HonestOpinion

I hope the update went smoothly. I just wanted to echo MusicLaw's mention of the fact that, as you are probably already aware, the latest version of the Helix software is 2.51 HX Edit which is currently running on the 2.50 firmware. That version was not out yet when I wrote the original post regarding update procedure instructions. Having to repeat the update process for a new version as new features get added on a regular basis is a "problem" I hope we continue to have.

Thanks for mentioning your method and that tool, EQ-Match, I have never used it but it looks like it can be used as you mentioned for Helix tone matching or just as a great tool in the studio, especially when you need to patch together and match up sessions done on different days. https://www.fabfilter.com/help/pro-q/using/eqmatch

Not sure how I stumbled across this video, if someone on the forum or TGP posted it first please take credit, just can't find the link in the forum when I search for it. Watch his video to see this fellow's method for molding the sound of the Helix blocks/effects and using EQ to match them potentially to all kinds of actual original pedals. This video focuses on getting the Boss Waza Blues Driver emulated but the sky is the limit. Great video, pretty ingenious! He uses a real-time analysis PC program that includes an RTA(Real Time Analyzer), and a built in oscilloscope to analyze standalone stomp pedals frequency curve characteristics and then uses them to EQ and match waveforms(e.g. triangle, square, etc.) and match up to similar available Helix effects. Sounds a lot more intimidating than it is, the process is actually relatively simple. For example he is able to roll through the Helix overdrive/distortion models and find the one that has the closest waveform and frequency response to a Boss Blues Driver pedal. He then uses the TrueRTA app to tweak the Helix pedal to be even closer to the Boss. Very cool! A scientific and relatively painless tone matching approach to setting up your favorite old pedals with some incredibly close approximations on the Helix blocks, particularly if you can find a similar block to start with, which this method assists you in doing. You could potentially do this with a lot of different pedals. Here is the link for the free version of the app he uses "TrueRTA". There is a paid upgrade to get the more advanced features unlocked. I have not had a chance to check out what can be done with the free basic version yet but it looks pretty usable at first glance. Free version of "TrueRTA": https://www.trueaudio.com/rta_down.htm

Me too, its not that I don't peek over the fence and salivate occasionally at the AX8 or the new 'Fractal AXE-FX III', checked out the new Boss GT-1000, and even peered at the Headrush for a hot minute. The features and design of the Helix and its interoperability with Native and other HX products however make it the most compelling modeler out there to me. Every time I compare it with the competition I find it has my favorite options and design and I go no further. Not that the other guys don't have some features I would like to see incorporated into the Helix. It may not be all but the majority of the options most critical to me are in the Helix already, even the ones I didn't know I wanted or needed until they showed up. :D .

I wouldn't be surprised if some of that has happened already. Maybe both the new amps and new cabs to come are benefiting from experience.

Apologies ahead of time if none of this applies but here's tryin'. The fact that it happens when you switch out of the tuner but not when using mode to switch is interesting and could render the following tests null & void and be something to contact Lin6 about but I guess it doesn't hurt to eliminate some possible causes to start. I would start by making sure I am not overloading my monitor equipment with too hot a signal causing a pop when engaged. The easiest way to test this might be by switching to headphones and seeing if you still hear the pop. That would at least disqualify the cabling and setting for your FRFR or amp/cab as a source of the problem. Does this happen on all presets or just a few? If you switch to this preset from another preset instead of from the tuner do you still get a pop? If so, it could be preset, signal level, or monitoring equipment related rather than an issue with switching off the tuner. If you have already tried the above and this is a problem on all/many presets, especially the Factory ones, I would probably open a ticket with Line6 and let them help you out.

I use the same approach as DunnedinDragon. Although some have used the Global EQ for a quick fix for all their presets I only use it if I am all of a sudden going through a different monitoring rig or a room that requires it and that is rare indeed. One way it can be helpful in this context is to run through a bunch of presets you are designing and utilize it to figure out if there is a general Global EQ profile that is working for a number of presets. Then turn off the Global EQ and replace it instead with a parametric(PEQ) in each preset with the settings that were working in the Global EQ as a jumping off spot. That way you can fine tune the EQ for each preset as DD mentioned and reserve your Global EQ for the scenarios listed in the beginning of this post(different monitoring rig or room).

Awesome and fascinating insight to the process, thanks very much for posting here! Also another huge thanks for all the great models you have whipped up! :)

I would say that is probably substantially better than just a good guess. :)

So if this is true and it certainly makes sense the question as alluded to above seems to be "even if they were inclined to apply some of the tricks for better amp/cab design that they have acquired along the way to the older models; how do you do that without impacting everyone's previous preset settings or evoking the always somewhat subjective response, I liked the old amp better than the updated one"? The answer is probably some changes could be applied relatively transparently to the existing older models and others would require a version "2".

