PeterHamm

I can see a value in using two units together, but not those two. Eleven is too old now and has nothing you need I bet. But it's a good backup!

Not kidding. This is the solution.

The article on two voice with Helix in my signature is all about this.

Yes, I was, you have GOT to make the global setting first to hear anything out of a mic.

I would submit that there is not one single other thing they put in there that in any way diminishes everything Helix could be for guitars. And pretty much everything in there is primarily for guitars, even the stuff that might look like its not.

Separate the amp head from the cab. Now, use whatever amp you like, early in the chain, with your mono FX like distortions and comps and such. Now use a DUAL cab and make sure that everything after it is stereo.

This is so true. My own recording that I do is just me, doing one instrument (but sometimes multiple tracks - acoustic + electric + schmaltz or second amp) at a time. Go much beyond that and I think you need a serious interface.

That is an important point right there. If you are buying this product MAINLY to use as a primary studio recording interface, imho that is crazy. If you are buying this product to use as a guitar processor and also to use as an interface in addition, that's totally I think what it's designed for.

What did you set the preamp gain to? I find 24 or 27 works well for me.

I don't think the latency is much of any problem, since there are ways to use Helix direct (even if you are recording dry tracks) that are simply fabulous. The real question is I/O quality and flexibility. For quality, it is good enough that I no longer use any other interface (I was using a MOTU Ultralite MK III that I liked very much) for bass, guitar or mic. For flexibility, as long as you are one guy doing one instrument at a time, I think it's great. Also, I've done 3 stereo tracks of simultaneous recording a LOT with zero problems with throughput. If you are recording a full band, obviously, it's the wrong tool for the job.

You decide that by which IR you choose or which mic model you choose for your cabinet in the cab block.

That sounds right. Yes.

Is that the split or the merge. Just checking all the boxes. But if you have the split set to Split A/B split 100, yes, you're right, it shouldn't halve the signal.

What does it matter. You have to launch an app, whether that's a standalone or something like MainStage, what does it really and truly matter? Standalone would be cool, but, frankly, useless to me anyway.

Helix output sampling rate? I don't know for sure, but I always set it where I need it for my DAW just in case. Default is 48, I never leave it at that. How are you routing to Helix for re-amping?

Some of the delays have noise and headroom parameters that can cause this. If that's not it. Pm me I would be happy to look at your patch for a amoment.

Wait, if you are trying to get the FX in Helix to record to the DAW, the USB 7 and USB 8 stuff won't help you, that's just the raw sound. So... The output block for each path is where you have to go. Make one USB 1/2 and the other USB 3/4, and monitor through the DAW. Done.

Because of the split, you are only getting half your signal INTO the amps.

IRs, new ways of modeling, flat response microphones... ...with all due respect, all of it misses the entire point. A 12" guitar speaker moves air in a completely different manner than any reasonably flat full range speaker system does. Your ears respond to air moving. End of story. You want an amp in the room? Get an amp and get a room.

As the poet Montgomery Scott once mused: "I canna change the laws of physics"...

You misunderstand. I didn't say you can't, or shouldn't. I just pointed out that the design of Helix seems to really be designed for use with a single player in the manner you are using it (successfully). Otherwise it would have more than one XLR input (I was rather surprised when it didn't have two like the "Pro" pieces like X3 Pro before it actually... would have made your life easier for sure). It was most certainly, I think, not designed with what you are doing in mind as a primary function. But let's remember that the Bassman 4 x 10 amp wasn't designed for guitar either, and look what happened! Virtually no bass guys use it... but it became the whole basis for the amps that made rock and roll great. My own experience is that trying to use a single piece of gear like this for multiple players is ultimately frustrating, though. But if you can make it work, that's awesome for sure! I certainly don't use Helix the for what I think it was primarily designed for. I'm running 3 and occasionally 4 sounds through it at once in a manner that I'm pretty sure wasn't thought of as a primary function.

But it wasn't designed to be the hub of your whole band. It was designed to be the hub of your whole guitar system. Sure you can make it work... but I know, for me, I wouldn't want to. That said, most of my patches do have 3 separate chains, so I kinda agree with you I guess, although all three of those come from one instrument.

yes, full volume. I do something similar. Other way around because I like sending a signal from a DI to the board and the XLR to my on-stage monitor.

Have you backed off the tone control on Variax? I finally learned that was everything.

First off: no apology necessary. It's the internet. Speak your mind. I have thick skin. But thanks. I'm not surprised that your Taylor sounds great with no IR, actually. They have amazing electronics. Now... a little something NOT intuitive about Variax that might make all the difference. If you know this, my apologies. If not... you're welcome. The tone control on the amp models is NOT a tone control, it's a mic placement thing and "10" almost always sounds the worst. Honestly, you might be surprised that this is all you need to do. NO IR with Variax, it already does some modeling built-in. Also, the tube mic pre model can warm things up a bit. Sorry, I don't have a Variax anymore, so I've never made any patches for it. let us know how it goes.