HonestOpinion

Very cool, thanks! I just use Youtube right now for breaking down fast licks which allows me to slow down to as much as 25% tempo without pitch change but this is a very flexible app. I could see that looping function being really convenient and I like the way you integrated it into the Helix.

Very sleek!

This is not your topic so I believe it is a bit presumptuous of you to describe my efforts on it as 'adding needless clutter'. The OP did not seem to feel that way (at least I would like to think they did not). I also have been making music and running sound for quite a long time although I think diminishing other's contributions by trying to position yourself as the 'expert' is usually an act of hubris and results in a 'measuring' contest as others have so humorously pointed out. I made my points and did my best to add some value and stopped responding to this thread days ago so for the life of me I don't understand why you felt you needed to make this comment now. I will do my best to keep my mouth shut in the future and treat you as the 'authority' you so clearly are. Btw, as long as you are 'respectfully' calling my posts 'needless clutter' I would 'respectfully' say that your earlier statement regarding guitar stating that "there is nothing else on stage that resembles its sound even remotely" was wildly inaccurate in the context in which we were discussing overlapping frequencies and cutting through a mix and not reflective of the level of 'expertise/experience' you are claiming. If you feel you need to clarify your original comment regarding the guitar I would be genuinely interested to know what you meant. However, I would try not to be rude enough to characterize it the way you have my posts. Anyway, not sure why you took offense to my earlier posts which simply included information and references to back up my comments regarding EQ in response to your post which dismissed what I had said out of hand with no supporting evidence or facts. Providing your experience or supporting your opinion with facts is always a better approach than just insulting someone else's posts and opinions. I don't claim to be an expert although I have been doing this like you for quite a long time. I am just offering up my opinion which is the result of my experiences and trying to learn from others. Ultimately I would disagree with you, I believe this topic lead to several people making helpful contributions as to how to make your guitar cut through all of which when put together I find assist to form a more complete picture and answer to the question posed in the beginning of the topic. I found valuable and accurate contributions from almost every post here. The only 'needless clutter' here is the totally unnecessary post you just made to me and now mine responding to it.

I would do a global reset anyway just to be sure. Make sure you have good backups of your setlists and IRs first, and note what position the IRs go in and your global settings. It would be one of the first things I tried; may well be related to USB, driver, OS, or Helix instabilities though. Just one of the easier things to try unless you have an alternate computer.

Neither of these suggestions may bear any relevance but just in case... Make sure you did a global reset since your last firmware upgrade (backup setlists and IRs first). Check to see if the disconnect only occurs on specific presets. Try leaving one of the factory presets selected and see if the editor disconnect still happens. If it is related to certain presets try changing them slightly and then saving them although I believe this bug was resolved in the latest versions of the firmware, e.g. ver. 2.01.

Lots 'o good points here! I second your concern about hearing loss and have also recommended people use hearing protection if they design their presets at anything close to performance levels. I wish I had taken better care of my ears as I definitely have hearing loss from too many Marshall stacks along the way.

Yes, use the 'Volume Knob Controls' parameter on the 3rd page of Ins/Outs in Global settings.

I appreciate your point about when the IEMs and the audience's levels are "relatively similar" but firstly that often may not be the case. Secondly differences in critical factors like frequency response between the drivers/speakers in a tiny in-ear system compared to a large PA can be significant. This means the audience may be hearing something quite different in the FOH than you are in your IEMs. While the differences between 80-100db may not be as pronounced as some other regions they still exist and can effect guitar tone; particularly if you have been dialing in your presets at 60db and go out and play at 80db or significantly higher. Apparently 90db is where the entire curve really starts to level out and our ears become more equally sensitive to all frequencies. The first video is a quick synopsis on the Fletcher-Munson (equal loudness) curve and how it impacts how we hear with a little historical background on how it was developed. We guitar players will find the section at 3:22 minutes in of particular interest as he starts talking about electric guitar. The second two-part video actually focuses on how to use the Helix to adjust for Fletcher-Munson. A little bit of hyperbole here, but ignore Fletcher-Munson at your own peril and depending on the circumstances expect it to affect your tone detrimentally if you do. Honestly, I don't know if you have to "worry" about it but you probably want to at least consider this "Fletcher-Munson stuff people throw around" even if you determine it is not a factor in the way you design and play your presets. Start at 3:22 in this video if you want to get straight to the part about electric guitar. Here is a great and very scholarly two-part video about Fletcher Munson that actually gives tips on getting good sounds at different levels and uses the Helix to demonstrate specific methods to adjust for it. (Note: I believe this was first posted elsewhere by thurston9)

I started a topic on this quite a while ago. You can take a look to see the responses I received. Unfortunately nothing concrete and no preset. Maybe someone can gin something up with the synth effect. http://line6.com/sup...-preset/?hl=sax

Awesome, thanks!

