Ka5par

I have the Beyerdynamic DT880 Pro headphones and like them a lot. They aren't closed though, that might be an issue if you want to use them for recording with mics also. They don't keep outside noises out very well too.

Could be useful sometimes... Maybe checking the CPU limit without the CPU connected would be tricky?

You need to rec arm it and enable monitoring to hear it though.

For some reason many of the stomps synthesize the shifted pitches (octaves). Maybe it's how the analog stuff works, maybe it's more economical or just an artistic choice. Would be good to have a plain pitch shift that doesn't need to track anything. Maybe to do that in real-time is too CPU heavy. In a DAW you can pitch shift anything keeping the tempo.

Bitcrusher distortion block in the editor doesn't allow the "bit depth" parameter to be edited. Just shows "undefined".

Related question: would mixing 2 or more IR-s in a DAW and adding resulting mono file into Helix, give the same result as if I had multiple IR blocks in parallel? That would save the resources in Helix if a tried and tested combination could be in just one IR.

Would the simple camera connection kit method work with an older iPad2 as well? I don't have the camera kit, but thought of getting one.

The speakers/amp needs to be connected to the Helix and you need to select Helix ASIO driver as the output device in the DAW. Maybe there's another way, but that's what I'd do.

Do you have the speakers (active) or amp and speakers (passive) connected to Helix? Definetly use the ASIO drivers, it's not possible to get workable latency otherwise.

Mono Spring Reverb, why not: http://line6.ideascale.com/a/dtd/Mono-Spring-Reverb/814190-23508

I have actives too, but the output is so low that I have to add a gain block to every patch.

Yeah, why not? Would make things easier and accidents less likely.

Forgetting trying to emulate specific instruments for a moment, you can be very creative with impulse responses - use any audio files as IR-s. Diego Stocco does this quite effectively: http://www.diegostocco.com/rhythmic-convolutions-2/

What I found was that I liked the mi combinations of center or edge with cone. And the selections from the same distance produced the most pleasing sound (less phasey). Then off axis one of them optionally. And when blending two instruments' dual cabs together, then letting one of them be brighter SM57 for an example. Great tones without fizz. As for the eq settings. It's difficult to ask any standard solutions, it all depends on the context. That said I tend to roll off high gain sounds starting from 7,5-8 kHz. Sometimes cut mud around 300 Hz Sometimes roll off low end below 50-70 Hz (need to keep the low end for the Stick). Thanks again for making these IR-s!

It's an unfortunate omission. External MIDI device, computer probably could modulate Helix' parameters via MIDI.

Perhaps some of them are just models of a different channel of the same amp?

I play into the returns with the Stick. The impedance set to instrument level seems to be lower than what the guitar input is capable of. Don't know the numbers, but it's usable.

I got some time tonight and skimmed through the IR-s. There seems to be many mic options that provide nice combinations. I did a short sound sample with the Stick - nothing spectacular music-wise, but just to give an idea how they sound. In the left channel is one of my presets with the Zed amp and in the right Jim's Marshall preset. The Zed uses SM57-0 cone_off and edge IR-s and Marshall RE20-2 cone_off and edge IR-s. I also used the Neve 1.5kHz 1 IR after them. I only had a chance checking the sound in the headphones. Using different amps and in the mix the various colors of the mic choices will come in handy, but for now these sounded good: https://www.dropbox.com/s/ag6zy917deovzpe/Zed_SM57-0_%26_Marshall_RE20-2_cone_off_%26_edge.mp3?dl=0

My favourite for high gain sounds has been the Uberschall with low gain Minotaur or Teemah in front, with Uberkab (lo-pass at 7-8K) and SM7 mic. With dual cabs you have lots more combinations for variations, but I'd start out with a minimal setup, try to get as close as possible, then try to get even closer with a more elaborate setup.

If the intent behind the products is to mimick the real world amps and effects, then the comparisons should be done between the modeler and the original units. Same amps, cabs, mics and mic positions. Which comes closer, that one is the better product in that regard. Which one sounds best is still for everybody themselves to decide. For some uses the real world amp might not be the best choice.

A very frustrating bug that survived the last update. Hopefully in the next one...

It's a Thomann Helix case, I have it too: https://www.thomann.de/gb/thon_effect_case_for_line_6_helix.htm

Snapshot Morphing Get interesting transitions and inbetween sounds by morphing between two snapshots using a foot pedal or MIDI CC-s. Assign a "Morph" parameter to the expression pedal, specify start and end snapshots and done! Morphing will adjust the involved parameters smoothly from one value to the other. If chosen snapshots have any switching involved, it will happen when crossing the half way point. If you like this, vote here: http://line6.ideascale.com/a/dtd/Snapshot-Morphing/842054-23508

With a hex pickup or Variax it's probably possible.