jester700

Only if the design was optimized for touch screen in a way that made the UI more difficult for those NOT using a touchscreen. Which can happen, though given Line6's UI success w/ Helix, I doubt they'd backslide in this way. I could use more DSP power just for "all in one" presets, but other than that I can't think of what else I'd want in "Helix 2". Of course, I didn't know what I needed before I got a Helix, so I'm willing to let Line6 show me what I need again. ;-)

Sorry for the necro reply, but I was just thinking that if we ever get a 1/3 octave EQ effect (a 30 band EQ), we could make a 3 path split using this technique and only passing every third band for each path. That passes a fairly narrow chunk to each distortion effect, and the chunks repeat on the octaves. So, even less IM, and the IM that's there should be more musical, as it correlates more closely with the natural harmonic series. I THINK this should work better than a 3 band split that just crosses over to each distortion with a single passband as Craig originally did.

Yes; something like that would work. That thing, into the proper adapter cable, into aux in on the Helix.

Many simple harmony parts are just parallel 3rds with an occasional 4th thrown in here & there to make the line fit the underlying chord. These can be done with a momentary footswitch programmed to switch to the 4th interval when depressed. But it sounds like in this case you'd also have to have another footswitch to change keys for modulations and borrowed chords. That would get messy pretty quick. But your tap dancing skills would be legendary... ;-)

If you like the buds over the amp, I'm betting you'll like monitors. A guitar amp speaker is made to color the sound; earbuds and monitors aren't supposed to. They DO (ALL transducers color the signal), but they do so far less than guitar amps. There are many choices in 2-way monitors with 5, 6, 7, or 8" woofers, but I like larger woofers for generally more bass. Sweetwater has the Presonus Eris E8 on sale for just over $300/pr., which is a deal - but if you can you should try to go to a place where you can hear monitors in person. They all sound different. Also - since your amp IS coloring your tone, you might try turning the cab in the Helix off. That might be an improvement. What is it about your current sound that you don't like?

This is cool, and much more DSP friendly than the 4 band multiband presets I've played with. I usually used a Boss DA-2 Adaptive Distortion pedal when going this route, but now I can pick from several amps/pedals. Still like the Boss, though. Never too many flavors...

Remember that the simple pitch algorithm is monophonic. It'll work well for single lines, but won't sound as good on chords. For chords you should use the Poly Capo block, which sounds good but uses lots of DSP.

*pedantic mode ON* Technically, Bruce Springsteen. *pedantic mode OFF* ;-)

The most common "twin guitar harmony" is a parallel third, and iIf you set the key correctly, Helix will automatically switch between major & minor thirds. This gets you 80% of the way there, but a few chords will require a perfect fourth as the harmony note instead. For that you don't even need snapshots; you can assign one footswitch to toggle the harmony between the 3rd and 4th in the scale, and even make the switch momentary. IMO that's the easiest way to do this stuff.

It's a simple matter to cut down or eliminate the email pestering. There's a link at the bottom of every pester.

No, you can't adapt the USB headset mic into the Focusrite. It's a digital signal, so there's no adapter that'll work. Ideally, you want analog headphones you can plug into the Scarlett for direct monitoring, and an analog mic or headset for your voice. Probably $100 for both of these to start. Then you can direct monitor voice and Helix (if you're using Helix line out into the Scarlett).

No worries. To clarify, I wrote "to feed Teams" above, but you'll actually be feeding one of the low latency softwares that I mentioned from your Scarlett. Some folks still use Teams/Zoom for their video while using one of those others for audio, but I know at least Soundjack lets you send video as well - though I think it's lower resolution and black & white to minimize bandwidth. The sound IS the important thing. Good luck with this, BTW. It's not simple, but many have successfully done it and enjoy online jamming.

