codamedia

Phantom Power never bothered the prior Line 6 lines (HD, X3, XT, etc...) so i fail to understand why it became a problem in the Helix. IMO, it's one of the great oversights in the development, and pretty much renders the XLR outs useless out of the box. The vast majority of low/mid range consoles have a global phantom power switch... products should be designed with that in mind. I use a dedicated DI box with my Helix... it's the only way I never have to worry about it. The phantom blockers would do the trick to, but I don't like how long they are. I'd have to run those in line with a short XLR cable first to be completely comfortable with those. Just my 2 cents...

There is no global output on the HX Effects... but even if there was that should only be an emergency fix that would apply to all patches. The best approach is to balance each effect as you add it into a patch. The next best approach is to simply balance each patch by adjusting the LEVEL of any "always on block" you may have in the chain. This is the exact same approach you would have to take to setup a standard pedal board, but for some reason it becomes a foreign concept to some people when they move to a multi effects.

I don't have anything hooked up right now.. but IIRC HX Edit does not have a Save As... When I use edit I simply copy my preset to a new location, then edit that new location. I do that on the Helix as well, but it's the same procedure that I outlined already... using the destination control.

On the HELIX you have to push save TWICE for it to actually save. There is a reason for that second push, it's so you can change where you want it saved. When you push save the first time look on the screen for the word "destination"... the knob under that word allows you to choose the location you want it saved. Choose your location, then push save again to store it there without harming your original preset. For safety reasons, I always copy a preset to a location before I begin editing it. That saves me from accidentally over writing a preset in error.

If it's an older Variax (500, 300, 600, 700) then that awkward and out-of-date USB interface is meant to work with it... the Helix is NOT! If I were you I would use the old interface.... just to be on the safe side.

As stated above... this is done with the Workbench app then stored on the Variax. The original version of the Variax (including the 300) needed to have the tuning stored with the model in the preset.... new versions (JTV, Standard, etc...) keep the tuning separated from the models/presets.

You really can't set the settings close to each other and expect it to sound the same. The one thing sorely lacking in your Helix tone is mid range.... then I look at your screenshot for the helix and it confirms that. Not only are your mids rolls back dramatically, the EQ on the amp model also has the mids rolled off. I don't really care that the S-Gear is setup that way.... that's what is missing from the Helix model and needs to be added back in! The other thing we don't see on the Helix is the CAB model used? The cabinet makes a huge difference. Since this is all "software".... try your Helix AMP model into that S-Gear Cab to see how it sounds. When you do that you can dial in the AMP to sound the same, then you know that's done and just need to match up the cabinet tone.

Without having a patch to try (or even look at), this looks like a leveling issue. Turn all effects in path B off Go to the "merge" block and turn down path B until you have the balance you want? Add the effects to path B one by one, adjusting the level/balance on those effects until the volume is even whether they are on or off. Parallel paths can be tricky to balance. The signal on path B is not processed by any effects it is bypassing from path A, so it can vary in volume depending on your setup. Since none of us has access to your preset, we can only generalize.

No details "other than" the PN and SN codes? That's all you need! If you have those, you are good to go! You don't need a receipt, original sales date, where bought from, or anything like that. There is an option to choose "bought used" in the drop menu when registering a product... at least there used to be. IME: The previous owner has to remove the product from their account if they have it registered before you can register. If the owner cannot/will not do this, contact LINE6 for help.

That's got me interested :) Especially considering something I said directly above your post....

Are you talking about the Roland Jet Phaser model? In the original product (which I owned in the late 70's and early 80's) the phase was nothing special, it was the "JET PHASE" setting that people were after... which is likely why it was the section modeled. There are better "phase only" pedals modeled in the Helix. IMO - I can't imagine anything would be better than the legacy model... it's my "go to" for chorus. BUT - always room for improvement I guess. Sometimes we never know we want something until we actually have it.

You don't need to register anything to create tones... the Helix itself is not locked in any way! If you are talking about the ability to download custom patches... that is a Line 6 hosted repository. If they restrict access to registered users I think that is there prerogative. Why would you be reluctant to register a Helix in trade for access to something you want? At most you might receive some marketing emails... and you can OPT OUT of those if you want.

Cleaning is the best way to start. Clean all the inputs and outputs of the XPS and the Variax. Check to see if you can reproduce the popping and static by wiggling all the connections... it might help you zero in on where the problem is. I suspect a worn jack somewhere... the XPS powers the Variax from the RING of the TRS connection, and the RING is usually the first one to wear out and make a poor connection. It could be more serious... such as a failing XPS, but start with the easy solutions first.

+1.... IMO, that says it all!

Certainly possible. I don't have an HX Effect anymore (upgraded to Helix) so I can't do a walk through, but it is very easy. Learn how to assign footswitches to effects manually, then simply assign the same footswitch to each effect you want it to control. Not only can the switch toggle multiple effects on/off, depending on the state of the effect (on or off) when you save the preset.... it can toggle between them turning one off while turning the other on.

