codamedia

Insert a Stereo audio track in SONAR On that track, enable the two Helix inputs that will be used.... (eg: choose the stereo USB inputs) The single track will record both the LEFT and RIGHT so they can be controlled on a single strip. If you add any plugins, make sure they are the STEREO version or the track will collapse to mono. If you send the track to a BUS... make sure it is a stereo bus, not mono. I prefer to capture left and right on separate tracks, but that's just my preference. On a stereo track the PAN becomes a balance (level only) between the left and right, while a mono PAN precisely positions the track in the mix. I don't often want hard left/right... I like to soften those a little (eg: 9:00 & 3:00 or 10:00 and 2:00)

DAWS have become more feature rich... and plugin quality has certainly improved over the years, but the core tone of a DAW is no different today as it was 10+ years ago. The specs for digital audio were written many years ago... it has not changed. As stated already... it is likely the way something is setup with your old DAW (settings)... or baked into a template, or added via channel strips and/or plugins. A clean install of that old DAW with ALL old settings completed removed would probably sound every bit as good as any modern DAW.

A BOSS KATANA is NOT an FRFR, it's a modeling amp. You already have a VOX Valvetronix+ 50W... the Katana is a similar product. I have nothing against the Katana but IMO it would be a bottleneck for the Helix platform. If you bought an LT you already have a few ways to monitor it until you can research and afford a better FRFR solution. Use the same speaker you are using for your current BOSS setup If the VOX has an effect return or power amp in... turn off the cab modeling on the Helix and plug into that If the VOX has a "flat amp option" like the Katana does, you can just use that - or at least try it. If the VOX doesn't have a return or "flat amp" option... plug into the front end and experiment with the "pre-amp"models in the Helix instead of full amps.

Why bother with the Katana? They aren't bad, but the modeling is NOT up to the L6 level (IMO). You already have a decent amp for when you need an amp! If you put the money saved from a Katana along with the money saved from an Effects or Stomp you are getting close to the cost of an LT. Find a way to get the LT then focus on upgrading the amp/monitor situation in the future. (just my suggestion)

It is nothing you have to worry about. Exact consumption, I have no idea - but I doubt it's more than 1amp... maybe a little more at start up. If 60 watts is an accurate number, then that is well under 1 amp. The amount of gear you are listing is no match for a 15A circuit.

There is a few suggestions for "quicker access" to the tuner on Ideascale (line6.ideascale.com). You could upvote one of those, and/or create something more specific for your needs and ask people to upvote that. IMO... having the ability to put the tuner on any footswitch is my favorite idea... although idea is for the Helix, it should also apply for the HX Effects. https://line6.ideascale.com/a/dtd/Assign-Helix-Tuner-to-any-footswitch/942191-23508 Having the options to disable TAP and just make that an instant tuner button wouldn't be a bad idea either :)

That will be difficult with the Helix... There is nothing directly similar "that I know of". IMO... I'd reach for the Hiwatt / Fane cabinet... it's about the closest I can think of. They are more full range than normal cabs, but not as much as EV loaded cabs. That's kind of the grey area the Scropions live in as well.

FIRST: That is how most modern strats are wired... excluding anything with humbuckers or noiseless pickups. That's how they work! On many (not all) strats, the middle pickup is reverse wound... when combined with any other pickup (position 2 and 4) it becomes a humbucker... on their own, they are single coils and are subject to noise! When the middle pickup is NOT reverse wound... every position is subject to making noise. I doubt the HX Effects is causing the noise... it is just making it more noticeable - either through gain structure (including overdrive/distortion), compression or EQ. It is the GUITAR that is the source of the noise, the effects are enhancing it! This would happen with any pedal board!

^^^ this ^^^ I would push the 2204 model with a kinky boost to increase the Marshalls gain even further... then as you say, back off the mids a little. The Macintosh power amp would have been very transparent compared to the power section on a JCM800... you might find running the 2204 PRE AMP directly into the 4x12 Basketweave Cabinet (eliminating the power section of the amp) to be a little more authentic. That's just a thought based on the setup, I have not tried it myself. I would avoid any attempt at the Sonic Maximizer... there is a reason there is no model for one inside the Helix :) (just my half-joking opinion) If you really want to try something.... throw the "Modulation > Legacy > Dimension" after the cabinet.... set all "SW" controls to OFF then adjust the mix to taste.

Which is precisely why I ask that question! It forces people to realize the current hardware isn't a bottleneck... Not unless they feel they can't program anything without a touch screen - LOL!

I don't disagree, but that's why I ask this in the same post. "So to anyone that asks when the next Helix is coming out I ask this question. What is "missing" from the Flagship models (Helix Floor, Helix Rack/Controller) that keeps you from buying one?" I'll add two hardware changes that I wouldn't mind... but neither would stop me from buying today! More processing power Maybe (a big maybe)... a touchscreen. My "software wishlist" is longer, but I don't believe I should require a "new Helix" to run any of my wishes. (processing power being the only caveat I can think of)

IMO... ^^^ this^^^ is the most important fact regarding the Helix Line at this current time. They wouldn't have done this if they were planning on moving on in the very near future. People think of the Helix as hardware... but it's the software that does everything. The hardware choice you make dictates the quantity of foot switches and I/O options... that's it! Any other limit or change is software, and Line 6 has shown a commitment to keep that moving forward. So to anyone that asks when the next Helix is coming out I ask this question. What is "missing" from the Flagship models (Helix Floor, Helix Rack/Controller) that keeps you from buying one? Slightly off topic... but IMO Line 6 has done an incredible job with the Helix line both in terms of hardware design and software UI. Has anyone else noticed that every modeler released since 2015 looks and acts suspiciously "like" the Helix?

