bjnette

Check out the manual as read somewhere here recommended were 200ohm h'phones. But the question is those ATs are great for recording and have a fairly flat response so what you hear is what you get as opposed to hyped hifi h'phones with "deep bass" etc. The question is as they are opened back phones can you get loud enough to drown out the acoustic sounds of your notes as your playing? They should be able to handle a fairly high spl. Make sure they are correctly working? This might mean monitoring on an interface as I just noticed they were 35ohms. But here is the truth factor! Trust them. If they are distorting easily it means your patches are too bass heavy. Trust them! I use isolation h'phones for the HD but I wouldn't mix on them but I do trust what I am hearing when they cant handle a signal.

When life is a breeze some need to make some waves to agitate others and it makes their life seem less dull. Answering and responding to the agitation only grants life to it. When it gets down to it, I agree, it is like splitting hairs. At the end of the day practicing and improving is what matters as a real pro can make anything sound good!

Oh yeah! now that is a solution!

I checked and the inner shaft goes deep. Some compressed grippy foam will fit into the outer area like it was designed to fit. Some cut size; shouldn't raise the knob by more than a mm if that to create a nice resistance.

Another idea is to do what some guitarist do on their volume knobs to save accidentally turning it down Rubber tap washers that fit or compressed foam cut to shape under the knobs. This way you have to physically move the knob to get change and gone are the slight wipe drastic shifts.(I'm going to do this one)

LOL LOL

My daughter is living in Denver now with husband posted there, so I could get her to buy it and send it, pay the customs duty and be in Helix heaven. No doubt this will happen as I plan to start giging again but as a bassist I got a good couple of amps now and really dont need Helix for bass. We will see. It is never the money but I just can't bring myself to spend that much on a device that is not a guitar or amp when I have two HD 500s that are perfectly adequate. I know it will only be a matter of time before I get one. I know! I guess I could just sell off all the cheap stuff I got and put it toward a Helix. Okay I am sold, That is how I can do it! Cheers

Your not just talking about the amp controls activating on the screen. It is a pain. cables seem to love it in there like a tack and pulley I'd suggest a ridged black foam used in packing. Just cut out knob positions like a guitar or mic case and tight fit on top.

And better than. My Native Trial has ended and I really like the Helix FX and greater parameter control. The depth and detail is really something. Excellent! I would definitely get a Helix if they were not so expensive here in Sydney. I can understand why someone would buy it after the Native Demo. Very clever giving us a taste like that! IT is almost enough to get back in a band instead of mic nights and freidly jam sessions. Professional jealousy explains much of the negative trolling and there is also such a thing as defending one's buying position as the best decision.

Headphones are not going to give you the feel like your tube amp in a room. If you have any recordings made with the tube amp try and match those in your HD. Check out this video as it does apply to making HD patches. Cheers

There seems to be a dual save function. Save to disk and the other is within the user presets & setlists.

Check the input jack for a fault, loose connection. unplug from power, press and hold SAVE button while plugging in, toggle the DRIVE knob which will give you input choices (guitar, usb left, usb right) keep it on GUITAR, unplug and plug again. Check the input jack for a fault, loose connection. Re try the RESET of HD300 Save your patches first http://line6.com/support/page/kb/_/pod/pod-hd300400/video-tutorial-pod-hd300-400-factory-reset-r214

Yes, he wants to go from HD to Amp input and it sounds harsh. You can give it ago, the HD has a menu setting to set the type of amp you are going into, stack, combo etc. Try Direct out too. There should also be a toggle to set the HD to instrument instead of line. Try this as well. In your HD use only guitar as input 1 and set other input to variax or aux. This will cut down too much level and noise. When you have got it as best as you can you have the global EQ to help remove any offending high end. You also have a shelf in the output mode of stack and combo and rolling off the high end will help and lower the focus frequency down to the lower mids. You should be able to get it sound okay. Check out 4 cable method as what earlier replies are inferring is you can put your noise gate, overdrives etc in front of your amp's pre amp and put time based FX like delay and reverb in the return after your amps preamp and before it hits the power amp. This is the best way to get what you want and more.

