HonestOpinion

I proposed this a while ago in a post but I just added an Idea per your suggestion. You can vote for it here: https://line6.ideascale.com/a/dtd/Add-additional-slots-for-IRs/892101-23508

According to Line6's product literature the "Electric Guitar" mode essentially puts much less emphasis on the horn and relies primarily on the main speaker in the Stagesource speakers in an effort to more faithfully emulate a traditional guitar cabinet. It appears to be EQ'd differently as well. Excellent if you are either playing without a PA or if you prefer hearing a sound closer to that of a traditional guitar cab on stage with minimal effort. I can see where this is just the ticket for many players and a timesaver for players who don't feel like having to mess about with their presets. Much as I love hearing a more traditional guitar cabinet sound on stage I prefer to achieve that by tweaking my presets to get that sound and monitoring through a powered speaker (Stagesource speaker in PA/Reference mode in my case). That way I am more assured that the FOH sounds closer to a guitar cabinet and is much more akin to what I am hearing on stage. I don't want to have my monitor EQ'd such that it sounds great on stage and unbeknownst to me the FOH sounds boomy and brittle. As much as possible I prefer to generate a stageworthy tone directly from the Helix so that I am ensured a good starting point for whatever speaker I end up playing through, even if some final last minute customization is required. Quote from Stagesource L2 Quick Start guide: Electric Guitar Mode The overall frequency response emulates the sound of a 212 combo amp. The 10†speaker plays full range, with the horn adding only the smallest amount of sparkle.

Extremely nice! Do you have a link where we can download that IR?

Lots more here: http://line6.com/support/topic/17076-links-for-free-impulse-responses-ir-here/?hl=free+impulse

Interesting comment regarding the future direction of IRs. Although in many respects you are correct I am not sure I wholly agree that Helix is a "pretty good platform" for deploying IRs yet although it could be in the future. Although the overall functionality of the Helix provides a great platform for many things including IRs, I think the actual IR implementation still has a ways to go. It is difficult to manage IRs from update to update right now. Previewing them could be made easier. You cannot use longer/larger IRs such as might be used for a reverb rather than a guitar cabinet. There are in my opinion not enough slots for the IRs once you start really getting into them. I proposed an idea to allow one or two of the Setlists to be rededicated to IR use if the user so desired. Hope I don't sound overly critical here I just think IR implementation is definitely an area where the Helix has room to grow.

There is also a Mutant Filter (similar to the Mutron) and a Mystery Filter.

Maybe a very transparent compressor like the the LA Studio or even the Deluxe comp with low ratio and the threshold placed appropriately with the attack set high enough not to kill the guitar's attack. Experimenting with the compressor's 'Mix' control might also let a bit of the uncompressed signal through and help to get a sound that controls the increased volume without sounding squashed. Somewhat counter-intuitively it might help to place the compressor block after the amp/cab so it does not impact the amp's response characteristics to the increase from the guitar's volume knob. Without using snapshots it is hard to think of an ideal way to accomplish what you are striving for with a standard guitar. With a Variax you can assign the volume knobs to various Helix parameters such that for instance you could simultaneously lower the volume on the Channel volume, a volume block placed after the amp, or even the output block as you turned up the volume knob on the guitar.

Your point about lag unlikely to ever be zero is probably correct but the object is simply to get it as low as possible, better, not perfect. Best case scenario it is below an easily detected threshold. I also won't dispute that you can often find a suitable gap in the song to change presets even with a more significant preset switch lag, but not always. Song tempo, arrangement, etc.. can make switching lag problematic. The goal in my opinion should be to continue to reduce it. We often talk about the compromise between the ability to use many blocks or employ higher definition models and the ability to switch presets quickly. This becomes a tradeoff between preset design and tone versus preset switching lag. Maybe in a maximally flexible Helix design you would be able to choose whether you want to reserve enough DSP to do a relatively transparent preset switch (this might require the entire resources of one of your DSP chips). Or better yet, lag would reduce automatically whenever there was enough DSP left in reserve in that particular preset to devote to preset switching lag reduction. That way you would have the choice of dedicating all the DSP resources to model complexity and maximal blocks or just enough to ensure a fast switch between presets. Anyway, I remain optimistic on this front, even if significant improvement does not come to this version of the Helix I believe it is going to steadily improve in the industry in general. I could be wrong.

