codamedia

Great videos... wonderful playing, beautiful venue. I don't hear anything there (tone) that is out of the ordinary... What you are monitoring your HD500 through will make a big difference. What speakers are you using when setting up your tones? I could be wrong, but I would bet that if you got your hands on one of their patches you would be underwhelmed at how it actually sounds. BUT... when used on high end PA's/Monitors/Studio Speakers the tones translate very well.

I can't open HX Effects patches... and to be honest, I'm not really following what the actual problem is. Are you saying the acoustic patch does not work? In what way? Is your electric and acoustic patch actual separate patches, or are you trying to do 2 separate paths?

Although I don't use that particular speaker, I'll still lend my view on how I approach a full range setup for my rig. When the PA is used "more or less" for vocals only, then I place my full range box behind me and point it out to the audience. I lift the box enough to get it off the stage... this helps provide a more natural low end in most cases. I angle it out so the direction is somewhere between myself and the audience so I know I am hearing pretty much the same thing they are hearing. When the PA does all the heavy lifting, I never want to direct things off the stage that might interfere with the tech and the mix. In those cases I would put the box in front of me and point it at my head like a monitor. Actually... in most cases I just run my Helix through my stage monitor (no separate box for guitar) but if there was a limited number of mixes I would just point my full range box toward me... not out front. I'm not suggesting mine is the only way, or the right way.... it's just the way I've always done it. I'm very cognizant of the front mix.. and how I need to fit in regardless of the setup.

Wherever this type of advice came from, ignore it! IN into an IN will never work. It always has to be an OUT into an IN. That is the basics of signal flow. A stand alone keyboard will have sounds on board... but often can also be a controller to trigger sounds on the computer or other devices. If you want the sound from the keyboard itself, send it's OUTPUT to the AUX IN on the HD500. If you need stereo you could use the AUX IN and GUITAR IN then adjust the HD500 accordingly. A Keyboard Controller does not have sounds on board, they just allow you to generate sounds from the computer. These would not connect to the HD500, they would connect via USB/Midi directly to the computer or other device for the sounds.

IMO: With a Cello I wouldn't advocate the use of any amps models in your chain, including the "preamp" versions. Of course you can use it for a special effect, but not for a natural tone. Essentially you are plugging into the preamp of a Fender Twin, then putting that through a tiny oval 6" x 9" speaker that looks a bit like an old car speaker. (even the speaker is not natural to the Twin). That would explain why your tones sound "electric and nasal". Would you plug your Cello into a Fender Twin amp in real life? Likely not, so why do it here? When I process my acoustic instruments (acoustics, mandolin, dobro, etc..) I don't use anything more than the "Vintage Pre", the "Studio EQ", the "Tube Comp" and a "Room or Hall Reverb". Those should help attain a natural tone, then you can enhance it with delays and/or other effects. Have you reached out to any of these players to ask their advice - especially the Cellist that uses the same Cello? I find most people are happy to help when asked. Who knows, maybe they will offer you a copy of their patch. (although I would never directly ask for it) Just my 2 cents... Good luck!

I think most people would find it very hard to take this thread seriously when you don't seem to understand the basic setup options of the Helix, or the concept of level matching. If you don't have the I/O settings and levels set right, nothing will sound right! Every input and output on the Helix can be set to Instrument or Line Level. In your setup, you should have both the inputs and outputs set to INSTRUMENT. With every effect off... set your the level "through the Helix" to be the exact same as the guitar would be straight into the amp. This takes a little back and forth. Once you find the correct spot on the Master Volume.... make note of it. (painters tape and a marker always does the trick if you don't trust your memory) I don't want to complicate matters, but you could just disable the master volume from the 1/4" outputs. If the I/O is set to instrument, it would be like using a pedal board. With any effect you add, make sure you check the "effect level vs the bypass level" to make sure you don't start creeping up or down beyond the obvious. This step is 100% the same as setting up a pedal board. If you follow that approach, you will find that the Helix is remarkably close to the effects it is modeling. If you add a Teemah overdrive, it will be virtually the same as adding a Timmy to your pedal board. Same with a Tube Screamer, or a script phase, or a dyna comp, or <insert favorite effect here>. Have you ever played a real Octavia? Super fizzy is kind of right :) Learn how to dial it in and use it (just like a real one) and it's magical.

Something is very wrong based on your description. Although I own a Helix now, I used to have an HX effects, and used it to process all of my acoustic instruments. Steel String, Gut String, Mandolin, and Dobro. It did a great job. For reference, I always setup a dedicated patch for those instruments. General setup would be the Studio Comp, an EQ (or two) an IR to match the instrument, a Reverb and a Gain Boost. When I went from the Effects to the Helix LT I actually re-created most of those tones and still use them today. There is no weakness in signal (once volume matched) and they sound great. Things to watch for.... Volume compensation... effect to effect, patch to patch. It's important to balance everything INPUT and OUTPUT settings! Make sure the inputs are set to instrument, not line. Whatever output is going to the board, make sure it is set to LINE. That may require using a SEND to go to the board for your acoustic instruments since your electric to the amp wants instrument levels on the outputs. Even when going out from the HX Effects you NEED to use a DI to get it to the console unless the console is fairly close (within 20'). Good luck!

Is it possible you are changing delay times with the snapshot... knowingly or unknowingly? If so, check your settings here... Global > Preferences > tap tempo pitch (ignore the fact that it says tap tempo... a change in a snapshot would also be relevant) If that is set to accurate it could do what you are describing... trying changing it to transparent.