Yes a clean tone has a much wider meter swing where amp and or pedal distortion has less and more constant. The meter reading you need for visually checking is db in RMS. This is an average reading of volume and is more accurate and how the ear perceives sound. Peak readings are not usefull for actual perceiving volume, but good for ensuring there are no overs in the digital domain. I have a VU meter and it works and shows an average. There are free versions of these as plugins and are more valuable at seeing what the ear hears. You can also buy a kit https://www.jlmaudio.com/shop/vu-meter-kits.html to turn a cheap VU meter into an actual audio VU that can be buffered from headphone output of your HD. And you could build it your self following the tutorial from Audio Technology magazine. These are designed for mixing so you can be sure of the power of a track or mix. But for now here is a primer on VU metering and a free one to download.http://www.mixitecture.com/learn/why-you-need-vu-meters

I think the s/pdif out has it's own level control and separate from the main vol.

If using full amp models lower the resonance and thump and the amp model's bass ,use the low end cut to tighten it up.

It can also happen that the PA out front up high might be fine out in front of house but not<br />on stage and not with in ears.<br />To get some trouser flapping use an amp on stage or at least a couple of wedges.

Make sure your rack, power outlets are vibration free. Remember Helix is computer afterall so<br />follow the same precautions.

I'd love one of those 80's Peavey Chorus Amps. They have a stereo channel and often thought would make a great stage amp for a HD or a Helix. I will be picking up my old Renown at my folks place as I was recently reaquanted with how loud and clean good they sounded using the exact same early one with the output transformers in it before the 400 series. I was re amazed how clean it would remain cranked using my friends one and explains why they get some love from gigging pedal steel guitarists. The downside; you need a roadie as they are so heavy and ideally the Stereo Chorus is the go for a Helix. The plus; can be bought for grocery money, proven reliability practically maintenance free, outdoor concert loud, outdoor concert loud and American made when 80's was the pinnacle of heavy metal and solid state ruled the world.

Yeah best go on you tube and follow along on guys making patches you like. It is easy to do onboard or in EDIT software. Some patches are for Variaxe guitars in and some are for DT amps and can get confusing to work them until you got a ahandle on the unit.

How to translate an interface so that it will respond predictable when back on the Helix That is indeed a good question as Helix also has auto impedance detection. There are some interfaces(expensive) that will also do it but plenty do have Hiz inputs for guitar. Another way is to use an amp with a DI out or a line level out into your interface. But I guess if you check the Helix input on the DAW channel meters when you disengage any FX and Amps. or via s/pdif into an interface or Helix DI out and note the levels. Also record a Helix patch that works for you via s/pdif on a track in your DAW Then dry s/pdif into another track with Native loaded with the very same patch and increase s/pdif output till it matches the level recorded from the Helix track. This will then be your reference for setting interface for Native without using Helix and should translate back as needed. Hopefully. There might be a better way; Use the s/pdif from Helix into your DAW and note the patch level reached. Deactivate any FX and amps. Note the level on the DAW track. Load Native with the exact same patch and note the track output level or Native out level. Trim NAtive so it matches.

Perhaps what is missing is what are you using as an interface. How are you going in and what instruments are you using. Really you should be able to go in and just set your interface gain so it is around -18db or so. You can make a high or low impedance pickup whatever you like this way. This is normal to adjust the gain as needed. Using the Helix input level to push the level up will mean your actual level recorded on the track will be low. You want to use half of those bits at least. Helix Native is not an input device. It is a plugin. It doesn't care what the pickup strength is. All you need to know is the optimum level into the DAW and Native input level (think of it as a trim) to set the gain to on your interface. That is -18db FS and peaks about -12db FS. decibel figures are only meaningful when referred to a known constant. It could be dbu, dbrms, dbv, dbfs or others A pickup is minute in electrical value and needs pre-amplification. Nothing to do with a plugin or a DAW except the value recommended as it's input. I hope this clears it up for you. Cheers

