do this with one of my bands' live distortion tones. I actually have the guitar signal frequency split at 500 hz with the high end going into a boost OD and a mesa model and the low end going to a different OD and the Panama then merged back after the amps into a single cab IR. Helps keep my ridiculously low-tuned guitar somewhat articulated.

So you're thinking the Helix IR loader is enhancing the high end... that's interesting. I'd think an IR is an IR no matter what's "holding" it. Out of curiosity, what crossover is in those speakers in your homemade cab?

You could always download Reaper and use that to blend your IRS and keep ProTools for your DAW.

If you're comparing what the amps sound like compared to the JBL at the distance from your Helix in the picture, of course the IR is going to sound brighter. It's replicating a close-mic sound. Depending on the music and tones, a low pass that low in the highs might work fine, but it's probably not very accurate to what those amps sound like mic'ed through a PA. At the end of the day, though, it's all about getting the sound YOU want.

Just make sure Phantom Power is off on the channel you're plugging helix into, and set your gain on that channel according to the signal level, not a preconceived expectation of the level you're "expecting" on a mic channel.

I didn't insult (basically) everyone else's tastes as you did, I simply asked for an example because so far your contention has been that your ears are too good for the Helix, which has demonstrably been a fine piece of gear for literally thousands of people as well as a handful of touring professionals. If you're going to contend that you have "better" perception than the handful of people who tried to help you solve an issue, it might be helpful to offer SOME kind of evidence that you actually know what you're talking about. But it's cool, I'll be a lollipop and a wanker for suggesting you offer anything to backup your superior taste.

In case you want to get ahead of a problem I've never experienced in over a year of using the Helix live in every conceivable venue from basements to full-on, giant FOH places. If you're playing a place thats small enough to have a board that has Phantom Power on every channel or none, 99% of the time there isn't going to be a single condenser that needs it.

You mean that trailing hash sound anything with gain makes when its mic'ed up and you mute a ringing string? That little "wash" that every tube amp I've ever played through exhibits without a noise gate in the loop? That sound? Don't ask for help and then berate everyone trying to help you because you don't "have time" to create a clip (yet you have time to, in detail, reply to every comment on this thread) or a video that shows us what you're referring to. And really, quoting a Guitar Center employee is about the least believable way to make a point. You didn't like the sound, move on. It works just fine for LOTS of other people. But since you insist on speaking of how high-quality your tastes are and asking for a list of touring pros who are using this. Why not post some clips or what you're up to professionally so we can hear what kind of tones your golden ears are using for recording and touring.

It's possible you've got some faulty hardware. The sound you're describing is definitely NOT part of the Helix sound. And coming from the 500X, its not a part of that device's sound, either.