Sorry, I have not done such a test... My Ownhammer IR's (in their Helix Folder) are 48k/24bit... I just load them up and use them. They sound great, I don't worry about it :)

The nice thing about the Helix is that new versions don't need new hardware, and they don't cost anything! The hardware and UI is so well designed the updates are all in the software, not hard coded to the hardware. The original Helix to hit the stores in 2015 bares little resemblance to the version we are using now (currently 2.7/2.71). Two major updates are already being talked about with great anticipation (2.8 and 3.0) and the life cycle is likely continue for many years. Just my 2 cents.

Interesting....thanks for that link. I own some 3rd party IR's specific to Helix, and they are all 48k/24bit or 48k/32bit floating point. But, as that article states, the "HX Edit app may automatically change the attributes before sending to the Helix".

The serial number should also be on the bottom of the unit... you can try to manually add it to your account. If the product is used and the previous owner registered it, then they must remove it from their account before you can register it. If it's a new product, contact Line 6... they will get you sorted out.

I always thought the Helix was 48K/24bit

With a tiny amount of soldering skills, any existing TRS expression can be easily wired to work with the Helix. If anything, LINE 6 products work with the simplest of all Expression Pedal wiring schemes. All it cares about is the resistance between the Tip and the Sleeve. The Helix isn't even extremely picky about the pot value like the previous units were.

IMO... that would color the tone too much. Sure.. you might build a great tone, but it wouldn't be "authentic" (topic of this thread) since it's running through two pre-amps. EG: In the case of the Fender Deluxe, it is not possible to dial out the mid scoop completely - it will always add color. Adding a 2nd amp will compound the mid scoop even further. There are other amps that get very flat you could try... but then you wouldn't be running the Fender Deluxe POWER section so authenticity is out the window again.

So, if I am following the marketing talk correctly.... :) AMP Pack = Presets + 1 Cabinet IR CAB Pack = Cabinet IR's w/various microphones and placements For those of us that just want good cabinet/mic choices, are there options other than MESA for the Helix?

@lkaplan.... thanks for the update on this. I'm glad to hear you got it sorted out.

The only answer to this currently available in the Helix is to place it between amp "amp blocK' and a "cabinet block or ir block". It may not be 100% accurate, and you may wish it could be placed between the PRE and POWER section, but that is the BEST solution at this time. There may come a time with Helix offers a selectable power amp as an option. Single ended 6v6, push pull EL84, EL34, 6L6, etc... etc.. but you would still be playing the accuracy game because it wouldn't be the exact power amp for each model, it would just be "close to one". What PI style does it model, what output transfer gets modeled, etc... etc... If you really want to get creative... try this. You could likely create a static IR block to simulate the tone of the power amp. Using a DR as an example, these would be the steps.... Insert a Deluxe Reverb AMP Block and a PREAMP model of the same amp. MUTE the preamp model for now. Insert a CAB block or IR after the amp blocks Dial in the tone your want with the full AMP Block Now mute that AMP Block and turn on the PREAMP block.... set the values the exact same as the Full Amp Block Turn off the cab/ir block... it was only there so you could dial in a tone you like. Now go through the process of creating an IR using a tone print of the PREMAP model, and a separate tone print of the Full AMP model. Once you have the IR, you re-assemble your amp block in this manner. PREAMP model Inert Spring Reverb IR of the power amp you just created Cab or Cab IR block The power amp will be a static/fixed tone, not dynamic like a real amp. That just means it won't change as you adjust the pre-amp, but if you captured the tone you like it will be very close!

Disconnect everything from the computer... Ignore Monkey and the computer for a moment. I get the impression in your post that your JTV is working with the XT Live using the VDI port. Does the Variax 600 work with the XT Live using the VDI port alone... no 1/4" connection?

Define "huge"! Does it have to be a guitar hero in a modern group with 1 million units sold, or can it be a lesser known player that's played on/with many groups over the years collectively selling 50 Million units? For the latter... I will re-submit John McFee's name, currently on his 2nd stint with the Doobie Brothers. In that rig rundown his section is a VARIAX and a HELIX... that's it! He has a very storied history (Clover, Elvis Costello, Doobies, Steve Miller, Southern Pacific, etc... etc..) but stayed low key during it all. Does staying low key disqualify him?

There is nothing "niche" about the high gain world. It is a huge market! (EDIT TO ADD: Sorry to pile on, I see someone already beat me to that a few posts earlier) In these forums I am on the record stating that although I have no use for any high gain amps (JCM 800 is more than enough gain for me) I fully support you and others that want more options. If there are iconic high gain amps missing from the Helix, then you deserve to have them. That said... if you think the Tweed Deluxe is a "clean amp"... then you obviously have a different take on what level of dirt quantifies as dirt. Very few buy a tweed deluxe for it's clean sound (volume lower than 3).... they push it into varying degrees of glorious overdrive.

What was your old rig? I assume a pedal board and amp.. with the freeze being the last effect before the amp? (correct me if that assumption is wrong). Based on that assumption, why not put the freeze in a mono loop as the last effect before the amp model? Since you are already usign SEND 1, just insert "MONO LOOP 2" as a block and use the "SEND/RETURN 2" jacks to complete the path to the Freeze pedal.

Although not limited to this...the FrequOut as well as the Boss Feedbacker are both handy for guitar players that play really quiet on stage, or use in ear monitors and have zero stage volume. I'd love to see one of these two added to the effects list in the Helix.

Sadly, no. I felt your pain for many years :)

Sorry I can't answer your question directly, but If it needs service you are going to need to remove it from the board... If it sounds good with electric, but not with acoustic.... are you sure you are setting it up right? The Acoustic (even through the HX Effects) still needs to go through a DI to head to the FOH... the Electric you would normally route to your amp. Can you share your routing setup so we can understand what you are trying to do?