FlyingsCool

I think the real answer is... Sure, why not? Might it be considered an expensive option to use it as "just" a pedalboard, thereby "wasting" some of the blocks in it?.. maybe to some people, others might find value in such a compact format compared to their other pedal boards, and the flexibility they get everywhere else like in the studio and ability to bring it home and play it through headphones and not wake the baby. And nobody says you might not want to use a preamp block as a boost/dirt pedal into the amp. It's all up to your imagination and your situation and your wallet. But to answer your question directly it works great like that. Or there are other options... Up to you how you want to use it and what works for you.

Given it's going to be the first release of the real Variax integration, I'm expecting some initial bugs.... But I can't wait.... I don't have a 500X, so using Workbench to make adjustments is a pain in the butt, and I'd really like to dive into it... despite the option overload anxiety I get when I look at the interface. O_o

You were correct the first time, it's D-link. XLR should be just as optimal as D-link. That's interesting that you can hear a difference. Any idea why? Cable quality? With D(igital)-Link, it sends the digital signal to the StageSource speaker, and the StageSource does the D-A conversion, and, if you have another StageSource connected to the first, it'll automatically separate the stereo signal, so, in essence, you only ever need one cable from the Helix whether you are in mono or stereo mode (and one cable between the speakers in stereo). One thing I've wondered is the comparative quality of the D/A converters between the Helix and the StageSource speakers (not the at I'd probably be able to tell).

Thanks... I've read it before, but I keep forgetting it :-/ So much to keep track of.... I love the idea of Workbench, and then I look at it and want to crawl under a blanket and hide... Eek, so many options :o One step at a time....

How do you mark a post as the answer?

I'm glad you posted here. I wouldn't have seen the post and psarkissian's explanation and solution are valid for all variaxes. Thank you for all your support Mr. psarkissian (for lack of a better name to use) (I'm still embarrassed I didn't recognize the modulation issue I was having when using alternate tunings was only because I was playing my guitar at a lower volume and I could hear the strings as well as my amp :-/ Thanks again to all that helped me through that)

What was your acoustic preset like?

Depends on how loud you want to get. The L3 series gets very loud. I recommend doing some research on the effectiveness of using stereo on stage, however, as that may color your opinion on the purchase. In my extremely limitied experience, but I've seen this repeated by many seasoned pros, stereo is great in the studio and bedroom, but it doesn't really translate to the audience from speakers on stage (it may be more obvious on a widely separated FOH system), depending, of course, on a whole lot of variables. But I don't want to discourage you. And maybe your hearing it while you play is what's really important :)

How were you applying your filters? From the Cab or an eq? As Ben pointed out, the different tools act differently, and there are multiple locations and ways to apply filters. It is my understanding that the cab filters aren't very aggressive, as I think is noted in a quote from Ben above. From my post, I'm wondering if not only should we be applying cuts, but maybe also some Hi Q boosts in the midrange as well? Perhaps it might quell some of the boom and ice pick by allowing you to use a lower actual volume to get a similar perceived volume.

Ummm... what is it? Or are you just another Matrix FR10 user. You seem to imply it's a different product.

I don't have a solution for you per se, but for those that might, I assume you're talking about the built in expression pedal on the floor unit? If not, what pedal are you using, what kind of cable are you using, and what port are you connecting it too?

Yes, I've been wondering about this myself... It's my understanding, if you're using an L2t or L2m with L6 Link, the Helix is actually sending the digital signal to the amplifiers, and the D/A conversion is being handled on the StageSource Speaker, not in the Helix. I wonder what the difference is between the D/A converters in the Helix vs the StageSource speakers? Is this why some people like to use XLR connection instead, so the D/A is handled by the Helix? One thing I've been wondering, and I posted this in The Thread, but nobody responded... as flat as the L2t is supposed to be, the published response shows - A 3 db bump up between 60 to 180 Hz in Free Space - An 8 dB bump up between 60 to 180 Hz in Half Space (seems to me this is the important spec in a room?) - A 2 dB dip at 800 Hz - A 4 dB dip at 2500 Hz - An up and down craziness of up to 4 dB between 10K and 20K Hz Am I wrong in how I'm interpretting/thinking about the Frequency Response Graph? Should we be using an EQ to flatten this out some? Seems to me there should at least be some shelving below 200 Hz and above 8 KHz? How does coupling with the floor come into play with this if I have the speaker sitting on the floor? https://www.dropbox.com/s/1pilqy77qvdc3rr/Line%206%20L2t%20Response2.png?dl=0 (P.S. I can't find any help on how to show an image in a post. Does it not like DropBox or something?)

