Fenderflame28

I shared the process I used when I made my own IRS for my DT25 amp here: DT25 IRs Hope this helps.

I think it's just you and me here buddy.

Ha! Not my video @Soundog - just came across it and thought I should share. It has inspired me to look at some of my patches again.

I Hi all Just wanted to share this as it's made me think differently about combining Variax and Helix. I also have DT25 so I'm thinking path one to DT25 and path two to mixer:

Thanks @Vulture1 - Ordered mine.

I already have a knob on my guitar for this, just next to the 'louder /quieter' knob there's one that makes strings sound 'new/old'. Am I the only one that has one of these?

Thanks Brue58ski. Good ears to you too! I always play on 11s. I hope this exercise helped the OP a little further on his tone journey.

Soooo, top marks for Codamedia.

I echo the thoughts above for DT amp users. I can have global EQ if I use 1/4" out, but then I lose the ability to change the power amp settings with my Helix because I'm not using AES/EBU. Or, I can have the really cool DT power amp switching from my Helix, but then I lose the global EQ. So I have to choose which features I don't want to use which is a pain because I would like both of them. The only solution I can see is three duplicate set lists. One for 1/4" out (and I'll just have to remember to fiddle with the amp between songs), or L6 Link out with a 'neutral' EQ for each preset. One for L6 Link out with a 'brighter' EQ in each preset, and one for L6 Link out with a 'darker' EQ in each preset. It's either that or have two eqs in every patch to go 'bright' or 'dark' based on the room we're playing in. Neither of the above lets me tune the amp to the room at sound check. I have voted for all I can to do with this on Ideascale.

Hi Amanda I think it would work. The LT should work fine as a USB audio interface with your Mac, but it does not have a micropjone input. If your mic has an XLR output you will need an impedence matching transformer like one of these: https://www.shure.com/en-EU/products/accessories/a95uf There are much simpler pieces of kit that will let you do this than using your Helix though. A simple USB audio interface like this one may be better: https://www.behringer.com/product.html?modelCode=P0AVV Just plug the USB into your Mac, plug the mic in the front and go for it. Hope this helps.

At last someone has responded! I'm not going to give the results just yet but your analysis is interesting. I did use the 1/4" out rather than VDI as I was wasn't going through Helix for the recordings above. I used to use Variax with POD HD500X and always used the mic pre with it. The one in Helix is OK too. Live I'll always use a compressor and a couplebof of EQs. I have a 'more mids' and a 'brighter' EQ set up on switches depending on which other instruments are being heard in the mix too. I think this is the key thing for the OP. What else is in the mix that you are trying to avoid so you can be heard? That's the place to start with acoustic tones.

Hi Bobbo. Let's play 'spot the Variax' Three of these tones are JTV'59 Variax and one is a 2005 Taylor Fall Ltd all solid koa 324ce (Expression system version 1). There is no EQ, compression, reverb or anything else, just straight into a Mac through a Presonus Audiobox interface. Have a listen and then say which one you want to sound more like (if any). Perhaps also think about the rest of the instruments in the mix and what else sits in the tonal range of the acoustic. Are you up against a wall of keyboards and other guitars or pretty much solo. You will tend to lean towards some quite different acoustic tones in these different scenarios. Spot the Variax.mp3

I'm fairly happy with the IRs for a first shot at it. I fed the mic output into Garageband and then took Garageband output into the FX loop return on the amp to make a loop. I then recorded a sine wave 'sweep' for each variant of the power amp and deconvoluted it to get the IR. This means it should have captured the power amp, speaker, cabinet and mic (and a bit of the room). I'd say I like the pentode class AB best - it really tightens the sound up so it sounds like a single source rather than just a chain of effects. It's particularly noticeable on higher gain sounds with time based effects (IR at the end of the chain). You may need to put a short room reverb in there to get a better 'amp in the room'. Have a go with them and let me know what you think.

So, I watched this video: https://youtu.be/h6qZoC7W_EQ And had a go myself. I don't have an SM57 so I unscrewed the cap of my SM58 to mimic it and set up the mic slightly off axis, slightly off centre about 10cm back and made some IRs for the four different power amp options. Let me know what you think. DT25 Class AB Triode_dc.wavDT25 Class AB Pentode_dc.wavDT25 Class A Triode_dc.wavDT25 Class A Pentode_dc.wav

Happy Christmas to all the hard working folks at Line6 and to all you lovely people on the forum.