Jlondon's description is exactly the criteria I use to select "Electric Guitar" or "PA/Reference" mode. I use the PA/Reference mode during my preset design to better anticipate what the presets will sound like through the PA. I also use PA/Reference mode when it is a stage monitor to better reflect what the FOH sounds like. Wanted to add that if you turn a Stagesource speaker on while it is on its side it should go into "Floor Monitor" mode automatically which is essentially the same as PA/Reference but also reduces bass frequencies to account for coupling with the floor. That is usually the desired mode for floor operation and you can switch to it manually if necessary. When I first started using my Stagesource as a monitor I used the L6 Link as I always liked the idea of an all digital signal path. The problem was global EQ does not affect the digital output. I have since changed to the standard line level input so that when I choose to engage the global EQ it is reflected in my stage monitor as well as the FOH. I do this for the same reason I use the PA/Reference mode, I want my floor monitor to sound as similar as possible to the FOH. I also figured that since I am sending a standard analog signal to the FOH I might as well send one to my monitor to minimize differences between the two.

I guess all I really did there was pontificate on what is probably already happening in the industry as IR and reverb technology matures.

This point is so true but it makes me ponder something... I wonder if part of the future of amp modeling is figuring out some multi-dimensional mic'ing strategy perhaps using a combination of multiple real or virtual microphones or just algorithms that more closely emulate the sound of an amp in a space and the way the sound bounces off various surfaces. Those surfaces not only effect things like the volume and direction of various reflections(reverb) but also impact the EQ as different surfaces impact frequency strength with different absorption/reflection qualities . You could even have parameters like room size and floor, ceiling, and wall surfaces (concrete, wood, shag carpet, etc.). In some ways almost like a new more advanced generation of IRs and reverbs which are already an attempt to restore or emulate the sound of a specific space, but would take it a step further. Perhaps some of the more sophisticated reverb algorithms and IRs are already headed in this direction. This would go beyond the modeling of one or a couple of point sources (microphones) pointed at a speaker and instead provide an array of point sources for the sound. Adjustable perhaps as mentioned so that you could dial in parameters that gave you control over multiple sources of your overall sound instead of just the type, orientation, and distance of a limited number or single mics. For example, you would be able to dial in more or less back wall or ceiling or corner reflections and a 'softer' or 'harder' wall surface as well as things like the sound at various distances and orientations to the speaker. In other words you would have parameters for not only being able to change where the listener is in the room and how their ears are oriented to the sound source(speakers), much the way mic axis and distance does now, but you would also be able to change the character of the space(room, hall, arena, etc.), its nooks and crannies, surface qualities, etc. with many more data points as well as the ability to modify them than is currently provided by IRs and reverbs. I can see where this could lead to option paralysis but you might be able to have some simple preset choices for what would essentially be a much more advanced formulation of IRs and reverbs that took many more parameters into account than are currently modeled. This approach might more closely reflect the sound of an amp in a room rather than a mic'd amp. Of course, to some extent all of that goes out the window as soon as you play that preset in an actual room and it is subjected to a real ceiling, floor, walls and the position/distance/biology of the ears of the listeners.

From what I have seen on the forum this appears to be a hardware issue that you may have to contact Line6 support about. If this is not a configuration problem or easily fixed with a custom cable you may have to get a hardware fix from them to resolve it. I am curious as to whether they addressed this issue in the new Helix LT.

Love the Litigator! It is particularly "user friendly". Sets up for a range of tones quickly and easily and sounds great. I was a little skeptical at first about this virtual amp but it is just a great job of amp design. Disclaimer: Mileage may vary according to personal taste, musical style and what you are playing it through.

One more suggestion, I noticed you indicated you had run the global reset twice. Perhaps reinstalling the firmware again and then running the global reset might be worth a try. If that does not work I think jbuhajla's suggestion to open a ticket or call Line6 is a good idea. Btw, I wish my command of a second language was even half as good as yours.

