codamedia

Sadly no... the snapshot SCREEN is strictly black and white even if you change the Ring Color. I frustratingly learned this when I first got my LT a few years back.... but now embrace the difference between that and the Stomp Mode which is quite colorful. If it was all colors I wouldn't necessarily know at a glance which mode I was in. Don't get me wrong... if they give me colors I'll use them, I'm just finding the positive in not being able to change them :)

Yes... the Focal's are perfect for this. The 65's are a good size, but I wouldn't go smaller. The Helix sounds glorious through Studio Monitors... that's how I run it at home.

Just to clarify... VH only played the solo, the rest of the guitar parts were Steve Lukather.

IME... the Kinky Comp much too aggressive for this... even at it's lowest settings. Instead I would be reaching for the LA Studio, Rochester, or the 3 Band then running them toward the end of my chain rather than near the beginning. Use the gain reduction meters to dial in a "touch" of compressor. You don't want it slamming, just taking off the edges. Another option has opened up with the 3.1 update... and that is the Retro Reel. Even though it is not a compressor, it does exactly what you are after and will apply a touch of "tape compression" even at it's subtle settings. Check out the new Jason Sadites video on the retro reel if you are not familiar with it.

Just updated to 3.1... and decided to run a few tests regarding this post. Updated and nothing else.... My presets worked, my variax settings did not, my tuner settings were gone and my global settings were all lost. Then I restored "GLOBAL SETTINGS ONLY".... My presets worked, my Variax settings now worked as expected, my tuner settings returned and all my global settings were back to normal I then followed the 3.1 "final instructions" and did a full reset of the Helix then restored everything from my backup. Everything is working as expected. It appears the "global restore" is taking care of the Variax settings, tuner settings, as well as all global settings. I don't own a Powercab so I can't comment in that regard.

I know about the Variax setting since it bites me on every update - LOL! I don't own a PowerCab so I haven't encountered that one. It's nice to be aware of it though... thanks for the heads up.

Ultimately I would run two blocks.... mono send and stereo return. This guarantee's a true "mono" send without any information lost. That said, I don't see any harm in running a Stereo Loop block and just using one of the sends. This is fine as long as you know the signal is MONO before the loop block. The caveat here is that many of the legacy blocks are stereo only... so if you use any of those you may want/need to collapse it to mono before the loop block.

The invader set has a normal(ish) output level for the neck pickup, and a really hot output on the bridge. Your results are extreme but understandable "depending" on your preset. It's sounds like your neck pickup has room to bloom, while the bridge pickup has hit a brick wall. Does this happen on all presets (including clean ones) or just on moderate to higher gain presets?

and in the same post you say this..... By saying two very different things, you have people responding to two different scenario's. Some are responding to you "not hearing ANY difference" and some are responding to the latter statement. Please clarify your problem so we can all get on the same page.

Tommy Tedesco was the guitar player that actually played the intro. Tommy kept immaculate notes and details about every session, I'm sure the info is out there somewhere.

Another vote here for you to check the impedance setting on the preset. If it is set to Auto and you have effect blocks in the path it can lead to unpredictable results.... sometimes less than desirable. For the sake of troubleshooting... set the impedance to 1M and see what happens.

The Jump model is exactly like the real amp and you can control the Bright and Normal volumes (and tones for that matter) via snapshot and/or footswitches. Keep in mind this is one of, if not the most DSP heavy amp model in the Helix because those channels react very differently both on their own, and in any combination with each other. They were separated for those that ONLY want to use one channel or the other and will save them a lot of DSP. There are many Marshall players that don't Jump their channels... so this is a very practical solution for them.

I do the delay trick as mentioned earlier. I keep the built in expression for volume/wah, but use an external expression to control delay levels. On a few presets I have the external expression control something different and leave the delay(s) as fixed on/off with switches. Try assigning the BLEND of any modulation block. Phase, Flange, Tremolo, etc... etc... or even combinations of a few such as blend/rate/depth. It can get really interesting really quick. Do the above with a Rotary effect and you've essentially added a Leslie to your setup. Organ players used to spice things up with a Leslie all the time. If you run stereo.... experiment with panning A wah doesn't have to be full sweep.... set it up with a really low mix and a short throw and experiment with the tones you can achieve with an expression. Add the blend of an "octave" or "harmony" pedal. Really... as stated already your imagination is your only limit.

