rvroberts

I doubt it. And there are good reasons for it. If you were to look at all the valve amps out there (and the emulations of them), you would find we already have amps that have any of the possible preamp designs paired with any of the likely power amps. There are only a few valve types and they have a limited number of classic configurations. A lot of boutique amps are simply a Marshall or Fender or Vox with extra attention to build and components - yes, some have added or modified circuitry to deal with a particular issue or offer more versatility. That might be a bit more midrange for example, or another gain stage. Then there are amps where you have channels (different preamps essentially) to offer the best of a few worlds - but that's only so you can essentially get a Fender and a Marshall in one box. That's what you already have in a Helix. So amp designers already offer all the possibilities out there in things wearing brands like Boogie or Two Rock. Secondly, a lot of people are still trying to put their live rig into the virtual world - literally. The reason you would place your delay into your effects loop is that you want to keep the delay as clean as possible, so if you have one amp on stage, the best option is the effects send (after an overdriven preamp but before the power amp, which is hopefully not too overdriven). This is seen by most as a compromise. In the studio this is almost never done - because the quality of your delay (or other post effect) can be improved and say spread in stereo if it's applied to the mic'd sound. Again, you can do this in the Helix. Do you gain anything putting it in the loop? I'd argue no. You will run it through your power amp and speakers, but that will only reduce your tops (EQ) and potentially distort it. You will notice the ability to EQ and degrade the delay is in a number of the delay modules. Typically making the delay "darker" is common practice. So who will really gain from separate pre-amps and power amps? Tweakers who don't know the combination they are making already exists in a particular amp. I know some of you will disagree, but that's how I see it. In the desire for the "amp in the room" maybe some of you feel you don't have the ability to duplicate your rig - maybe that's true, but I'm sceptical that this is part or the issue.

Like I said - it's a matter of taste - that's quite a collection of amps there - and I know the early Marshall was based on a bassman - but I'd still not be thinking Fender for a real rock sound - but then I really don't like Neil Young's sound!!! I'd call Angus Young's sound a classic rock sound. It's all OK - it's how you like it.

Personally, I'd have both the Behringer and the Helix connected to the computer via USB. I'd be switching back and forward inside the software. That's the recording side of things - assuming you don't want to sing and record guitar at the same time? So I'd use the Helix for recording guitar and the Behringer would have other inputs connected. I'd buy a little DJ type mixer for feeding both to monitors - they are cheap! Not monitoring from your DAW ever. Use the DAW for playback, again through the mixer and hear you guitar/whatever else direct (while the DAW is recording - no latency) Then I'd play guitar through the Helix to the mixer to the monitors and I'd be able to mix iit with computer audio or anything being fed to the Behringer. You can do it with either device on its own, but then you got to be willing to plug and unplug stuff!! If you are going to be doing this a lot - the little mixer will be worth it. Otherwise expect to need to fiddle with levels and swap your headphones/monitors a lot! And don't get hung up on quality - it's probably no big issue unless you are setting up a pro studio - all this stuff is pretty good these days. Some mixers will even have USB interfaces too - which will make your Behringer obsolete - but offers more options if you really need them.

Well I've found this thread very useful! Yes, the initial post was a bit of a rant - but sometimes when you get caught out making the wrong decision - especially when a lot of what you are told is "wow - this is great", you can get a bit emotional - let's assume that's pretty normal human behaviour. At least for a lot of us. I've been waiting and watching exactly for thread like this. The emotional response brought out a lot of people who know what they are doing and lead to what may not be a fully comprehensive bug list, but is enough useful information to let me know that I will hold off on the new update. If I had 2 Helixes, I'd have updated one already - but I don't - so you guys are giving me the actual information I could not find confirmed in other threads - as we know a lot of "problems" are user error or easy fixed. I do think that the update process has always been scary and a reason why I only upgrade every few releases. I've also had hangs and restarts and all that before - always sorted it in the end, but it's pain I'm really unwilling to go through too often. I'm curious as to how many users who've been around a while can say it never happened to them? I've always found the Helix to be ultra fussy about USB. I'd love to see good solid machine to machine - computer to Helix communication a priority - I'm old school there - I want it to work even more than I want it to be cool! Oh, and I'm very computer literate! - so if I'm cautious - I bet a whole lot of the rest of you are too?? Anyhow, thanks for putting so much info in one place!