I've found it kind of assigns automatically. If I create a Volume Pedal, and go to the "Assign Controller" page in the editor, it's already filled in as Exp2.

Thanks, I'll try it out tonight.

According to the manual, if you mean the line level inputs at the top of the back panel, no, the EQ knobs should only affect the two channels on the side panel. Did you set the Helix out to Line Level? (I'm not sure what the default is) I seem to be happiest in PA/Reference Mode, btw. By Trim knobs, are you referencing the Gain knobs on channels 1 and 2 on the side panels? I haven't noticed any noise from them, though I could imagine there would be, especially if one was turned all the way up. But also... Perhaps a dirty pot? I did, however, notice a ton of noise when I added a TC Electronics M300 effects processor between the side mixer and my mic. But I'm not sure if I was using TRS cables, and my "studio" (I use the term loosely) isn't exactly clean electrically.

One other thing I discovered but haven't entirely wrapped my head around yet that may be affecting you, too. I was attempting to split a path, to put one cab left and another to the right. I then placed an effect ahead of the cab on the split path. I expected, since I placed the effect after the split, it would only affect the one side of the stereo signal. What I found instead was that it was still applied to both sides of the stereo signal, basically, the signal was going through the split, then backwards through the other side of the split. I.e. I used the mixer when I brought the paths back together to pan each path left and right. Then when I set the path with the effect on it to zero, I could still hear the affect on the other path. With further testing, and I've seen other posts on this, splitting paths affects the volume of the whole signal. Anyway, it sounded to me like this concept might be part of the issues you were hearing....

Hmm.... Modeled versions of modeled reverbs ;) Sorry, just gave me a bit of a chuckle :)

Since this is a setup issue, you could probably get some sort of midi controller on your PC/Mac and control it from there. If you need it on stage, then you're going to need some sort of pedal out there with you.

Midi

It's sort of been said above, but not quite directly... Remember, too, that how the guitar sounds in a band mix is very different to how it sounds in the bedroom all by itself. I agree with the other comment that I'd rather have everything available and eq to taste, than to have to figure out a way to get signal back out that isn't there. I also agree that I wish the Helix cab mics had a lateral adjustment as well. That's a huge loss to me. Maybe someday. I think there's an ideascale out there for it.

What is it you didn't like about the L2t? I've got one (and an L2m). Not making excuses for it, as I imagine you set them up similar to each other so that counts for something. I found I didn't like it in monitor position on the floor in either monitor or PA mode, it was too coupled. (plus I find I keep knocking the leg closed (I was using the handle side as the support). I get better results, for me anyway, standing it on its end on a rug. On a wood floor no matter what it's too boomy and bright. The room I practice in is too small to put it on a pole, but I am going to try it lifted off the floor a foot and a half or so, too, see how that affects it. I am interested in your thoughts comparing it to the DXR/DBR. Also, what style music were you playing through it and what amps were you using? Clean, slightly distorted, high gain chugging? Thanks, Tom

I think this response needs to be stickied at the top of the forum. This is exactly my experience with headphones and Helix. My headphones are 44 ohm and sound like CRAP out of the Helix jack (Shure SRH840). Totally overdriven distorted signal at minimal volume. Out of my Focusrite 6i6 or out of my computer when I'm direct to DAW with Helix, they sound fine to me. So I live with that.

I'd be very interested in knowing the settings you use for those amps. My main outputs are an L2t, with an L2m when I want to have a two speaker stereo output. I also use two JBL LSR305's monitors sometimes.

One other issue I did once was I accidentally set up the expression pedal as a footswitch on/off controller. :o Clearing it fixed it

I'm surprised no one suggested the JC120 (Jazz Rivet 120)? Definitely need to choose the right amp for this. Many people like the Fenders for cleans, too (ie US Double Nrm). And even the WhoWatt 100 has been claimed to do "clean" really well by some users. You can also add 1 or two gains in the patch as well for the clean sections..