njglover

This. In the global settings you can set the volume knob to control all the outs or only one of them. Usually I'll set it to control only the 1/4" outs, which I will use for personal monitoring on stage while the XLRs are at a fixed mic level signal (also configurable, but mic level is probably better) for FOH. If I'm not running to FOH and just using my FRFR, I'd probably switch it so XLRs are controlled by the knob. And when I run bass, I usually set the knob to control only digital so that XLR and 1/4" are at fixed levels (XLR to FOH, 1/4" to my bass amp at instrument level).

Hey, that's a pretty good IR! I picked up the Mark V one, it's a little boomy on the bottom (which isn't totally unexpected) but otherwise pretty nice. Which got me back in to playing with IRs and now I think I like IRs better again... There's one OH IR in particular that, when I compare to my recorded tone from my band's album, is very nearly identical. And if I take that track out of the mix and play along, it sits in there super nicely. I wonder why it didn't sound as nice through the FRFR, I'm gonna have to mess around more...

Studio One has an IR Maker, I might mess with that (though I'm not sure if my Surface Pro has enough power to crunch that). I honestly can't imagine Line 6 won't ever add a tone match thing. They have a mic input and they have IR capability, the only thing holding it back is software. Might as well add it eventually. That would definitely be the easiest thing to do.

One of these days I'm gonna have to figure out how to do real IRs. Really I just want one through the power amp of my Roadster into my Orange 2x12 miked with a 57 into my UA preamp. Then everything would sound just like I'm used to, theoretically. (I tried the IR you made of it but it was boxier than the real deal)

And what amp are you using them with? Like many of you, I found myself digging the Helix, but not feeling like I was 100% there until I started messing with IRs. However, As I've spent more time plugged in to an FRFR, I've found myself returning to the built in cabs for many of my sounds. I find them to be more clear, even if they are a little too bright when listening in headphones. I don't have a lot of experience with IRs beyond the Ownhammer ones I bought (that are largely collecting virtual dust), so I'm curious what cabs or IRs everyone else is digging. The specific one, if you please :)

Yeah, there's a PDF in there that describes what everything is. Quick Start is usually the best place to start. Use that to find a speaker and mic (or mic combination) you like, then dive in to that subset and go through the distances to find the exact IR you want. Sometimes useful to have a couple that might work in different situations (a mids heavy IR, a scooped IR, etc).

What, you mean they didn't anticipate and model that? Gosh, Line 6. I've played with using volume swells instead of an ebow, but it's just not the same. I was trying to avoid bothering since I only use the ebow on one song, but oh well. It's not like it's a big hassle to bring along.

Your assumption is incorrect, the cab models absolutely do produce those frequencies (as is evidenced by the fact that you tried it and it made a difference). I have also noticed a little buzzing happening with a Tweed model I am using, but I only started noticing it today on headphones and it's fairly slight, so I'm not sure if it's an actual issue with the model or just a quirk of the amp that was accurately modeled. I don't have anything to compare it to, so I can't be sure.

I tend to disagree. The 57 model, for example, has way more high frequency content than any real 57 would. I don't feel that the frequency response of the cab models is terribly accurate, so high cut is pretty much necessary to get a more realistic tone. But definitely play with mics and positions, too, those make a big difference.

Try bringing in the high cut filter on the cab, I find that bringing it down to 11.5 kHz or thereabouts yields the best results for distorted tones in particular. Guitar speakers don't generally produce frequencies higher than that anyway.

Make sure you are pressing and holding down on the knob for the split, NOT touching and holding the footswitch, to assign the control. It defaults to an A 100/B 100 toggle.

Seems related to my issue with A/B splits. Those are set by default to reduce volume by 3 dB, so if I'm using it as a way to switch between two separate paths, I have to boost the merge block by 3 dB to compensate. I would much rather the merge block say -3 dB in its default state so that it's more obvious that it is reducing the volume rather than me having to guess that that is what it is doing.

If the venue has a decent PA, I'll run direct to front of house and have them mix me in. My FRFR would be used facing me (away from the crowd) strictly for monitoring purposes. If they don't have a decent PA (ie would not be miking me if I had a real amp), I will still wedge it but put it behind me facing out instead. FWIW, if you don't like how it sounds coming out of the Bose, you aren't likely to like how it sounds coming out of an FRFR. The Bose is designed to make everything sound good, an FRFR is designed to make everything sound how it's supposed to sound without any sugar coating.

I recently discovered that, even at a relatively nice venue with a relatively nice sound system, an FRFR (or in ears) is still essential for monitoring myself on stage. I tried my first go at using only what they had for monitoring and I just about destroyed the monitor trying to get enough volume to hear myself over the other guitarist, but since he had his amp plus the monitors, the overall volume from him was much greater. Will be bringing my K10 to every gig from now on... it's a pretty decent speaker, relatively light with a nice handle, plus it has a really wide listening angle so it works really well as a wedge.

I have also had it freeze up a couple times. The last time was when I copied a block from one setlist and pasted it into a preset in a different setlist. I was not hooked up to a computer at the time, as I often forget that I can do that in the first place (it's so easy to edit on the device I just don't bother most of the time). In this particular instance, it seemed to lock up the instant I pasted the block. Power cycle fixed it, as usual.

