billlorentzen

Assuming your tunes generally have vocals, and that the vocal can be heard well, I would set my solo level similarly. That should get the job done, unless the rhythm section cranks up when you solo, in which case you need to be even louder, or get the MD to control the band's dynamics. I would spend some time at sound check sorting it out. That's why we do sound checks.

Sure would like some meters.

It just started, and it does seem like it might be a short, because when I start it up at first it doesn't do it, but the more I use the exp, the worse it gets.

It seems to be triggered by using the exp pedal. Comes on for about two seconds then reverts back to regular screen data.

Anyone know why?

I have no idea what we will get, so here's my wish list: Integration of pedal controls in snapshots, so exp pedal settings also change when snapshot changes. I'd love to see metering all over the place. Graphic representations of EQs. Shiva clean channel. Touch-activated exp pedals

I'm a working musician in Florida. I'm using Yamaha DXR 10 and it sounds perfect with Helix. It sounds very close to my excellent studio monitors. It's almost double the cost of the Alto, but I can assure you, it will not disappoint you. One great feature is that it has two EQ modes for use as a floor monitor and as a raised PA.Assuming the room you're in has a PA that can handle your amplification needs, I would use it mainly as your monitor as a wedge in front or to the side. I actually have two of them (I also use them as mains for smaller gigs) and if the stage monitoring for the band is not comprehensive, I use one aimed across the stage for the rest of the band, and one for me.

The 414 or the 84 are probably the least colored mics. That said, they don't sound particularly alike. I would use them at least 4" away, too.

Check the other thread; I answered you.

It's only necessary to reduce if you are actively panning across the split, as with an exp pedal (the way I use them in virtually every patch). Otherwise, the individual split paths will be at the same level as the previous individual path, so no worries.

Same here. I might be able to get Sweetwater to cross ship one - again!

I'm glad to hear yours are working well for you. Mine gives very inconsistent results at the heel down position, jumping around all over before it gets to 0, if it gets there at all. I've opened it up to adjust it, but haven't been able to improve its behavior. The problem I see is the pot is just cheap. The ones in my other volume pedals are much higher quality and have lasted for decades, while the L6 pedal went south almost immediately.

When I want a jazz sound, I gravitate to the Gibson amp. It works really well with my semihollow. It also gives the best jazz tone with my super strat with EMGs. I don't particularly like the Jazz Chorus.

I'm running 2.0 on Helix and the Windows driver is 1.78. When I try to record in Cubase 7 it works for about 3 seconds then goes haywire and seems to lose the connection. Any ideas?

Only one advice. Steer clear of the Line6 pedal.

When I'm using the looper, sometimes I want to store a pass through a verse so I can solo over it later in the song. Currently this requires a double press of the Play button. When you're playing, singing and entertaining, this is a bit much to deal with, and even if you do it quickly, there is stil some of the loop overhanging until the second press. A Stop button would be extremely useful. I would suggest moving the 1/2 speed up to the top row and putting the Stop button right next to the Play button, for easy access. If you like the idea, you can vote for it on ideascale. http://line6.ideascale.com/a/dtd/Stop-After-Record-button-for-Looper/831658-23508?submitted=1

I tried the simple pitch and wammy before 2.0 and after, and on chords it always sounds awful at a whole step down. I tried recording it with the looper to make sure I was hearing it correctly. It works passably on single notes, but not chords. Are some of you guys getting chords to sound good?

Thanks all!

I have a rather unique way of setting up my patches, that sounds like it won't be really compatible with snapshots, and will require a lot of reprogramming. I'm worried that if I do the update, but only have a day to fix patches, I may be screwed at my next gig. Can I roll back if this happens?

I haven't tried the Ax8, but I sure have to agree that the potential of modeling has reached a "singularity" that offers so many possibilities for us that we can do anything. I remember in the '80s reading about Erik Johnson's multi amp rigs and thinking it was a fantastic idea, but not workable for me and most other players (I needed cartage just to move my rack of Boogies and fx). Ha! Now I have so much more than that. On my gigs I use 7 amps! (I've only had helix a couple months and first priority was perfecting a wide range of tones for the tunes I play.) I haven't even approached a half dozen other amps I will probably add to my arsenal. And the beauty part is that they ALL sound so good! Coupled with my super strat with EMGs, I can play just about anything except trad jazz and pure acoustic, but if I bring my semihollow and my acoustic (only 3 guitars), I can cover damn near anything and I don't need cartage!

I very highly recommend the Yamaha DXR series powered cabs with a 10" or 12" driver (I have the 10s). I use them with one sub for a single or duo group PA, and as my guitar rig when playing with a full band. They are amazingly good for the price, and I am very picky, having owned a large full service recording studio. I know what good sound is and these are great if you can't spring for Meyer range cabs.

I connect to FOH, and use one Yamaha DXR 10 on the floor facing me and the other facing across the stage from my side, so the band can hear me, especially the drummer (this is when the monitor setup is fairly basic with just vox).

Yes, I want it!

I'm wondering if the headphone output could be used to power a small speaker in a tube mounted at the mic, for a talkbox.

I have also noticed the volume problem. I turn down the wah output level to compensate. I haven't really noticed it ruining the feel of the guitar, but I have found that it's very important to match the right wah with the amp. Some wahs sound like crap with some amps. In the analog world, I've mostly used Cry Babys and I do find the Weeper more overbearing than what I am used to with certain amps.