codamedia

Yes and no :) They used the Scholtz 1/2 Rack models which were a little higher quality, and more options. The X100 was the headphone amp... and very good, but not quite the level of the 1/2 rack models. That said... the EQ curves should be quite similar.

@roscoe5 has been very gracious is sharing some IR's he has created over the past few days. I figure this might be a good time to jump on that trend and share one that's been asked about a few times on this forum. I created these IR's from a Rockman X100 in order to capture that Tom Sholtz "Boston" EQ curve that is so hard to duplicate. This ZIP contains the four settings found on the X100.... Clean, Clean 2, Edge and Distortion. For best results... apply the clean IR's to a clean tone, and edge or distortion to an overdriven amp tone. In theory these IR's would replace the cabinet model so you should load an amp model without the cab... Any amp works fine, but for Boston style tones.... try loading a Plexi style amp To hear a comparison, load a 412 Greenback Cab after the amp... then toggle between that cab and the IR. The difference should be obvious. Clean 2 on a Rockman X100 does not include any cab simulation, but it is very enhanced in the high end. This may work good for acoustic instruments, and/or electrics with a direct sound. The attached ZIP file has been updated to include a louder (updated) version of CLN2 that has been discussed in this thread. (The zip also contains a readme file with suggestions for those that aren't sure how to get started with these) Rockman_IRs_Updated.zip

Hey, thanks for these! A friend of mine has a Cab Clone and I was going to borrow it to create some IR's... you just saved me some time - LOL! I agree completely with your assessment, these will provide an option that doesn't impart "mic coloration"... more just the raw speaker tone. i can't wait to give these a try!

My bet is that your input into Pro Tools (and subsequently Native) are actually a lot hotter than the guitar input on the Stomp. Ooops... EDIT TO ADD I see @phil_m has already provided a similar response. Note to self, "read entire thread before piling on" :)

If tracks "default" to mono, that suggests there should be a way to change it to "stereo". OR, don't accept the default and add a stereo track. If for any reason you cannot change a single track to stereo or add a stereo track, then you can still do it the old fashion way which is (IMO) the best way. Setup two mono tracks to record.... Set one track to record the Helix LEFT side Set the other track to record the Helix RIGHT side Hard pan each track left/right... Result = stereo

It is nice of you to share these... thanks for the offering! I will certainly try them out when I get a moment. FYI... -18 is a safe zone in the digital world that most of us are used to. Don't get caught up with a number being in the negative. Now for a real possible problem.... if someone needs to set your IR to 0 then loads a standard IR into that slot... they risk speaker and/or hearing damage! Just to do a simple comparison between your IR and 3rd party IR would require more than just swapping the IR. I would recommend something more in the -12 to -18 range to stay consistent with everyone else. Just my 2 cents!

Outside of Stomp users with limited blocks, why would this be rough. Regardless of using 1 block or 3, It's still going to use the same amount of resources. Breaking it up provides more options to users. In this instance (JC-120) I'm not sure the architecture even exists. Every amp in the Helix is MONO.... a real JC120 is a MONO preamp with a Stereo Chorus, Stereo Power Amp and Stereo Speakers. FYI: Line 6 uses ideascale for feature requests and there is a request for this already there that you can go upvote. (registration is required, but free) https://line6.ideascale.com/a/dtd/Add-amp-s-specific-effects-into-the-amp-block/919491-23508

I could be wrong... but I think the HD Effects were essentially the M Series... maybe with some minor variances. I could be wrong again... but I think the XT/X3 were the same effects as the DL-4, FM-4, DM-4, etc... If so, some were ported over to the HD/M Series and would be included as legacy, but other may have been dropped completely. If I am wrong, I hope I am corrected :)

Strictly just an opinion.... coming from an LT owner. There is no question the Stomp is a higher end product with more "pro options" than the Pod GO. But unless you need those "pro options".... the Pod GO could very well be the better product for certain users and only the end user can decide that. Myself.... considering a backup for my LT... I would lean to a Pod GO. But that is "ME"! Not "YOU"!