It's worse than you realize. The BIG issue with jamming online is latency. Over Teams/Zoom/WebEx there is SO much latency that it's impossible to keep time with another person. There are low latency solutions - SoundJack, FarPlay, Jamulus. You should google those to get an idea of what you're up against. Once you get that sussed out, I'd plug your LT into your Scarlett and use that to mix your guitar & a separate mic signal to feed Teams. As you say, you can't use both your Logi headset and another sound source at once on Teams. Incidentally, I'd use a wired headset as well - wireless ALWAYS adds latency. For that matter, your PC/Laptop itself should have a wired ethernet connection. What you want to do ain't easy.

You could do worse than just getting a DigiTech Drop and using it on those tunes. It's not perfect, but as good as I've heard for this purpose.

The above good advice hints at the harmonizer paradox: they typically TRACK better with a clean signal, but if used with distortion they SOUND better placed after the distortion. That's why Digitech's old HarmonyMan had a tracking loop; you could feed a clean signal to the detector, but apply the effect to the main signal. Of course, this added wiring complexity to your rig. tjbassoon's cool idea does a similar thing, with the bonus of being able to shape the paths sounds differently. To sound best, IME any distortion generator (be it amp or pedal block) needs to be placed on both paths before mixing. This uses more DSP but allows your "harmony voice" to have a different amp. I still think the HarmonyMan is slightly better sounding, but I waffle on it when I compare. They're close enough that I never use the pedal these days.

A bit bright. They work well, and many like the sound, but I've moved to the NAD HP50 for music as it's a bit more neutral IMO. I used the Sony as an example because I don't think it's about impedance in this range; they should all work fine if you like their sound. I DO like the Sony for forensic audio; the hyped response really brings out noise if you're trying to clean up tracks. I use them for dialogue work. I need sealed cans for isolation, which is why I chose these models. If you don't need that, there are lots of other great options - your AKGs, a bunch of Sennheisers, Beyers, etc. Any way to borrow some other cans to see how they work with your interface?

It DOES use a ton of CPU (as do all the poly pitch shift effects). That's why I still use my Mosaic when I want this effect.

It's not like 55 or 47 are that high an impedance for headphones. The original K240s (and many classic high end hi fi models) were in the 600 ohm range. My Sony MDR7506 are 63 or so and work well with my Scarlett Solo and 2i2.

That's a parallel path. Here's a good post on it... https://www.thegearpage.net/board/index.php?threads/my-1-helix-tone-tip-parallel-signal-paths.2162145/

If you got the Sonys, you can also get velour replacement earpads for Beyer DT250s. They fit perfectly, and I like them better than the pleather ones Sony uses.

I've had good luck with some studio monitors. Mine are JBL 308s, but any good monitor should work. I have outboard bluetooth devices as well as my PC connected through a 4 channel audio interface.

I think most folks understand how feedback works in a normal situation. But in non-normal ones - like playing or recording through headphones at night - might still want a full-on feedback effect, or even that edge-of-feedback sustain and edginess. That's why I got a freqout. It's ok. It's not the same feel, but it'll do when you can't crank up. I'd love to see a version of it on the Helix in a future update.

My go-tos haven't changed in a long time. Though I like trying out and playing with new ones as they're added, I always seem to return to these. Archetype Clean or Litigator for cleans, Litigator for bluesy crunch, and Archetype Lead for anything heavier. I like the Matchstick when I'm doing something Voxy. I changed my usual distortion from the Minotaur to the Heir Apparent and a couple other FX changes, but amps are pretty much unchanged.

QFT

That site mostly tested gaming headphones (with microphones and PC/console connectivity beyond just analog inputs). There may be other suitable wireless models out there for home theater, but the comparisons I've seen usually don't emphasize (or even mention) low latency. A 50ms delay is typically seen as "great", which would be bad for our use. This makes sense; you can get away with more latency for movies (or adjust in software). Games are more demanding, and playing guitar more demanding yet. Testing headphone latency can be a challenge, depending on the gear you have. A stereo recorder or interface would work. Split an incoming signal at the input of the headphone's base station. Feed one of those to one recording channel. Put an analog mic on an earpiece and feed that to the other channel. Record a signal with some kind of sharp impulse - a test signal or percussion sound. In your DAW of choice, measure the time difference between the two channels. Make sense?