Indianrock2020

I "think" this may have been a byproduct of purchasing a patch that used stomp pedal mode and had amp drive assigned to a footswitch. Since I always operate in snapshot mode, I guess the amp drive was going to zero since I couldn't really see anything wrong with the variax settings. I did set the variax volume knob to snapshot based at 10 though, rather that leaving it alone. So I had to do that for each snapshot I planned to use.

My update from 2.80 to 2.81 was quick and trouble-free. One thing I'm noticing was probably there in the past but on one Helix patch when I went to another snapshot, the Variax volume went to zero even though the knob on the JTV 59 was set to 10. In the patch variax volume was set to change with snapshots ( bracketed ) and set to 10. Rotating the volume knob brought the sound back. If nobody else is seeing this then it's probably a patch I brought in from a non-variax setlist and it needs to be massaged.

One sample patch I created recently and try to use with the Seymour Duncan pickups mentioned in my post LionLamb.hlx

Anyone using the Seymour Duncan Everything Axe pickups with their Helix? Normally these are used on a strat with Lil 59 neck, DuckBucker middle and JB Jr bridge. I can't seem to get the gain staging right resulting in easy to obtain clean tones, but more difficulty getting smooth overdrive. Eventually with enough massaging of guitar knob positions, pickup height and some careful EQ work in the Helix I get close enough. Right now I have the input pad off and impedance on Auto. One question on the photo: I'm assuming the input pad and Global EQ Level come before the patch blocks, with master volume after the patch blocks. ( Master is set to effect digital out only )

The only reason I had to change from 1/4 Line via direct box to XLR Line was a desire to run 1/4 instrument level at home. So far our mixer/sound engineer is ok with XLR at line level. Another option is engaging the Helix Global EQ Level parameter, to reduce signal sent to mixer, as long as it doesn't require any patch changes.

I've been experimenting with XLR at Line Level direct to mixer instead of 1/4 Line via direct box, but it got me wondering about setting patch levels over USB to a DAW. I've been setting patches at around -18 to -20 dbFS and it's worked pretty well for consistency to the mixer. So if you make other changes such as going from mic level to Line level or turning off the Helix input pad, this will most likely result in the engineer having to change your channel input gain, but levels from patch to patch should still be fairly consistent, correct? And Helix input pad changes would require patch changes to get back to the -18 dbfs whereas changes in output from mic to Line would not. How about a change in Global EQ "make up gain" level? When I first flipped to XLR Line from 1/4 Line level, the engineer had to reduce my input gain from unity around 11 o'clock on the knob to about 8 o'clock. This is ok and sounds fine --- still gives him enough flexibility but I did think about engaging the Global EQ and turning down it's level parameter so he could set me closer to unity. I now use the 1/4 out at instrument level at home which is why I switched to XLR at the venue.

Thanks again. Monitoring where I play is on IEM so it's the same signal being sent from the Helix to the mixer. On our mixer the input trim shows mic / line. -22 to +20 or - 15 to + 65

Thanks for that. I'll know thursday night if XLR direct to mixer at mic level is going to require too much trim on the board. If so I can 1) revert to 1/4 out through direct box at the new setting of Instrument Level, 2) revert to 1/4 through DI at Line level ( don't want to do this because instrument level works best with my small mixer at home ), 3) make the master Helix volume apply to XLR ( don't want to do this because I like having the knob defeated against accidents) or 4) set a new target level for patches of -25 dbFS

I read your other post but I'm still having trouble understanding the terminology ...what I do know is that with a USB hooked up to my Helix to the laptop I've been trying to get -20 dbfs on a loudness meter in my case it was the orban loudness meter and that has resulted in mixer preamp gain of about 11 o clock which is unity on our studiolive PreSonus mixer..... and this was running out of the 1/4 inch output into a direct box with the 1/4 inch set to line level .......now I want to switch to using the XLR out I'm assuming set to mic level. As far as what I meant by the word relationship, I mean let's say I increase the target level from -20 to -15 should I expect a similar change in the XLR and 1/4 in output levels?

What is the relationship between 1/4, XLR and "normal" USB outputs when you set patch levels using a DAW? I've been shooting for about -20 dbFS in my DAW's loudness plugin, but due to new pickups, I've now turned the Helix input pad OFF, and planning to switch from 1/4 at Line level thru direct box to PA to XLR at mic level. Master volume is set to digital only so at unity/full for other outputs. If the USB is doing it's own, separate thing, then I'll still achieve consistent patch levels to the mixer and the mixer gain will have to be adjusted due to me sending via XLR/mic instead of 1/4 / Line.

Somebody told me that control S (at least in the windows world ) will do a quick save

True

Saving a patch is different in HXEdit now. It pulls up a dialog offering patch name and setlist. Is there a setting so it just saves as before?

You just have to be careful that your sound technician is blending the two mixer channels with your guitar evenly... if only one goes out to the front of house PA speakers your audience will be hearing just one side of the stereo which would be pretty bad

Stumbled on an older thread. I can understand the desire to hear your Helix effects in stereo, but unless you're a solo act, I think what would benefit players more is a stereo monitor mix from the mixer that allows you pan and position the various instruments and vocals. So you could have drums mostly in left ear, bass a little closer to center, vocals in the right ear and your guitar right in the middle ( just an example ). In mono from the mixer all your band mates are basically right between your eyes ----- turn up the lead vocal a bit and it blocks the drums etc etc etc. I keep pushing for this where I play and would take it anyday over hearing Helix reverbs in stereo that the audience can't hear anyway ( stereo FOH is a rarity, unless somebody implements it out of ignorance --- what are audience members on the far sides of the venue going to hear?? It can be done with big bucks, but not common. ) The other big help is an ambient or room mic --- the goal here is to get a bit of what the audience hears into your in-ear mix --- not so much to hear the crowd but how the band as a whole actually sounds with all of the room acoustics etc in play.