Tcamponovo

I have used the 1500 for this. I just went xlr stereo out from Helix and then to the xlr ins on 1500. Sounded pretty amazing to me and the guys I was playing with. The 1500 will definitely crank out volume. The 1500 sounds great on its own, but if you want to use it for just the FRFR with Helix, it works great for that as well. Hope this helps. Good luck!

FBV MK II Shortboard. Yes, that works!

There are a couple of synth type sounds I've experimented with. The whammy effect can also sound kind of organ/synth-like in some instances. Since this is an effect that is possible with Firehawk, it's highly possible that it could show up on Helix in a later update.

You can create a new block in your chain with the same delay and setting as the one you want to use. Basically having the same pedal twice and having the second on the same footswitch as the other effect you want to use. You should also be able to have it set so that one delay is bypassed when the other is switched on. Just be sure to manually bypass one of them when you are setting the other's footswitch. Hope this helps. Good luck and have fun!

I think that the amp model or guitar you use can definitely play a roll in which OD/distortion sounds best. For instance, the Interstate Zed amp or AC30 with the Minotaur will produce a very bright, sparkly sound. They don't need a ton of gain to sound good. Even with my Ibanez RG, I get a very transparent, natural guitar sound that really brings out the different pickup positions. But it is very unforgiving and any mistakes the player makes will be bright and clear! The Screamer is more forgiving in my opinion. The overall tone is a bit darker and smoother sounding. This pedal pretty much sounds good over any amp model on Helix. It will take any of the Marshall or other high-gain amp models into the stratosphere in terms of gain, sustain, volume, etc. This pedal also enhances and warms up the tone of any other distortion pedal that it is paired with. Such as the Minotaur or Rat. The Rat alone with add some aggressive crunch to heavy sounds. But In my opinion, the amp needs to be set to sound pretty chunky with a smooth sustain to keep everything from sounding too harsh. Never overlook the importance of trying LESS presence and MORE midrange as a possible adjustment. Adjusting the characteristics of the tubes can sometimes help as well. Another very important feature to remember is which mic is set in the amp settings. Ribbon mics sound totally different that dynamic mics, etc. And as always, your tone will only be as good as the monitors you're hearing it through. I'm pretty happy with everything I've used with Helix so far. It does take some trial and error, and updates often help improve tone. I hope my two cents can help you out in some way. Good luck and have fun with it!

I'm based in Texas so I don't know everything that happens at headquarters, but from what I can tell, the demand was greater than what was initially projected. I know there were units shipping out in September and I think maybe some in late August as well. But there were so many pre-ordered units, that the first batch that were shipped out sold out in about 2 days. In a way, it was a good problem to have. Meaning that people were really hyped about the product and liked what they saw. But I understand the frustration! Have no fear, many more are coming and overall reaction is very positive. Helix is a killer product and it's no wonder why they sell so quickly.

I can definitely vouch for the Cali Rectifier using a lot of DSP.

I really dig the Vox and Doc Z models. The Cali Rectifier is also pretty killer. I really like most of the amps on there. I've set up a pretty killer Jazz/ Fusion tone with the JC 120 model that is surprisingly rich sounding.

Worth is for the wheels and extendable handle. Not to mention protection.

Here's my two cents on this subject: I agree that it depends on the music, especially something like metal or hard rock where it's easy to be drowned out by an ocean of distortion. But even more than volume would be overall tone and EQ. I really like to utilize my guitar's volume and tone control and have one or two sounds that have what I want in them. Just crank up for solos and back off for comping. This is almost always the way I would do it in a jazz/ fusion environment. Since I'm literally comping for another instrument or soloist. But I understand that in heavier types of music, it's easy to lose crunch or bite if you back off too much. In that case, never underestimate the importance of MID-RANGE. Im my mind, guitar almost always sounds better with a lot more mids than highs or lows. Especially for soloing. And since mid adds body (and is where the different instruments' frequencies tend to overlap), and volume, this will cut through the mix without puncturing eardrums causing grimaces. Having said that, I feel that around a 6db boost is a healthy place to start, especially if you can also bump those mids as well. If you ask 50 people, you'll probably get 50 different answers. So I hope this is helpful in some small way. Good luck!!

This should work. I've used a guitar with bass before. Set up each path independently. One for guitar and one for bass, then select whatever amps, cabs, effects you want. Just be sure to assign one of the paths to AUX to you can use that input. Maybe a little trouble if both guys are trying to stomp on pedals, but that's the biggest issue I've had with it.

I use some ambient sounds from time to time. The particle reverb and octo-reverb both will create some great string/pad-tyoe effects. Either independently or stacked together. You can also turn up the decay or level of some bigger verbs like the cave reverb to get a long pad effect. These work especially well with some stereo delay and use of the volume pedal to swell into a pad with no pick attack.