cruisinon2

You don't... it's a hardware problem. Once a bunch of pixels are dead, they're dead. Screen needs to be replaced.

Lol... every big box Megalomusic store in the world is the same. I learned long ago that the average counter-jockey in those places is ill-equipped to demo shoelaces, nevermind the likes of a Helix....;)

Lol... well it may or may not be true that most open back cans tend to have higher impedance ratings, I honestly have no idea. The pair I have (AKG K701) clearly do not support that generalization, but even if it's true as a rule, it's not particularly helpful information because it just causes unnecessary confusion/ assumptions. They could just as easily have said "Impedance matters. Make sure that you match your device's power output accordingly", and they wouldn't waste anybody's time... oh well, lol.

Helix's headphone amp neither knows nor cares if you're using open back or closed back cans. There's either enough power to drive the headphones you've chosen, or there isn't...and that is a function of the can's impedance rating, relative to the headphone amp's output. The physical design of the headphones isn't part of the equation. If you try to use a pair of super high impedance cans, you may find that the volume would be insufficient without a more powerful headphone amp...but that will be the case whether they're open, closed, or anywhere in between. FWIW, I've been using a pair of 62 ohm, open-back cans for years with Helix without a separate headphone amp, and have had no issues.

Yup, first thing in the chain after the guitar... just toggle on/off as needed.

No... you can't run two patches simultaneously... but even if you could, in this case it wouldn't solve anything. Think about it... Helix has 'X' amount of processing power. The DSP limit is a fixed value based on the hardware. So it wouldn't matter if you spread out all the stuff you wanted to use across 10 patches... there's either enough DSP to run it all at the same time, or there isn't. All roads lead to the same brick wall. Two parallel paths within one patch is the best you're gonna get... but you'll still be subject to Helix's inherent hardware limitations/DSP limits... and yes, polyphonic pitch shifting chews up a lot of processing power. It is what it is. I learned a long time ago that no one box is ever going to be able to satisfy every possible need... there will always be compromises and limitations. I still have a few external pedals, the Digitech Drop being one of them, for precisely this reason.

Your taking this way too seriously... everybody's just goofing around. Relax, take a deep breath, maybe gaze at some shoes. Everything will be fine...;)

I think I'll stick to bourbon... no matter how many I've had, not once has it led to a 1000 yard stare at my feet. ;)

Ok, I'll bite... what on God's green earth is a "shoegaze madness texture"?

What do you expect from a society that prizes instant gratification above all else?

If you're an accomplished luthier, no. If you think you can just grab a plane and some sandpaper and eyeball it, having never done this sort of thing before, then yes... and it's very possible that you'll destroy the neck. For the 69 however, there is a much simpler fix that's guaranteed not to ruin anything beyond repair. Buy any Strat replacement neck in the known universe, with whatever profile twirls your beanie, and problem solved. The heel dimensions are identical to the stock neck and aside from having to deal with the one offset mounting hole (which will have to be doweled and re-drilled), it's a drop in replacement.

Post this is the wireless forum... nobody's gonna see it in here.

"HARRUMPH! ANGRY! RIGHTEOUS INDIGNATION! blah blah blah, INSERT MORE VITRIOL HERE!" Now what have we solved, kids? That's right... nothing. But oh, the satisfaction. lmao...

