cruisinon2

Not sure what you mean... the color of any given footswitch is fixed unless you deliberately change it.

Line6 doesn't make a 4x12 FRFR cabinet... however, as noted above there is the Stagesource stuff, and the newer Powercab.

I know an excellent divorce lawyer...;) Enjoy!

Global string levels only for the old WB. HD allows different string volume settings for each individual model. Yes. Not sure if there is one.

Short of bolting it to the floor, I don't think you're gonna find much in the way of solutions... if your foot isn't coming down squarely on the expression pedal, and the unit itself is angled away from you, seems to me that the difficulty you're describing is inevitable. You can battle physics all you want... but you won't win. ;)

Can't be done.

This guy hasn't responded to anybody in years.... yet inexplicably, the thread refuses to die.

We're in the digital realm here. You're not "driving" the cab models in Helix at all, as there's nothing physical to drive. And, Helix has no power section, so there's never a "real amp" anywhere in your signal chain. If you wish to monitor through an actual guitar cabinet, you can come out of Helix into a power amp to drive said cabinet, or use some sort of powered FRFR monitor(s). If you wish to use this pedal in place of an amp model in Helix, it's as simple as putting the pedal in an FX loop, and placing an FX loop block in front of your cab block, where the amp model would otherwise have been. And no, under no circumstances can you feed a power amp into Helix... you'll destroy it, and likely the amp along with it.

Amen. But I do love the smell of a meaningless existential crisis in the morning... smells like uselessness. ;)

Welcome to today's episode of "First World Minor Gripes That Will Be Forgotten By Lunch"...;)

Which is fine if you're a fingerstyle player... won't help a lot of folks though.

1) Not for me. 2) I have no active pickups, so can't help you there. 3) Something else to carry around. Honest to god...I can't tell this difference between this thing and a cable.

DDGZKX

Don't hold your breath...

Indeed... with single coils and a bunch of neon "Bud Light" signs, if you don't have a noise gate you might as well be trying to drown out a jackhammer.

So to sum up what's already been said... Can you? Yes. Should you? No... Think of it this way...running Helix straight into the front of an amp is the digital equivalent of going to a recording studio, mic-ing up an amp and cabinet, and then feeding that signal into another amplifier. Nobody daisy-chains amps like that.

You pretty much answered your own question there... every mix is its own thing. Your choice of amp/cab/mic models are as well. There's no magic EQ bullet. A Plexi with a 4x12 cab and any of the darker mic choices will require entirely different EQ than a Fender Twin with a 57 in front of it... and so will a similar modeled signal chain in Helix. When it sounds good to you, and your tracks aren't getting buried in the mix, then you've found the "right cuts". But the next track you lay down may need something quite different. And, as already noted above, you don't want to have really savage cuts applied before your DAW anyway... if you decide later on that you need more of some of the frequencies you've already hacked away, then your stuck. Can't boost what ain't there...

I suspect that the overwhelming majority of Helix owners only use a small percentage of its capabilities... myself included. But I wouldn't trade it for the Stomp if you paid me. 6 blocks in the chain really isn't a lot. I'd have to strip down what are not particularly complicated signal chains to begin with... it might be overkill, but I'll keep the Helix.

There will never be a single device that satisfies every possible want or need, folks... and good hitters learn to stay in their wheelhouse, otherwise their whole game crumbles. Better to be really good at one thing than to half-a$$ everything.

Like everything else in life, tiny incremental measurements such as these are likely to vary from one brand of string to another, or even from one manufacturing lot to another from the same brand. I've also used cheap digital calipers that weren't particularly trustworthy. Either way, I wouldn't lose any sleep over the discrepancy that your're seeing, even if it's real. The difference in total tension exerted on the neck with the variance that you're taking about will be negligible. And for what it's worth, in 30 years of playing and setting up guitars, I don't ever recall seeing a 10-48 set, from any brand. 9-42, 10-46, and 11-49 have been industry standards forever...so unless they're deliberately using some weird custom gauge, I'd say you have a regular set of 10-46 on there.

Well it's easy enough to avoid that... just don't use stereo FX blocks if you're running mono. There's no reason to...I don't, and I've never had a phase problem.

High and low cuts are almost always a necessity, so you're on the right track... however it's best to stay away from the global EQ, and use EQ block in each patch instead. Not all amp models will require the same cuts, so trying to do it globally will just create more problems. The global EQ is really for making minor tweaks for room acoustics, not for creating your tones. As for getting it to sound like a "real amp"... that's a touchier subject. The "amp in the room" sound that you're probably used to isn't really gonna happen. Helix is modeling not only an amp, but a mic-ed speaker cabinet as well. What you're going to hear is what you would get listening in a recording studio's control room: the sound of a mic-ed cabinet coming through studio monitors, with the added characteristics that a particular type of microphone adds to the tone. It takes some getting used to. If you want a more familiar sound and feel, then the Powercab might be a better choice for you, as it can behave just like a "real amp", or as a more typical FRFR speaker, depending on the settings.

The alt tuning algorithms detune everything relative to the guitar's physical tuning, and the smallest interval is a half-step. So no, you can't tune the guitar to A 440 and have it detune only 8 cents to 432.

You won't like this, but tone matching can't be done this way. It can't happen remotely and in a vacuum. For starters, a patch that sounds magnificent when playing unaccompanied might sound dreadful in a mix, and vice versa. So the odds of anyone suggesting factory presets, or ones created by a third party (that they audition remotely and completely out of context), that will be a drop-in match for the tones on your recording are basically zero... the only way it'll happen is through extraordinary dumb luck. You could blindly try patch after patch until the end of time and never find one that's a decent approximation. As already mentioned above, the best you can hope for is to start with a signal chain that mirrors (as closely as possible) the real gear that was used on the recording... and that's only a starting point. It's gonna require effort, and it's not something that anyone will be able to guess at just by listening to some clips... the are too many variables.