I bought my HD500 used about 4 years ago. I'm a gigging player so I have used it a lot over those years.... and just recently (about 3 months back) delegated it to a backup role when I got a Helix. Issues? None that really matter. The power supply split in two (at the seem) so I glued it back together. One time it went into an infinite startup loop before a gig... turned out to be my Variax causing the problem, not the HD. The footswitches have been stomped on a lot... they are hanging in there - but I do notice the heavily used ones are not as responsive as they were. Totally expected in my opinion. That's all I can think of...

That doesn't tell you anything definitively. If you are plugged into the helix and hear noise, turn down the guitar. DID THE NOISE GO AWAY? NO: Then it could be the Helix YES: It's your guitar... regardless of whether or not it does it with your amp.

When you cycle through the tones, turn the volume on your guitar down to make sure the noise you hear is the actual model, not from your guitar.

Just to add one more thing about the tone you are chasing. These are studio productions, not raw amps you are hearing. Those tracks would have gone through an 1176 or an LA2A compressor during mixing. Once you get a better raw tone, try adding the Studio Compressor to the end of your chain to help refine it. Jason also has a video about that as well... based on the effects he ALWAYS has near the end of his chains for post production.

Just a few things to consider and possibly try ... You are correct, they don't use lot of gain, not in today's standards. However, you have created a mid scoop with those tone settings and Maiden (especially the song you reference) is very rich on mids. I'm not surprised that your single notes sound really thin with those settings... and although the rhythm might sound better, I would suggest it is artificially better. If you turn that tone up and add it to a mix, it will likely be boomy, brittle, and lack definition. Try this: Set all tone controls on the amp model to 5 (half way) then push the mids to about 7 or 8. Now adjust (up/down) the highs and lows as required. The louder you are, the less of those you will likely need. I'd also try experimenting with one of the 4x12 Marshall cabs, or the Park 4x12 instead of the Cali v30. Just remember... when you change a cabinet, don't just accept the previous amp settings... you may need to adjust them. On mic choice/placement/technique, check out this video from Jason about using the split x-over on cabinet.... it's a great technique that works well.

Is the VOX sending a stereo send (ie: 2 amp sends that need 2 IR's) or is the stereo field being created after the return? If it's the prior, you need to setup a 2nd paths.... the loop returns to path a, a return has to be added to path b for the output. Then run an IR on each path, and add your effects. Make sure your MERGE block (can be before, or after any "stereo" effects) is panned left/right to keep the signal stereo. If it's the later, just return the signal in the loop. Now spit the path with two IR's... one on path A, the other on path B. Add effects and merge as you would in example 1. This is irrelevant to the question... which is why I addressed the question first. But it's what I believe in... so I want to share it! I'm not a fan of running stereo live.. not through a PA. IMO.. it alienates the other half of the room. Only the sound tech (and a few other dead center) hears it the way it's suppose to be, everyone else gets a compromise. I don't understand the desire to accomplish this.

The setting I suggested was for the HD used as an amp modeler, into a power amp, into a 4x12 cabinet. You appear to be using the HD500 for EFFECTS ONLY into the front of a VOX AC15. That's a completely different approach. You tone need to start from your amp... not from the HD. I would run the HD500 in Studio Direct Mode, and don't use any amp/cab/mic modeling and don't use the global EQ. Get a good tone on your amp... Guitar to amp, nothing more. Plug in the HD 500 with NO EFFECTS turned on. Set the output to Instrument then turn up the master master until the guitar to amp is the same as it was in step one. It should be very high, if not full. Now add in each of the effects paying close attention to levels and tones. Make sure each effect gives you what you want, at the proper levels. It's just like setting up a standard pedal board when used this way. The trick is step two... making sure you have the HD volume set appropriately to start with so the amp doesn't get pushed to hard, or starved of input.

... and in this thread I'd be the frontman of that band - LOL!

As minor as it is, it can matter. Both types should work fine, but their will be a slight "delay" if you choose the wrong one. Instead of engaging when you PUSH, it will engage when RELEASED... and that can feel wrong to some people. There is also a possibility (very small) that the wrong choice could have a drastic effect. If it is normally in the "engage" position, it could trigger a "press and hold" type function... but I don't know if such a function exists on the Stomp :) IMO: It would be safest to get a definitive answer on this before spending any money on it. Sorry, I do not have that answer myself.

With mid/higher gain setups you need to refocus the EQ to get a solo to jump through the mix. This has been easily accomplished by many great players over the years by simply placing a mid focused overdrive before the amp, and engaging it for solo's. I just revisited "Revelations"... and that sounds like a classic JCM 800 with a Tube Screamer engaged on the solo to me. The Tube Screamer is not the only option, but it was one of the first and has been extremely popular over the years. It rolls off the lows and highs producing a "mid hump" when boosted. This provides a thicker and richer tone to single notes that pop through the mix. A TS has fallen out of vogue in recent years but it's still very effective and is likely what you heard with Iron Maiden and other groups of the era. Again, it's not the only option, but you can try it, just to see what type of effect it has on the solo tone. (hint:you want the tone of the TS, not the gain... keep the gain on the lower half of noon) Another trick of the era was a half cocked wah pedal. Nothing that moves... just a fixed frequency. This is actually very similar to the approach already mentioned, but with a little more focus which may or may not be what you are after.