I believe the user sminchk67 who runs the 'Helix Channel' over on Youtube uses the pitch block all the time to thicken up his tone. He has some most entertaining and informative videos as well. https://www.youtube.com/channel/UCpJrfCxQmio6zyjut4n0qRw

I have found this often corresponds to the size of the band, their experience level, and what kind of music they play. Love when things work like your description and sometimes/often they do. Some bands, especially experienced ones like yours appears to be, some sound systems, and some soundmen seem to get it done with minimal hassle and configuration. Definitely ideal, good on you!

Go out to the general Helix forum and type in 'Impulse Response' in the search box. It will bring up a couple of dozen threads either specific to IRs or where they have been discussed. Good hunting and thanks again for reviving this topic :)

Thanks for turning us onto these but this topic is intended for free impulse responses and I don't see any on their site. If there aren't any it would probably be better to not turn this topic into a general discussion of Impulse Responses although a bit of that has occurred (don't want to force folks to wade through too many posts without free links). There are topics already out there better suited for that. Thanks for dredging this topic back up though. It has been a while since I have seen anything added.

I don't think the 04B template anticipates an active bass per se but since the impedance value for the 'Aux' input is 10kOhms it is perfect for an active instrument. Just set the inputs to your requirements. The 'Guitar' input impedance can be set to Auto or set manually so it would be a good choice for plugging in your passive guitar. I don't think two passive guitars would necessarily be a problem although a separate splitter box into the 'Guitar' input on the Helix might be the best way to go. The Aux input is 10kOhms so certainly not an ideal choice for a passive guitar but I think one of the returns in the send/return loops could potentially be used. I think some people have used it that way. An input block can be set to a return on a send/return loop although they are more intended for keys, drum machines, and other similar line level instruments. I know it has been used for guitar by others although again probably not an ideal choice. Btw, a Variax is a lot of fun with the Helix as well and the inputs can be selected for it. Note: There is also a 'Guitar In Pad' setting in the Global settings.

EQ can be used in any of a number or multiple locations including right after the cab or often after overdrive/distortion and before the amp. I would experiment to taste. Remember, unless you test it at close to performance volumes you may not have a realistic idea of what it will sound like cranked up. Your objective should be getting each preset sounding as good as possible, once you have individual presets dialed in you can use the Global EQ when needed to adjust to the particular venue and/or PA. Btw, one final suggestion. I noticed you said you were not getting a whole lot of help from the soundman with the lead guitar sound. If you haven't already I would set up a boost on every preset. I prefer a boost on the output block at about +3db but you can adjust the amount as necessary. I use the output block so I don't need an additional volume block and the boost is very transparent because it is in the final block and therefor does not change the input level going into the effect and amp/cab blocks upstream. You can kick up the volume when necessary yourself, especially when soloing (hopefully he will not dial it back down). You can also use a snapshot to kick in the boost and make some EQ adjustments simultaneously for solos.

Cool! I prefer no physical mic in my path to the PA but that is ingenious.

The global high cut probably cuts the highs for the entire preset. The cab cut only cuts the highs in the cab and to some extent the blocks upstream from the cab although it impacts the blocks downstream from the cab as well. That could account for some of the difference that you prefer. Or perhaps the two different types of cuts are tapered or structured differently. Interesting observation, I am not sure what all the differences between these two types of cuts may be.

^^^ Yep, time to jump on the snapshot bandwagon. One of the most powerful and fun features on the Helix.

LOL. Cuts to the core of the 'problem' some people seem to think they suffer from on forums. Sadly they labor even harder under the heavier burden of its twin, omniscience ;)

'Star Trek: The Next Generation' reference, LOL :)

This is a really important point and goes to the soul of a 'subtractive' EQ approach. Sometimes you don't need to boost the guitar or its EQ but instead pull down other instruments in the ranges that are interfering with the guitar. Some soundmen use this approach almost exclusively with the possible exception of adding a high shelf bump for some sparkle or airiness. This principle (subtractive EQ) can be applied to the EQ on the guitar as well as the rest of the instruments on the stage. Doing things this way can really help keep volumes from getting out of hand, particularly in small clubs. It usually makes it easier to control microphone feedback as well. The only 'vomiting' that should be going on is from that patron who needed just 'one more for the road'. ;)

Excellent! :)

You may want to experiment with putting the EQ before or after your amp/cab block rather than after the 'MOD' block although after the rotary cab effect, as you suggested, sounds like the most logical location to try first . I would try arislaf's approach with a parametric EQ and move the frequency around the area he recommends until it sounds right to you. You can also try the 10 band graphic EQ or even the Cali EQ (Mesa Boogie) if you are more comfortable with them or get a better result.

Fletcher-Munson can play into the whole equation as well. If your only recourse to be heard over the mix is to increase your volume be prepared to cut your low end and high end in particular or you may exhaust your listener's ears by the end of the evening. Volume and EQ are interdependent and go hand in glove.