I don't know if it has always been there or not... but you are right, it is certainly there. Immediately I reached for the amps "hum" control and that did nothing, then I realized it seems to be attached to the "ripple" control. Turning that down gets rid of it although I don't really know what effect that may have on the tone. With just a few strums of the guitar (not a full test) I don't notice any difference with ripple up or down, but YMMV.

I use studio monitors similar to the HS8's to craft my tones at home.... live is always through a Monitor and FOH and the tones translate very well. I may have to tweak a NEW tone just a little on the stage, but rarely - and never much. Here's what I suggest.... It is always best to start with setting those HS-8's are set FLAT! "0 room Correction" and "0 High Trim". Ignore this IF you have taken time to fine tune your room and know what you are doing. If you just set those settings to "sound good" it is most likely inaccurate. Create your tones at 80db or higher. This reduces/eliminates Fletcher-Munson. FWIW I create mine closer to 90db. I would trust the HS8's... those are very nice monitors and they can move a lot of air (volume). What I don't know is the quality of the PA at the school. Good is good, junk is junk.... then their is everything in between :)

Your answer has already been provided... I'm just giving you another way to put it in perspective... Presets load your layout.... Snapshots manipulate your layout, but cannot change it.

Just want to add... you can leave the LA Studio Comp where it is if you want to tame the peaks, just be sure to set the LA Studio to "Limiter" rather than "Compressor". That "should" tame the peaks, while leaving all the quieter parts (swells, reverbs, etc...) untouched. The LA Studio Comp is an LA2A model.... not a stomp box model. It shines at the end of the chain, but only if you don't try to use it like a guitar compressor.

I'm surprised this isn't making sense to you! Left/Right signal combine to make full strength Left alone... is usually about 3db quieter Right alone.... is usually about 3db quieter I use the word "usually" because there could be panning laws at play... I do not know how Line 6 implements those... if at all. I have no inner knowledge of how L6 has created those splits... but normally panning laws would not be implemented for this usage.

Humility goes a long way.... let's not get into a p***ing contest about which one of us has more experience, please!

Split Y is sending 1/2 signal to each path. Split A/B is sending combined signal to each path. In no way are these "the same thing". The difference it subtle, but it is real! If you don't believe me... humor me. Set the Split Y to "Left 0 / Right 0" rather than panned hard left/right. VOILA... it now sounds exactly like the Split A/B because it is doing exactly what the split A/B does!

USB midi requires a host... you cannot connect it directly from one device to another, unless one of the devices acts as a host. Unless I am mistaken, neither the Stomp nor the LPD8 is a host device so a computer, tablet, or dedicated host device would still be required to finalize the connection.

@SaschaFranck.... Just to re-iterate, I am not against what you are suggesting. You don't have to convince me of Auto Save or Global Blocks. I was just playing devils advocate, I find it beneficial to view things from more than my own perspective. EG: There are multiple posts here about people that cannot wrap their heads around the "discard vs recall" settings for snapshots... and now with 2.8 many people struggle with the concept of "snapshot bypass". I have no doubt that global blocks will help you to the fullest and I would also enjoy them, I also have no doubt that global blocks would cause incredible amounts of confusion to many other users.

The obvious answer is that nobody has uploaded any yet! Custom tone is driven by users, not by Line 6 itself. There are several Rush tones for the Helix.... just not the Stomp. Did you purchase "Native"? It's worth the $99 just for the ability to load presets from the entire line.... strip the unneeded, then export in Stomp format. HINT: if you don't own Native yet.... Black Friday/Cyber Monday is fast approaching. It might be worth the wait to see what L6 may offer.

Many multi-fx have an "auto save" feature.... any changes to a preset are automatically saved without the need to press save. Just like a pedal board and amp, every change you make is DONE! This can be a blessing, this can also be a curse - either way, it's the users choice to have it on or off. The Helix offers this on snapshots, but it doesn't retain those changes at the preset level. I'm sure this is a feature request that could be added relatively easily if enough people supported it. I do not disagree with the concept of Global Blocks... nor do I disagree with your comment about quick adjustments. BUT - (devils advocate here).... I don't see how Global Blocks offers the solution for quick adjustments. In either case, you have to bend over, scroll, adjust, and save (unless auto save is implemented)! Not to mention.... what happens when that global block change screws up the 25 other presets that use it? IMO... this is not easy for Line 6. Introducing one solution always has the potential to introduce 10 new problems, not the least of which is human confusion causing error. Whether it be Auto Save, Global Blocks, etc...etc... these support forums will be a lot more congested as people can't figure out what is going wrong, then feature requests begin to flood in for more versatile ways to protect one from self inflicted wounds.

No Christmas songs until "at least" December 1st!!!!!! :)

Keep in mind you would rarely, if ever use a 100% IR signal. Usually you would blend in just a little. Generally you are not trying to sound like a different instrument, you are just trying to capture some of the qualities of that instrument. Acoustic IR's will usually come with certain info that is required to understand the tonal quality you are adding.... * Model of the instrument * Microphone used * Microphone placement (bridge, sound hole, 12 fret, etc... etc...) * Microphone distance. As you can see... the IR is not just the instrument... it is also the mic choice and placement. Example: Let's say you have a $300 Yamaha guitar with a Piezo pickup. Now add an IR of a Martin D-18 with a Royer 121 placed 12" off the bridge. Blended in nicely, that could give the inexpensive Yamaha a really rich tone, not possible with Piezo alone! @amsdenj provides some great advice and info above. One piece of advice given should not be overlooked.... every IR will sound different with every guitar it is used on. You have to experiment to find one that gives YOUR GUITAR the quality it might be missing.