Although all the above is reasonable and true, serious cutting of highs and lows is totally normal for any form of FRFR. Even your mic Infront of the amp should sound different to the amp and need a fair bit of EQ? To get any FRFR system sounding good the first step is generally to do low and high cuts. You can do it in the speaker simulation, or globally. The typical setup is serious cuts at 100hz and 5Khz. Obviously you can vary that, but it's where I'd start. Do it before you start tweaking the amp, because that's just getting your sound into typical guitar zone. And yes, all those glassy fender cleans also work best starting there. All that stuff about volume is also 100% true, so a live sound needs tweaking at volume.

As the previous person said, use the USB. It is simpler and sounds better. If you have to use an iPad, you will need the camera kit as that gives your iPad a USB capability. If you can use a laptop or other USB equipped device, you are done with the cable that came with your Helix.

Ok - a number of things. First you need to display the file suffix. So they need to be .wav files. So make sure of that. Secondly, the file name length of many IRs is already the maximum allowable. If so, you could well need to shorten the name to be able to fit the number. I also don't know if the Helix is happy with spaces in the name, so best avoid them. Finally if you want to backup and restore them, number them in the order you want them in the IR slots. That way you can reloaded them all at once and they will go back where they should. Oh, and use computer legal names - do no wild cards like !?#@

OK - the Code 100 is a modelling amp. What we don't know - I had a look at the available specs - is how it's handling the process. Let me explain - The sound of a valve guitar amp is a result of the circuit and the speaker interacting to produce the final sound (lets leave effects out of it for now) So the Helix models that and produces a result that generally needs some heavy EQ to duplicate the effect of the frequency response of a guitar speaker system when fed to an FRFR (full range flat response) system. Generally if you plug a Helix into some system that has a typical guitar speaker cabinet you need to leave out the speaker simulation part of the process (easy to do if you know what's going on!) What I don't know about the Code 100 is is it using essentially an FRFR speaker system or are they using typical guitar speakers? Based on the fact that it comes as a head, chances are the 2x12's are typical guitar speakers - maybe you can have a look? If that's the case, if you remove any speaker simulation from any patch you should have a workable system - you might still need to replace the speaker with some EQ (if I were Marshall I'd be using speakers that are pretty neutral in a modelling amp) to get right in the zone of typical amp models. The FRFR approach makes it easier to model different amp and speaker combinations because it's using a full range system and them matching the response. Going into a particular 2x12 cab means foregoing that level of tweakability. The speakers, which make up a highly significant part of the sound of a guitar amp - yes you'd hear it!, will obviously be set. The accuracy of reproducing both a Marshall and a Twin Reverb through typical speakers may not concern you - so that might be something you are happy to sacrifice. As I say a little EQ at the end will probably address 90% of those issues. And if you just want "great sounds" rather than totally believable emulations of real amps - it might not be any issue at all. I'd give it a try if I were you.

seems you left out what actual map you have - makes looking at your question difficult.

OK - well the Behringer umc204hd is a computer interface - but it does have other connections - one is designed for monitors, and you can run direct to the monitors so you don't get latency. That's super important. I assume you also are connected to a computer and use a DAW? If so, then as a home playing and working arrangement, it might be totally convenient to go through the Behringer. This is not necessary however - just maybe a good fit for your workflow. You can connect the Helix direct to the monitors and feed your computer through the USB connection on the Helix. Then the Helix becomes your interface rather than the Behringer. It's all about what else you want to connect and whether you do a lot of recording. Recording through the Helix is great for guitar and OK for a mic - but beyond that you start to run into more the consideration of which is the best interface for what you do. Definitely, the Helix is a guitar processor first and a computer interface second. Technically, when recording guitar the quality should favour the Helix as you are only converting your analogue signal to digital once (going through the Behringer will mean converting back to analogue and then having the Behringer reconvert to digital). But in the real world - you may not hear the difference - that's a test you have to try. Any way you go you will still need to be thinking EQ. Don't expect overdriven guitar sounds to work without high and low cuts etc. So my answer is that the best option is the one that works for you!