Ignore whatever you've read online because the simple truth is this: Any of the devices you've mentioned are equally capable of creating sounds you like with headphones... or studio monitors, or live straight into the PA... provided that you know what you're doing. And it might sound harsh, but anyone who says otherwise, simply does not know what they're doing. But it's not because they're stupid, or a lousy guitar player... it's just a lack of experience, and/or a lack of understanding of what a modeler is actually designed to do, as compared to the guitar amps they've played forever. A modeler is not a guitar amp... it's a recording studio in a box. You have to stop thinking like a guitar player, and start thinking like a recording engineer... because the whole point is to reproduce a recorded guitar tone...amp+cab+mic... NOT the sound of your favorite amp as it roars away 6 feet from you. What you're getting is exactly what you'd hear in a studio's control room, listening through monitors to the amp that's mic-ed up in the room next door. That means understanding how mic choice and placement affect tone, and having a thorough understanding of EQ (beyond the amp's native tone controls) and how to boost or cut the right frequencies to achieve a desired result. And none of that will happen overnight. You will have to learn how to create the sounds you want, no matter what you buy. If you've been playing through tube amps your whole life, then you have a steep learning curve ahead of you. We all did initially. In the end however, it is no more difficult to create a patch for use with headphones, than it is for studio monitors or a full stage PA. What tends to be difficult for many at the beginning, is understanding that each output method is a fundamentally different device, with different frequency responses. Simply put, the same patch will sound different (to a greater or lesser degree) every time you change the output device. What works for one, won't necessarily work for another without making some adjustments... and the only way to figure it out is through trial and error. Buy any decent pair of reasonably flat response, studio quality headphones, and you will be fine... but there is no magic bullet. If you had 6 pairs of cans at your disposal, and you dialed up a magnificent tone with the first one you tried, it is a virtual certainty that the other 5 will all end up sounding slightly different... it's unavoidable. You might prefer one over the other for whatever reason, but that doesn't make those headphones objectively "better", or "easier" to dial in than the rest of the lot... nor does it mean that you couldn't get two different pairs to sound virtually identical with the right EQ adjustments. The moral of the story is this: don't fixate on any one piece of gear. Understanding the process is the key to success.... once you understand the "how's and why's", you can dial in a good tone on anything that somebody puts in front of you. The tools change... but the underlying concepts that govern their use do not. Watch some Helix- specific YouTube tutorials on how to create a tone. Jason Sadites' channel is a good place to start.

Ah, yes... this sounds familiar. They've taken a page from the Congressional Advertising Handbook... "We have to pass the bill to find out what's in it". This won't pi$$ anybody off... lmao.

I've read through shorter doctoral theses....;)

My foot hurts.

Without actually seeing the signal chain, all anybody can do is guess... post the patch... not a screenshot of the chain, the actual file so somebody can load it up on their device and see what's going on.

So your "evidence" for Helix's lack of uniqueness is the fact that other modelers exist? That's flawless logic...lmao. I'm glad we settled this. Since they're all the same, this entire discussion is worthless and irrelevant. Just pull a name out of a hat, and buy that one. Problem solved.

And some just have an obsession with being in a constant state of acquiring the latest and greatest devices... it's a wonderful dopamine hit that lasts about 11 minutes, and then you're whipping out the credit card again for another fix. 3 cheers for a disposable economy! ;)

Hurry up and wait...hope you brought a sandwich. ;)

You have just described the same problem encountered by everyone who has ever mixed a multi-track recording, be it at home on a laptop, or in a million dollar facility. The guitar tone that sounds magnificent on it's own will often sound terrible in a mix, and vice versa. Doesn't matter if it's a recording, or playing live on stage... getting everything balanced so that individual instruments aren't stepping all over each other is an art in and of itself. That's why you see the same handful of names mixing album after album... if it was easy, anybody could do it. The short answer is that there are simply no universal settings or strategies that are guaranteed to work for everybody. Each track is unique... that's all there is to it. The tone that worked for Tune A, might not work at all in Tune B... it depends on what else is going on in the track. You can prove that to yourself just be playing along with backing tracks on YouTube. You might have a lead tone that works magnificently with one track, and completely disappears from the mix with the next. Learning to use EQ effectively is a trial and error exercise... the closest thing there is to "universal truth" , is that getting the sound you want is often more about removing frequencies which are too prominent, as opposed to boosting those that seem to be lacking... otherwise you tend to end up with too much of everything. Cut first, boost second. For example, if the mids seems to be lacking, try backing off the lows/ lower mids first, instead of just automatically cranking the midrange frequencies.

Alright gents, I'll settle this... everybody drop their pants, and I'll get the tape measure. Lmao... Best thread ever!

The switch is on its way out... eventually it'll $hit the bed altogether. Replacing it is the only solution.

www.btpa.com Length doesn't matter. It's a digital connection... the 1's and 0's either get from one end to the other, or they don't. This place will make you any length VDI cable you want. A little pricey, but quite durable. Aside from the connectors, looks/ feels like any other guitar cable. I still have one of the L6 ones, but it's... oh, let's just call it "underwhelming", lol. It's so flimsy, it coils around itself like cheap ear bud wires... useless on stage. And I'm not talking about the one that comes with the guitar that only has the shell connector on one end, which is only intended for connecting to the ultra-silly USB dongle... this other one is a full blown VDI cable with the shell connectors on both ends... but everything between those connectors is crap, lol.