gunpointmetal

I visualizer for the EQs would be sweet. Yeah, dial it in with your ears, but having something to look at makes getting in the ball park quickly much easier. I would be pretty salty if I had to "dial it in with my ears" in my DAW without knowing where I was heading first.

Just a thought, but are you trying all the different mics/cabs with the different models, or running IR's. I have this great IR set from Rosen and the mesa cab he captured sound AMAZING with some amp models (the ENGL, the 5150, the 2204) but flubby and woofy with others. Same with the in-built cabs. The XXL cab sounds boomy with most amps unless I use the 57 on Axis mic and judicious low-cut, where as the smaller cab models do the opposite. In the past IRL I've run amp heads with the bass completely at 0 in a live setting through a guitar cab because the amp itself and how the EQ works emphasize the low end the louder it goes. Also as, mentioned, some gain stages appreciate some pre-EQing or using a cleanish boost with the low end pulled back to tighten things up.

Like if I copy a patch that has setting that doesn't change between snapshots on the original patch (say Bass on the amp model), but then I change it without pressing the knob (to add the brackets telling helix this parameter changes with snapshots) on the copied patch, then my helix gets confused and hangs or freezes. If I press the knob so it adds the brackets telling helix I'm changing this parameter in snapshots, then it doesn't seem to mind.

The DL4/M13 are a differently-designed product. Intended for integration with an already-existing rig. The Helix is, essentially, designed to be the whole rig. I seriously doubt L6 would consider it a "loss" if someone would rather buy the $1500 product vs the $300-$500 product, and it makes sense to have different items doing similar things in different price ranges, otherwise they would have just EOL'ed the lower-priced floor effects when Helix came out and said "You want a L6 modeler/MFX, buy a Helix". People who don't need amp modeling and 4 FX loops at their feet aren't gonna buy a helix if all they want are some delays, and most people (I would think) aren't likely to add another external pedal to Helix unless a specific sound is absolutely necessary. There are MORE than enough time-based/modulation effects inside Helix to keep the DL4 fans happy, and plenty of the stuff available in M13, even if they're not direct ports. Adding those features to Helix doesn't devalue either end of the price spectrum. Besides, the DL4 and M13 have been around FOREVER and will most-likely go on sale and be replaced at some point in the near future for another similar product in the price range, probably utilizing Helix tech.

Mine did this the other day. I think if you change parameters in the snapshots after you copy/paste its getting confused on what values to adjust. For me it was copying a patch then editing some of the parameters that are static during snapshot changes (I don't really change my amp's EQ and DEP settings in my patches from snap-snap, just on/off states and effects parameters) and it seemed like it was looking for the original parameters from the copied patch, maybe? I'm just getting in the habit of pressing any knob before I do any edits after copying and that seems to provide the proper information to have things switch. Kind a pain because it adds a minute or two to adjusting individual snaps, but its not a huge deal so far.

In my experience running our own IEM setup the last few years, the only time IEM's work with one person using them is when its the drummer running clicks. Otherwise you're popping them in/out to converse with bandmates and you're generally disconnected from the room. Why not put your speaker on a stand, or if you really want it in monitor position, grab one of those combo amp stands.

I don't think, even it had ALL of the features of both of those devices, it would be a competitor for either. There's still a MASSIVE price/features difference. All it would do would be to add value to Helix, not detract from the value of either of those devices.

I personally wouldn't suggest monitoring a single source via in-ears. It makes it hard to hear everything else on stage and you'll end up volume-fighting between your self-monitored signal and the rest of your stage monitor signal. If you want to have your own "mix" get a IEM set with a dual-input transmitter that allows you to mix the two inputs on the device. You can get a monitor feed from FOH and then mix in the guitar level to where you want it and you'll have a much more enjoyable experience.

All of my live patches have a volume pedal somewhere in the chain (some mono before gain effects, some stereo at the end of the signal chain before ambience/delays) and I've never experienced this issue. Sounds to me like a hardware thing that is telling the software the pedal is moving.