I don't have a solution short of Line 6 certified repair - but I'd definitely be thinking if I can borrow another expression pedal in the mean time. Be aware of suitability of various pedals and setup issues - but if you read up on it, there are plenty of options.

Oh, I forgot to say my Strats are set up very similar to yours! But Hotrails in the bridge I think it's a great solution to quiet strats. And you can do almost anything with that config.

Unfortunately it's a matter of taste. For example - I wouldn't think of a Fender for a great rock sound. I use Fender models a lot, but for clean through to light drive. Marshall would be the first place I'd be looking for a great rock sound. Boogie if you want a more American sound. But as you see, that is just my taste!

Because the Helix (including the HXFX) is emulating something from the real world, generally you can find descriptions of and videos on these devices, and then the Helix emulation is simple to figure out. Where you might need to look a little harder is the few Line 6 units like some delays and reverbs. But even then, they are similar enough to other real world devices that you are still able to figure them. Phil_m’s info on the Cosmos echo is probably the more extreme example. I think someone has done a video on that somewhere on YouTube.

DSP is for signal processing. If you connect multiple devices through sends and returns, you are able to do more signal processing. So you aren't combining the DSP, but you are doing more signal processing! So is there really a difference except conceptually?

I think it's a faulty unit. That digital noise that's very obvious in your first video towards the end sounds like something I've not personally heard - my unit is super quiet. However, I don't know what I'm listening to - is your guitar plugged in and volume up? Is it single strat type pickup? Is your guitar amp wound up to super overdrive levels? I've not heard digital noise out of a Helix like that, but if you were really pushing the hell out of the amp, noise you'd not normally hear might be noticeable. Because I don't hear and notes, I can't tell anything about noise level relative to signal. Are you coming out at instrument level? If all the above is not part of the problem, then it's absolutely not what you would expect from a Helix.

I still got to say that if running it through a pretty average guitar amp gives you what you want, then you need to revisit cuts - it's a tonal thing or a fault with your FRFR system. If it's the FRFR, then you should hear it on clean sounds. Nasty distortion and good cleans points to speaker emulation (giving the thing a restricted frequency response like a guitar amp does). 5K is what looks like extreme EQ till you try it. You can still get really HiFi sounding super Fender type crystal cleans with a 5K cut - and then you go - Oh, so guitars sound good with a hell of a lot of frequencies removed. Now you can say our ears are different - and I won't argue, Had mine tested to know - but even top pros like Pete Thorn who has his own custom range of Suhr amps admits he often uses live and records with emulation and the Helix is one of those tools he uses. It does not seem logical to stand against a lot of serious pros and say you can't get great overdrive sounds out of the Helix without connecting it to a guitar amp. You have to think, am I missing something? I personally don't like the Line 6 series of amps like the DT25 - so that might help you ignore me if you like! But I used to run 2 x Vox AC15s in stereo till I got the Helix. I have owned and recorded with a range of Marshalls etc. It's the past!

Strange - but I suspect what you are using is perfectly OK. Strange because no one seems to be pointing at the usual culprit when it comes to harsh guitar sounds. High and low cuts. For guitar - to emulate the EQ of guitar speaker boxes - Set the high cut (on the speaker or IR) to be say 5K and the low cut to be say 100Hz. Problem solved I'm betting?? Don't need anything else. (well you can then tweak your overall EQ to taste with any EQ block you like last in the chain).

Yes, although probably a little better in Australia, it's nothing like USA. Line 6 does distribution deals with 3rd parties for other territories, and that means your first port of call is not Line 6. Seems they then need to get any service approved by Line 6 before proceeding. This does not happen in warranty period though. Most countries have laws regarding a fair warranty and decent service, so no matter who they are (Apple being one!!) they end up having to meet the local laws rather than some warranty for an unreasonable time. Don't know if you have consumer laws, but if you do, the distributer has to meet the legal requirements.

You probably need to know about High and low cuts if you want nice smooth tones. Google that.

No I haven't. Do you use onstage monitoring that keeps up with his tube amp? I found as soon as I was making sounds the band could feel holding down the part of a guitar in a band context - it was all good. I use FRFR wedges (in stereo - but I don't think that's got anything to do with it except it makes me happy!) - but in rehearsal I make sure one is facing "across stage" so everyone can hear me well. Live, I don't worry about that - I leave that to the foldback and just bask in my stereo pleasure! Recordings of the band and feedback form audience is my sound is great - that generally shuts up doubters!