It's a reasonable request... but Line 6 tends to keep everything separate to maximize resources for each user. Have you followed/replicated the actual chain for a JC120... which is placing the chorus between the amp and cab? If you put a chorus before the amp it collapses to mono, and if you put it after the speakers something gets lost. Neither will sound right. JC120 Amp (no cab) > Stereo 70's Chorus OR Analog Chorus (found in legacy, it's already stereo) > Dual 212 Rivet Cab OR create a parallel path and put a 1x12 on each path. If you split the paths, pay attention to the pans on the split and returns. The chorus must be stereo The chorus must be placed between amp and cab Optional: Add a stereo reverb just before or after the chorus for more depth The cab must be stereo to retain the depth of the chorus. You need to monitor the Helix in Stereo to get this lush effect.... because the real JC120 Chorus IS stereo! If you do that, I find it is extremely close to a real JC120. Similar to my example above. Try separating the amp from the cab then place a spring reverb between the two. This is also the best place for the "opto trem" to simulate how a BF/SF Fender really works. Unlike the JC120 Fender amps are mono... stereo works, but is not required for accuracy.

Congrats... you have figured out rule #1. Don't count on every effect to operate EXACLY like it's real counterpart. Some will, some won't. Does it really matter? In the real world I have never found two tube screamers that sound the same, or two AC30's that sound the same, and this list can go on and on! What does matter is that when you choose a tube screamer, it sounds like a tube screamer - regardless of how you have to set it.

Fast forward a few months.... I'm just providing a quick update. For anyone that likes a warm, thick, mid rich tone I would highly recommend taking a look at the RUBY IR's from Celestion. It's difficult to describe... they have the complexity of the Blue Bells (Vox Amps) with the mid depth of vintage green backs. I currently use the Ruby on about 80% of my tones and I am very happy with them. NOTE: If you like "glassy" top end...this is likely not for you :)

@GlennCohen.... Some people make the adjustment, others don't. Some focus on matching tones with the real gear, others focus on getting great tones from the Helix itself without comparison, or with very little comparison. No right. No wrong.... just different. I've been a touring guitarist since the early 80's and I've owned some beautiful amps over the years. I can honestly say my tone has never been more "consistently good" from venue to venue as it's been with the Helix. Sure.... I loved my amps (still own a couple beauties) and there are shows that my mind recall as being the "best tones I've ever had"... but not consistently. I don't A/B my Helix with my old AC30. I don't A/B my Helix with my old Vibrolux. I don't care if they are "the same". I just know that when I dial in an A/C 30 tone or a BF Fender tone on the Helix it is convincingly "those amps" yet consistently better than when I used to haul my amps and pedal board around. Just my 2 cents....

With the first gen variax guitars you create a custom tuning with Workbench and save the guitar/tuning into a custom slot on the guitar. NOTE: To get workbench to work with the 1st Gen Variax you need a VDI USB Interface, or an older modeler such as an HD500 (not the X model), an X3 Live or Pro, or an XT Live. I'm using an old XT Live myself these days. The VDI port operates as an INPUT on the Helix, just like the guitar input does. Once the signal hits the Helix it is processed just like a normal guitar. Even if the Loop is the first block in the path, the Variax Input will see it. When connected to the VDI cable this is exactly how I am using my 300. If you use snapshots you MUST set them to "discard" or you will get unpredictable results. The warning from @silverhead above should be noted... he is correct when he says Line 6 does not officially support Helix > 1st Variax operation - you do approach this at your own risk. What I can say is that once I understood all of the idiosyncrasies between the 1st gen variax and Helix... and set my snapshots to discard... it's working just fine. 2 Years and counting.