Yep, I agree. I am unfortunately all too familiar with the range of options right now. Two choices - either reserve processing power for preset switching and limit the quality of the sound and which and how many blocks can be employed, or, eliminate latency by making compromises in the sound and the flexibility. I am just making the point that I do not believe those compromises will be as stark and severe in the near future. At some point the hardware and firmware/software get good enough that latency between presets is no longer an acceptable compromise to get a few more blocks and a barely perceptible improvement in tone. Not sure when that tipping point comes but I suspect it is in the near future given the competition between manufacturers. At some point people say to themselves this device sounds good enough and allows me enough flexibility in preset design that I am picking the one from the manufacturer who also provides low latency between presets. I know there is the argument that there will always be software/firmware to challenge the newest hardware and push it to its limits and that is true. However it is ultimately about a compromise between quality (modeling complexity) and choice of sound design (number of block choices and flexibility), and the tension between those two and latency in preset switching. There will come a point where sacrificing timely preset switching is no longer necessary or acceptable. As you point out the old Digitech as well as some newer devices on the market that have already decided to come down on the side of not accepting preset switching latency. Right now perhaps they do not sound as good or are not as flexible as the Helix but there will come a point, and I think it is relatively soon, where the tone and flexibility improvement simply do not justify the loss of usability when switching presets. Maybe there will always be room in the market for a device that sacrifices latency for maximum quality/flexibility but the devices that achieve an acceptable compromise between all these factors and provide minimal latency will command plenty of attention and are just going to continue to sound better and better while allowing the user increasingly more flexibility in preset design. Anyway, this conversation has been had many times and as usual I find myself just wanting to express my understanding and appreciation for the current hardware/software limitations and the choices dictated by them without becoming an apologist for switching latency which is clearly a technical hurdle that needs to be addressed and improved.

Snapshots did largely address the latency issue within a preset. Although it is infrequent I still get some strange artifacts or glitchy sounds when switching between snapshots depending on my settings. I really look forward to Line6 and the industry as a whole addressing the issue of excessive latency between presets. This problem demonstrates in no uncertain terms that the hardware/firmware is not yet fully mature for these devices. There is no good way to sugarcoat it.

Sorry to ask the obvious question but did you do a global reset after upgrading the firmware? Also you might want to look for problem preset(s) that did not upgrade properly and are causing the disconnect. Lastly, you may want to check and make sure you have EXP 2 set to global rather than per preset if you used to set your volume globally via the expression pedal. If this happens only when connected to the Editor I would check in the Editor menu to make sure you have the latest version.

Hate to say it but I kind of agree with you, not my favorite navigation device. I have always preferred the arrangement Roland uses with a recessed dial that spins (can't be damaged by kicking) surrounded by four action buttons. The dial is very easy to spin and the action buttons are right there where you want them for easy, even one-handed, operation.

Or you can just embrace our simian ancestry, abandon the Editor and the knobs completely and use the "Pedal Edit" mode which requires feet only... :)

I don't believe it locks in. You should still be able to change it when horizontal. Your speaker may be having issues.

I love this idea!

There is already an Idea on Ideascale for this. Vote it up if you would like to enhance its chances for being implemented. https://line6.ideascale.com/a/dtd/Color-code-in-preset-mode/868728-23508

You may want to give the Preset/Snap or Snap/Preset mode a try some time. This will give you four presets and four snapshots on the top/bottom row. It may not be ideal for you but it will give you instant access to four presets and four snapshots as well.

You are right about the potential loss of signal as well, but it is true, an instrument/guitar cable should not be swapped for a speaker cable for use between an amp and a speaker as it can actually damage the amp at higher levels or over extended use. It's primarily due to the thickness of the wire. Speaker wires are thicker and designed to carry the much higher current load from an amp's speaker output. Instrument/guitar cables are meant to feed devices like an amp input or a stomp box. Those devices require low power and they are high resistance. An amp connected to a speaker conversely is high power into low resistance, e.g. 8 ohms impedance on the speaker. I will leave it to the electrical engineers on this forum to correct my terminology and usage of "impedance" versus "resistance", etc. but the basic concept here is valid. Best not to use a shielded instrument/guitar cable to connect an amp to a passive speaker.

Yep, as other mentioned an XLR or a 1/4 shielded instrument or guitar cable to your powered speakers. Worth mentioning that you never want to use a 1/4 shielded guitar/instrument cable for connection from your amp to a passive speaker; they tend to be higher resistance than a speaker cable and that is not good for the speaker's sound (potentially low or distorted output) and can actually damage the amp, especially at higher levels.