brue58ski

One of the problems with this kind of thing, at least for me, is you can describe it forever, but until I hear it, I don't quite get it. It's the same with this. I could describe it forever, but it's just easier if we were in a studio and I moved the mic to show you what it does. Here's something Comedia posted that could help but is definitely a generalzation. This is extremely rudimentary, but it may help. too immediate.... pull the mic back too distant... put the mic closer too bright... move the mic toward the edge too dark... move the mic toward the center some mics have proximity effect.... if they are too dark, pulling them back reduces the low end and vice versa Keep in mind... every 1" you move a mic makes a big difference. Sometimes a little movement is all it takes. Studio engineers will spend hours with mic positions before they touch an EQ.

I was thinking it could be for a show or a play.

There's two ways to do this. This is assuming the Variax standard you have is the one with the JTV's hardware and not one of the original ones. If your Variax does not have any pickups it's an original Variax. If you have an original Variax and not one with the JTV hardware, only the second method will work. Method 1) First, for both methods, tune the Variax in Workbench to the banjo tuning. If you save this to the Varaix, that's what will come up when you call it up on your modeller or from your Variax. The one string that will be different which ever tuning you use will be the 5th string. The G on the 5th string is a hi G. One way to get it up that high is to make the banjo a 12 string instrument in Workbench. In Workbench, totally mute the 6th string. Then, turn down (essentially muting) all of the virtual sympathetic strings to 0 except on the 5th string. That string should be tuned up to G and there you turn down/mute the regular string to 0. This brings the virtual sympathetic string that is already made to be one octave higher, up to the hi G. This sounds terrrible by the way but the hi G will be there. Good for practice only in my opinion. Method 2) The other way is to capo the 5th string up that hi. You can raise the pitch of the 5th string as hi as you can go without it sounding terrible and then use a partial capo on the 5th string to get the proper note. The problem with this method is there are no two string capos. Well there's one but it isn't great. It's here and out of stock currently https://www.woodieshanger.com/shop/woodies-g-band-ii-2-string-partial-capo/ Schubbs has a 3 string parital capo that you can manuever to capo two strings. It's not great but it will work. Just don't bump the capo. Hope this makes sense. I'm not at home so I may not get this exactly correct. Good Luck

Ooooo. Craig. DAW automation is something I would be very interested in learning better.

I don't know if you saw this but the new amp blocks are all IR's now. So if you move the mic to 2" from the cone angled at 45 degrees, an IR was created for that. Thousands of IR's were created for the new cabs. So technically now the cabs are IR's with an easy to use interface. I'm kind of hoping that other IR creators will be allowed to "fill" this new inteface with their own IR creations. I know that would require a massive document on what can be used and how. But it would be cool (I think). Depends on what the price would be).

It is true but it was a Sunn PA amp, not a guitar amp. I actually already knew that. It's in the article I posted above. He ordered one and when he got it, expecting a guitar amp, it was a PA amp. According to the article, it actually acted like a master volume amp, of which there were few to none at the time. He liked the sound he got out of it, so he kept it. I don't know how close you can get with the amp in Helix but it is not the same amp. At the very least, it is my understandeing that the sound you hear on MIssissippi Queen is the Sunn PA. Not the guitar amp.

This has all the info I wanted to know about the Sunn Amps. Sounds like they were originally used by bands in the '60's because they were loud and PA tehcnology was virtually nonexistant. https://stringjoy.com/the-history-of-sunn-amplifiers/

Jason Sadites already has a video up about it

Doesn't Joe use a Fractal Ax FX product? Don't know if it's just for FX or he actually uses the modeled amps.

Shipping issues aside, I hope Line 6 plans on making these batteries for 20 years as that's how long I want to use my JTV Variax for. Highly unlikely I know. At the very least, find an option for us who have supported the Variax with our purchases. I'm glad I kept one of my original Variax's. At least I can use off the shelf batteries with it.