FWIW.... I use Gain Blocks at the beginning of my path for this scenario and it works great. Better than a volume block, because by default the volume block will get the volume pedal attached to it automatically - leading to extra steps. I actually find assigning snapshots easier on the Helix than I do in HX Edit... "Push and Turn" with the bracket appearing is extremely fast.... once the bracket has appeared you just turn to adjust for each snapshot. One trick I have learned long ago during editing is to SAVE before changing snapshots... and save often. This is necessary when you have snapshots globally set to "discard", but even when set to "recall" I find it very practical to make sure those changes are locked in during the editing process.

That is not a good assumption for the question "rd2rk" asked. Did you actually do a full restore after the update? Or did you just see all your presets there and figure things were good to go? Presets are retained and "rebuilt" during an update. Global settings are not. You must restore your global settings, or reset them manually after an update.

Yes... this is a dedicated plugin that works with dedicated IR's (DSR's) from Celestion. They also offer "two notes" IR's that work with Two Notes Cab hardware & Wall of Sound plugin. I use their "normal IR's" directly within my Helix, and they sound great.

Dirty fix if you just need more stomp ... in the Global Settings set the Input to "Instrument Level" and set the Outputs to "LINE LEVEL" and this should increase the levels substantially. Ultimately... match the input and outputs to what the Switcher is expecting to see then gain stage appropriately.

IIRC.... Terry used pre-amp of sorts to push the input of his dual showman into oblivion. The closest to a showman on the Helix is the Twin... but I don't know how that model would respond when pushed hard. IMO... Upon revisiting "25 or 6 to 4" I hear a little bit of the "woman tone" happening. I would lean to a JTM45 model, or the '59 Bassman and dial it in for a very mild crunch (very mild). For that preset I would dial the impedance on the input block back to 250k or lower... then dial in the tone on the amp. YMMV depending on the guitar you are playing. Once the core tone is in place... sweeten to taste with a little reverb/delay.

Further to the post above.... Presets are not touched during an update... you have a choice to reset those if you want with some of the many startup options. Global settings are almost ALWAYS reset during an update but are easily restored if you have a backup.

For troubleshooting, remove the XPS power supply from the chain, and install a battery in the back of the guitar to power it. You'll just need the one cable between the guitar and interface. If it cleans up - it was the power supply. If the results are the same, then it's either the guitar, cable or interface and further troubleshooting is necessary.

Yeah, manuals are always the last... :) I'm sure there are many limits imposed, and maybe not possible at all the opposite direction - but the scenario in this thread (HX Effects to LT) seems to work fine. Just for reference, I did not drag and drop. I clicked IMPORT in both Native and in HX Edit > LT.

That's from the 2.5 manual....I don't think it's relevant any longer. I'm not sure which update it was, but I believe you can move presets around more freely these days. As long as the units are up to date with firmware, you should be able to export an HX Effects preset, then load it into the LT for further editing. NOTE: I only own an LT so this is how I just tested it. I download an HX Effects preset from "customtone" and loaded it directly into both NATIVE and into my LT via HX Edit. Both imported without issue. My LT, Native and HX Edit are all up to date (3.01 as of writing this)

This is often a common assumption, and a dangerous one. The HX Edit update if often missed.. and must be first. That's the one that includes all the drivers so the computer can communicate with the Helix. It's a tough lesson to learn, but an important one. There comes a point where everyone eventually learns that you only do updates during down periods.... when you have the time to troubleshoot any potential issues without pressure.

Try placing the reverb in a parallel path... and set the mix to 100 so it is only reverb. There are several ways to control the amount of reverb.... from the reverb itself if it has a level control, from the merge block, or by placing a gain block in front of the reverb. This prevents the core signal from going through the reverb and possibly being manipulated by it. It simply adds some reverb to your existing tone. I don't use "effect" reverb on overdriven tones... eg: plate, spring, hall, etc... I will add a little "room" reverb so it isn't complexly dry... just enough to put some air around the tone. If you use stock cabs, other natural sounding options are "early reflections" and/or setting the mic distance further from the cabinet.

Yes... in the merge block you can invert path B.