I have never had it change the dim/lit state unless I accidentally touched the switch and selected the opposite pedal, which is actually a real concern since I often practice barefoot. However, since it saves the selection with the preset, it doesn't actually matter since it will display correctly the next time I pull it up. If you get confused as to what means what, just rename the switch. For example, I have a song where the intro requires extea gain, delay, reverb, and a phaser. I just name that button "Intro." Rather than name by pedals, name by section so it makes more sense what the on/off state indicates.

FYI the master volume controls power amp distortion more than actual volume. Anything above 3 tends to color the sound, not actually make it louder. Channel volume is what you want to turn up for actual volume increase.

The one I use the most is the 4x12 Cali V30 since a lot of my patches involve the Dual Rec. I set the mic to the 84, distance to 3.5", low cut off, high cut at 11.5 kHz, and early reflections at 20%. Before I decided on that one I was digging Ownhammer's Mesa 4x12 Standard on the MDRN-04 IR. For a mildly dirty tone, I've got a Marshall sim running ito the 4x10 Tweed P10R with a 414, 3.5" distance, high cut at 12 kHz, and 20% early reflections. I also like Ownhammer's DLX 112 IR using the C12 + P12 with a 57, but I don't remember which one I'm using. I also use their SPRVRB 410 C10R with the 57. At the moment, a lot of the IRs I'm still using are primarily because they seem to work fine for what I want and I haven't had enough time to really play with them through my FRFR and see if there are cab models that do a better job. Mostly it just depends on the sound I want. I have heavy Dual Rec sounds, vintage sounds, clean sounds, dirty tweed sounds... the Helix has really been a help to me because I love to mix up my tones from song to song.

So put it on a pedal board, like others have done. No one is going to integrate wireless into their modeler, that would raise the price by at least a couple hundred dollars to add a feature many people don't even want. So it's not really a fault of this unit that it doesn't include a solution for this one particular need. The G50 is designed to be put on a pedal board, so it's no worse off being bare on the stage.

I'm not sure I quite understand your complaint/issue. I have the Helix floor version. If I wanted to have my guitar be wireless, I would just plug the receiver into the guitar input (or the aux input, I suppose). Since it's all modeling anyway, there's no benefit to plugging directly in to the Helix unless you are taking advantage of the input impedence settings on the Helix since, by default, it uses a 1M load, the same as their wireless systems. The Helix then goes straight to FOH or to an FRFR if they don't have much of a PA. Those connections COULD be wireless if you really wanted, but I have never been to a venue where they are, and since I don't generally move the Helix while I play, I don't see any reason for them to be. Is the issue that you have a rack wireless receiver and don't like the idea of running a cable from the back to the front? Most wireless systems are half rack at most (notable exception is the G90) and can easily be used next to the Helix, or mounted on the underside of a pedal board, or mounted on top of a pedal board. If you have to have a rack, then the rack Helix is the better option. In that case, you have a single cable running from the rack to the floor control unit, which is really no different than a pedal board and a real amp (actually I had a snake plus a footswitch cable in my real amp setup).

I messed up the order of my IRs yesterday and had to start messing around again, so out of curiosity I loaded up some of the Helix cabs for comparison. I live in an apartment so I'm usually listening on headphones, but I finally had a chance to play theough my FRFR and it's a whole different beast. While the IRs I so painstakingly picked out sounded great in headphones, I actually prefer some of the built-in cabs through the FRFR. The IR Recto 412 was noticeably muddier and thinner while the Cali 412 model was full and really clear. I suspect that when I record I may still want the IR, but live the Helix cabs often seem the better choice.

So... nope, not fixed. Sigh... On the plus side, I got some more time to actually mess with the Helix through my FRFR (I live in an apartment so normally it's just headphones) and, since I had to giddle with IRs anyway, I discovered that actually I prefer some of the built in cabs over the IRs I obsessed over.

Shoes mostly have rubber soles, so there shouldn't be any static discharge. I do play without shoes on frequently, though... I have done a factory reset and cleared everything, then I reinstalled the latest firmware, reloaded the factory presets, and reloaded all my stuff. Sadly, I did not realize that it doesn't attach the numerical order to the IR files, so I'm probably gonna have to fiddle a bit with a couple of my presets... That's alright, I know generally which one it was, just not sure exactly which mic... Practice tonight, so I will play with it and let you know. Though I suspect it will still be there. I've noticed that if I push the switch purposefully it's usually fine, but I can, for example, push it all the way, let it up until just before it clicks again, then push it back down and it will still trigger. So I suspect it's just a faulty switch. Not hard to replace, I'm sure, I just don't have the time to send it off right now...

Nah, they aren't set to momentary. I thought that at first, too, but no such luck. This has only been happening for me since the latest firmware update as far as I can tell, so it's pooooossible it's related.

It could potentially be just a dirty switch, I suppose, as it's not a switch I use regularly. But the rest of that row is fine. It does seem like if I use the switch a bunch (as in just click it rapidly) the issue lessens, so that makes me wonder.