One thing you could try to mess with is the input impedance. It's probably currently on AUTO. Try the different settings on that. Otherwise just put a GAIN block right after the guitar and turn it down until you get what you want. Two quick suggestions.

Thank you for this. I would like to try it in the near future for Workbench HD compatibility. No time right now. I've always wondered what I would do if the USB interface i have died since they are hard to get right now. (I think)

One other funny thing.. The 3.1 update was in April 2021 so the Gear Page Forum, 3.2 thread was started before the 3.1 update dropped. It was all of the memes that were making me laugh.

Yeah. Unfortunately, I do check it out fairly frequently to see if there are any informational bread crumbs from Digital igloo. What's wrong with me? they did crack me up today.

The funny part is the 3.2 thread was started in Jan 2021. It's actually pretty impressive considering the lack of what it's subject is since then.

I've had this issue too. I have it with the Line 6 UX2. If I boost the audio enough that it appears to have a good signal, it distorts. I'll be curious what responses you get.

Just my own curiosity. So if I plug something into the right side only, it will only appear on the right side of the path until/unless a mono block is used? But if you're plugged into only the L/Mono, it will appear on both the Left and Right sides?

It's my understanding that the "rebuilding presets" occurs whenever it sees a preset that's not from the current firmware version. I think that the rebuilding action can lead to corrupted or just incorrect older patches. Not always. Just some of the time. It works most of the time but i've had to rebuild older patches before. I would rebuld the patch from scratch, using the parameters in the one you have now. It should at least give you the patch you're looking for.

According to the manual both inputs are always active and they are both on all the time. No description about the dfference (if any) whether both inputs have something plugged in them or just one input does.

You essentially have two choices. just put it between your guitar and Stomp input. Of course that means it will always be the very first thing in your patch. The second choice is to use the FX SEND/RETURN. Hook up the SEND to the input of the POG 2 and the output of the POG2 to the L/Mono RETURN/AUX IN. Now the SEND says it's stereo on the side of the unit. I do not know if you HAVE to have a TRS 1/4" to two TS 1/4" plugs adapter, or you can just plug a regular TS 1/4" cable and it will handle it. The main reason for doing it using the SEND/RETURN is you can then put it anywhere in your signal path you would like to. One more thing, I do not have a stomp, just the floor Helix. On the floor Helix the SEND/RETURNs have two different levels, Line & Instrument. Make sure that's at the right setting ( should be instrument). Also if just you put it between your guitar an the unit, the floor Helix has an input impedance setting that will probably change how the POG2 sounds. Mess with that if you're going to do that. I have no idea what the proper impedance is for a POG2

No picture. It won't open. Message that comes up implies that it is corrupt. The two Marshalls are probably not neutral. Speakers generally affect the sound more than the poweramp. Try the amps in the Helix without the cabs. I had a Vetta head and ran it through a Marshall 1960A. It definietely has it's own voice. I rarely used the Vetta's modelled cabs. BUT, once I got a "sound" I would quickly run through all of the cabs, treating them like a bunch of custom EQ's. About 1/3 the time, something nice would come through with one of the modelled cabs. So my advice, run the Helix with the amps only, no cab. Once you get close to what you want, run through all the cabs to see what happens. There is the IR rabbit hole as well. Hope this helps

To reiterate whats been said, if i'm playing a room, I use little to no reverb and just let the room do it (unless it's for a specific effect like a distant guitar on the horizon). I have played in a movie theater and it had NO natural reverb at all, so there are exceptions. But mostly, I let the room do the work for me and just add delay if i want. It just seems more natural and blends better with the rest of the band.

In other words, delete the amp that's in there now. Now, there should now be enough DSP for a different amp.

As you say jester700. There's more than one way to change the parameters. Since I only had two settings for the Hotel California patch I used the Expression pedal to do the switch. Just because it's a bigger "button". I love that the Helix has so many options to solve problems.