If you are talking about gain as in like from an amp before Native then yes you might only need to run a cab in Helix or the like. Otherwise it is simple, How much gain on audio equipment is how much headroom does a piece of gear has before it distorts. And a little of this might be desirable if you run your guitar thru a 1073 preamp. If not a high end preamp but more like a preamp on an interface it will be called gain, trim or output level or a combination of these. All you really need to do is make sure your output level going to you DAW is as described. Select a track in your DAW. Set it to record on the input channel your coming in on and look at the meters. Usually the input level on the track will be as it is coming in in your DAW also reflected in Native's input meter. Raise or lower the preamp gain/volume so your level hits the input meters at no more than -12. OUTPUTS PLUG INTO INPUTS

AMERICAN MADE I still have my Peavey solo series Renown 212 which is just incredibly loud and very heavy to lift back when big and heavy was boss and solid state was the go. AMERICAN MADE Mine is road worn but probably one the most reliable amps ever. Been a while since I needed it it. (note to self to get from my folks place next visit) It does that 80's sound because it was that 80's sound. They have found favor with pedal steel guitarists for keeping clean for concert loud. Those older Peavey Bandits are amazing amps too and like the Renown's very underrated for a solid state amp. Buy AMERICAN MADE before they start going up. And even the 212 Chorus (I still want one)was good but not considered worthy against the RC120 snobbery but I reckon every bit as good in some regards. Stereo channel and for digital chorus and reverb pretty lush. Moderized with a HD or a Helix and your good to go and you will look cool with a roadie mate to lug it in and out. He might even buy you the beers just hang with you guys! LOL None of this hold a 1000 watts by your little finger stuff. You needed a road crew. Seriously it made the band more a band I think. I dont have my Peavey 300 watt Bass Combo as it was stolen years ago. That was an awesome amp. Back in those days loud and big impressed and hard rock n roll and heavy metal ruled.

In the old days of tape you recorded as hot a signal as you could to lessen any noise floor and tape hiss. We could in fact hit the meters into the red and the tape would saturate (soak up)the magnetic particles on the tape. This is now considered a desirable and missed artifact in recording with digital and there are plugins and FX that simulate the soft compression that tape did. Now with digital especially at 24bit depths zero is the max headroom you can get and in gain staging leveling this is\ equivalent to hitting your VU meters hard to the pin. Now if you are using outboard gear like an analogue mix console which operates at -18dbv or the like you gain staging runs out recorded at near zero on the peak meters and you will have to attenuate the level at mixdown. You will have to do this in your DAW as well and here is the adverse effect. You amplify your guitar to make the sound but in your DAW you'end having to turn it down on the input trim or fader. In other words the opposite; quelling it. What you really want is to open your tracks up with some EQ and get some sense of amplification. The way to do it is to record averaging -18db Full scale on your peak meters and peak about -12db. There is no possibilty of digital overs ruining your recording and when you go to mix the trim doesn't have to come down much if at all. This is especially an advantage to mixing down out of the box when you go back to analogue spec'd gear. It still applies in your DAW. Now you could record at just below peak on your meters and as long as it stays out of the red. Never clips, ice picks. you should be okay but your mixes run out of head room from the get go and you then once recorded lower the trim or insert a trim plugin to bring the volume down to get some headroom for your EQing, fader moves group buses and of course plugins like Hx Native. If you record at 32bit depth you wont hear the ice pick clips until you mixdown is listened to. This applies to Axe FX or Eleven Rack as well; like the HD500 and the Helix they can sense the input impedance before it processes it adjusts. In the box, plenty of plugins apply limiting trickery to their inputs to save their plugins from sounding bad and betting a bad rap. If you apply this standard approach to your recordings you will get better sound out of all plugins you use. It will sound more open, have more depth (genre depending) and gone will be the harshness of maximum digital bit processing thru your gear and DAW. Most interfaces have fairly high tolerence for various input impedances but you might have to manually trim them as needed for higher output guitars Some auto match your guitars impedance or you could use your Eleven Rack or Axe FX DI out.