The Deal is that it was never a problem for the majority of users. One problem with forums is that the problems of a few often get blown out of proportion - like the comment you just made - it was never a fact. Most problems come from power loops, bad cables etc. And can therefore be fixed - and might need the same attention on a conventional pedal board. This can be exaggerated if some source that is already noisy is plugged into a very high gain amp - it's probably going to lift the noise floor to somewhere unbearable no matter what. So dealing with the quality of what you feed into the signal chain and how you handle it is a real concern - nothing to do with the Helix - watch "That Pedal Show" It's why Dan has a business building big boards. There are pedals that don't play well with others - like a Fuzz Face - it needs to be first in a chain - it just is as it is - nothing to do with Helix.

You can't run amp sims into an amp. If you want to use the Helix amps, you need to run FRFR. So you say you plugged into the PA? I'm assuming you mean direct out of the Helix? Then you need to know about High and low cut filters. All cabs and IRs (the speaker simulation part of the digital process) need to be EQ'd so the range is similar to a guitar speaker. There are 2 common ways to do this - use the high and low cut filters on those cabs and IRs - or use global EQ. The secret is that you don't need to hear much above 5K for a typical guitar sound - even a bright "hifi" clean strat sound. Distortion hates frequencies above 5k (ish) So if you want decent overdrives, that's the first thing to do. It also smooths out clean sounds. Suddenly a Helix amp starts to sound like the thing you know so well. Next you need to reduce the lows. Normally somewhere around 100Hz is about the place to roll off the lows. Those high and low cuts need to be drastic - if you use the global EQ make those curves steep! Do that, and you will start to get good sounds - direct into a FRFR system. You can only use the Helix as a pedal board into the front of a guitar amp - you positively don't want to send an amp simulation into an amp!

There are just too many ways to do what you seem to want to do. These will be different depending whether you are working solo through your own sound system, or at a venue with a sound system and a mixer. You could work all this through the Helix - but balancing levels and other demands of live sound like feedback control would get very messy. You could use your computer as the hub for all this and use the Helix as an interface for your guitar (but probably not your Vocal) - but latency (in the computer not the Helix) would get to be a problem. I would always use a mixer. There are very good and cost effective mixers out there - some probably more aimed at DJs - that would give you the kind of control you need live. Then you can have a great vocal sound with it's own effects (most of these mixers have OK digital effects built in), your Helix sound easily adjusted for the room without need to fiddle with the Helix interface, and all your computer supplied content feed into it's own input. Depending on what you are trying to do, you might need Midi to keep say timed delays synced. Can you run all this through the Helix - well kind of yes, but not with the flexibility you need live. The Helix (and Headrush) is built round the idea of presets which is great for repeatability, but bad for the variables of a live gig. (not bad for guitar - but it does not have real mixing capabilities and that's what you are going to need.) The above setup does nothing to help you decide if you want a Helix or Headrush. Helix floor can take a Mic. It has the ability to pass through computer audio coming in on USB - which can all be adequate for say home practise - but nowhere near as controlable or practical as a small mixer. In a venue with a soundie, you'd just let him handle the vocal chores directly (assuming you aren't doing anything too effects oriented) and give him/her a stereo line out from your mixer. Where there is no soundie you just plug your mixer into the venue system or a powered speaker system and away you go. If your aim is to have one thing that does it all - neither Helix or Headrush is really it - that's my opinion - as I said - in theory - but not in practical real world I say - yes the Helix can be your hub. I think someone on this list is or was doing it all with the Helix - expect to hear from them for the other argument!

Regarding playing live - are you going to play about the same volume you rehearse? If so, you will have nothing to worry about. If you will be turning up, then you might need to increase your low (and maybe high) rolloff. Google Fletcher Munson curve. Basically it says as you get louder the bottoms and tops become more audible compared to you mids - so it you already have a dark tone, it's likely to be mud at a high volume. I think rehearsing at the volume you play is the best solution - but that assumes you don't want to blast your audience and you don't try to deafen yourself at rehearsal! A sensible approach is to play at a good mix level with your drummer's acoustic sound.