Yes... the Helix can recall any of the factory presets, plus the 10 custom locations. However.... if you edit a factory location the Helix can only access the factory default, not the edited copy you created. You must save custom presets to the custom locations in order to access them. Yes & No. This is a limitation of the 1st gen variax guitars. The tuning is not separate from the guitar models.... it must be saved with a guitar model. If you have a TELE that needs a drop D it must be saved as a custom model and called by the Helix as a custom model. No. The custom tunings must be built in the 1st gen variax guitars themselves. They cannot be edited separately from the models. Because of that limitation, the Helix cannot alter the tunings directly. Sorry, I don't understand what you are asking here... I'll need more clarification.

This is a great tip that I completely overlooked. I forgot that some of the comps in the Helix include ratio control.

All 4 parallel... into one cabinet? Unless someone knows a trick I don't, this is not possible. It is possible to run 4 amp models (sans cabinet) into one cabinet on the Helix.... but not in the manner you are describing. If you only need ONE amp at a time it's easy... if you want to start blending those amps (parallel) in a variety of combinations, that is when it starts to fall apart.

Set the LA Comp "type" to "limit". Turn up the "peak reduction" to remove the spikes, you shouldn't have to change any other settings. There is no "suggested setting" beyond that, because compression and limiting is very dependent on the level inputting that block. Did the Stomp get "peak reduction" meters in the 2.9 update? Meters are very useful with stuff like this, as you can see the exact amount you are clipping off the top.

Modulation > Double Take Just a week ago I was still searching for ways to fake a doubler using chorus, and it's been under my nose the entire time. I just applied it to some presets/snapshots and it works better than I would have hoped. You can control the number of voices, the depth of "slop" (seems like detuning and timing) as well as the sensitivity and separate volumes for direct and effect signal. That may be enough to get you what you want... or you can combine it with some chorus to thicken it more!

Do what you have to do to make things sound right. Since you are not gigging on a variety of systems it really doesn't matter how you come up with it as long as you get what you want. Creating tones that translate across multiple systems and listening environments is an art of it's own.... and it's important for me to do that with my "live" tones. My studio tones (the ones I play at home and often record with) are much different, and I'll approach it more like you do.... "just make it sound good regardless of how you do it" :)

The CALI EQ in that position is magical! Your cuts are pretty normal in my view. If you look at an EQ chart of a Blackface Fender (that clean mid scooped fender tone).... the 700HZ range has a huge cut, more than anything you are cutting. Are you using the Stock Cabs? I find spending some time with mic choice and position can substantially reduce the EQ required. Sound techs and studio engineers are masters of these techniques.... try to stay away from corrective EQ until you have no choice. What do you monitor your Helix through?

Different EQ styles and placements all have a purpose. Yes, they can be equally as effective with clean tones as they are with overdriven tones. My electric presets always include the following.... A stomp style EQ before the amp... just like having an EQ on a pedal board. These EQ's can have a dramatic effect on the amp response. A MESA style EQ between the AMP and CAB/IR. This shapes tone without effecting the amp response. A parametric after the amp/cab... this is for final tone shaping and filters (HPF/LPF) when required. I rarely use this EQ other than the filters but I still like to have it available.

Another consideration to keep in mind.... The STOMP doesn't have a VDI port for the Variax. Only the Floor, Rack and LT are equipped with that. I believe the same applies to Control link for the Powercab. In my market (Winnipeg Canada) I see this offer in local classifieds a few times a year so i believe there is interest. You live in a larger market area so I can't help but think this should be an option for you.

Is the issue solved because you now know what the problem is and will live it? Unless you really want this.... there is a global setting to alter the behavior. Global Settings > Preferences > Tap Tempo Pitch When set to accurate the pitch will glide just as the original effects did when the delay time or tempo is altered When set to transparent changing the delay time or tempo will NOT alter pitch during the transition.

Exactly. I filled in the page then just before I hit submit I thought to myself.... "where did you find the time to do this if you are chosen?" Page closed :) I am glad they appear to be expanding their test group. I guess it's possible they are just replacing a few that are gone, but an open invitation like this suggested it's being expanded. I know you are joking... but I do wonder how many people filling in the application mistake "beta testing" as becoming part of the team that decides what features live or die?