There are multiple threads here explaining various shortcomings in MIDI functionality with other gear. Unless they've all been fixed in Firmware already that I don't know about.

Yeah, once all the MIDI integration and instrument stuff is maxed out, add as much as crap as they want!

honestly, I hope more vocal FX are the LAST thing they worry about before they implement better MIDI integration, more guitar/bass based effects, except for MAYBE a cool mic pre model or something. This thing is the VoiceLive, which is designed for both. This is a guitar amp modeler with effects and a recording interface/mix input added as a convenience feature (I think) so you don't have to switch interfaces/USB dongles to go between guitar and microphone recording. There is soooooo much more stuff for the instrument end of things to do, that while cool, vocal use is probably a very tiny percentage of the live application of the device.

Even stuff like the Morpheus pedals, which are specifically designed to do polyphonic pitch shifting still glitch out in some instances or with fast interval changes. Without going with a piezo-MIDI system I haven't even heard too many harmonizers/shifters that can handle even a bend, let alone a bunch of different notes.

All of my presets with two expression pedals assigned to different places lost control of EXP 1 after restoring them from backups. Not real hard to re-add the controller, as all of the switches seemed to be functioning properly, but it was still a pain in the butt.

One of the biggest issues with guitar speakers (and lots of people's tones when mic'ed to FOH) is the directionality of the output. When you're off-axis and a few feet away from your guitar speaker, it sounds full and big and has the right amount of bite. Stick a SM57 in front of it and the board is getting shrill, flubby, gross tone. Set-up to sound big and and full with your head directly in front of the speaker, its going to sound kinda dull and bassy when you stand off-axis, but the FOH will be much better. This is why so many metal guys still thing their Triple Rec sounds amazing but the only thing an audience hears is fart and sizzle.

I don't personally care if its implemented, I'm usually chasing a sound in my head vs. a copy of an exact, but adding the features would only mean more Helix sales which would only mean more updates and a longer product life-cycle, which is good for me, so I think its a worthy addition to the device, should it be possible.

Probably because he runs the group as a means of self-promotion, lol

I think its kind funny when the Fractal amp #'s get compared. Aren't a lot of them the same amps but with various toggles changed around stuff? there are more than enough amp models in Helix to fit just about any tone you want, along with WAAAY more room for additional tone shaping options. plus the interface is literally a decade ahead of Fractal.

Usually, the greater distance from the center of the speaker (in either direction) the less highs and upper mids the microphone will pickup. Obviously this varies from mic to mic, but thats the common thinking/sonic characteristic. A lot of people prefer the "edge" of cone position because you get the harsh/rasp of the center and little more of the "oomph" of the cone which gives you (possibly) a little more to work with when recording/mixing live sound. I'd say 99% of clubs i've played with a house sound man, his SM57 is slightly off-axis, right at the edge of the dust cap on one of the speaker furthest from the floor, even before the amp ever makes a sound.

Just got to run through a bunch of these after rehearsal last night. These are pretty great! I was getting much joy blending the 57 1.5" edge with several of the others and I don't know that I've come across any IRs before using the SM7b on a guitar cab! A handful of these and the modded marshall model might be new favorite things. I'm hoping to to do a short 3-4 bar loop and reamp with a bunch of these this weekend sometime.

Curious what were your working on when this happens as far as the editor, importing patches, etc.

Dude, if you're not going to offer anything helpful, maybe just lose your login info and sell your Helix.

I love my IEMs! Everybody stays tight, no going back and forth with a lollipop sound guy on a monitor mix, we can run clicks for the whole set, all of our samples are perfectly timed.... Do they sound the greatest? No, but the benefits more than make up for a slight decrease in volume and "feel". At least IMHO.

Clarity is always better than loudness. ....but if you can have both.....

Unfortunately, the looper in the Helix (as with the HD-series stuff) is more of a bonus extra than a key feature. Works great at the front of the chain for setting up tones, though!