I'm with you on this. As much as it kills me because I love the new amps/effects and innovations that just keep coming with each update I think we need a "stop & take a breather" update that is dedicated to any fix or enhancement that can be performed on the various I/O options for anything that is not impossible due to hardware issues/limitations rather than an issue with the firmware.. I am currently seeing bugs or requests for more robust functionality for several of the I/O options including Ext Amp control, MIDI, and S/PDIF. Some of those bugs or issues with full functionality have persisted for a couple of years. It would also be great to see an update focused primarily or solely not only on the I/O but also on bug fixes to things like the new mono HX reverbs as well as the Placater amp model added in this firmware and any other block or existing function that requires a fix. After that my personal priority would probably be to have the now 'Legacy' reverbs and wahs either upgraded to HX, or if this is not possible, the addition of some of the more commonplace mono and stereo HX reverbs such as the spring, plate, and hall types as well as some HX wahs. I think a lot of users tend to use the spring, plate, hall type reverbs much more often than the ones that appear better suited to ambient music or more extreme reverb settings although they are lovely and great to have and some can be set for everyday use on their less extreme settings. Anyway don't want to derail this topic which is dedicated to correcting the issues with S/PDIF but there seems to be other I/O issues that would benefit from being addressed as well. In other words an update that focused solely on just getting what we have already in the box working optimally and whatever possible upgraded to HX. This would include things as mentioned above like reverbs(add more mono versions please, they were a fantastic addition in the latest update) and maybe the wahs upgraded to HX. Not saying anything Line6 has probably not thought about many times as they tread the fine line between maintaining a fast pace of innovation, prioritizing the requests and features that impact the most users, and also making sure what is already there works properly and fully exploits the HX architecture and hardware. I just think an update that focuses on existing fixes and getting things migrated to the HX code without introducing any new bugs would provide a good baseline going forward for future innovation. Btw, there are well over three thousand views on this topic so it seems to be of interest to a substantial number of users.

First thing to do is make sure you have the correct level output to your FRFR, usually less of an issue with headphones although the headphones impedance is important as noted above. Have you tried other headphones? As has been suggested elsewhere before you start adding high cuts, whether you are using the Helix cabs or an IR, start experimenting with different microphone types. In the case of IRs you have to select a different IR but the Helix cabs as you probably already know include the mic type as a parameter. This can have a huge impact on the initial frequency curve of the cab and you may find there are certain mic types that work better for the sound you are trying to get and may not even require additional EQ. Once you get that dialed in start experimenting with low and high cuts as per the advice above and don't hesitate to get aggressive with the high cut down to 3-4k if you need to. I rarely cut below 4.7 and I prefer when I don't need to get quite that low. As you would expect though the less cut you can get away with the better so cuts that low should be for extreme settings. Also, use the "sweep" method with your parametric EQ to find frequencies that are particularly nasty by cranking the Q up to a narrow width e.g. 8-9 with a 12db boost and sweep through the frequency range while you are playing to locate the nasty bits. Then dial them down a few db with a narrow Q but not too narrow or down too many dbs or your tone may start to sound unnatural. As always with the EQ the rule of thumb is wide Q when boosting, narrow Q when cutting but as always let your ears be the final arbiter.

If it turns out well you could probably sell these online.

I prefer using the Dimension chorus after my cab/IR block usually grouped with other mod effects and before my delay/reverb. I also make sure my volume pedal is after my amp/cab blocks and before the Dimension. I do that because chorus effects mix in a delayed modulated signal and any pedal I have inline that uses delay tends to go after my volume pedal so that if I crank the volume pedal down to zero I don't cut off the delay trails. I tend to use my volume pedal for swells and to control the overall preset volume, and use the volume on my guitar for changing the signal level hitting the Helix blocks like overdrive and the amp/cab such that it controls the amount of grit or dirt and even tone to some extent. I am beyond delighted to see the Dimension appear on the Helix. I used to own the original 'Roland DImension D' rack-mount and it was my favorite chorus of all time - subtle and inherently musical and brain-dead simple to use. Nothing will ever replace the original but the Line6 version does a really great job and is one of my favorite additions in this update. When I need a chorus to gently color/thicken the sound this is now my go-to although the other chorus models can be set to subtler settings as well, most easily by dialing down the mix, depth, and rate. Really love this effect and they did a remarkable job of modeling it considering how unique a sound the original effect it is based on had.

Thx, was not sure if those parameters were available for the auto-engage on the HX Effects.

You can reapply an update that has already been applied. I know what you mean about some devices not allowing this but the Helix and probably all the HX devices do allow it. Contacting Line6 is certainly a good alternative as well.

I own the Helix and not the HX Effects so I can't speak to this directly. I have a question for rjlibutti, do you own the HX Effects or a different HX device? When I looked through the HX Effects manual I read that it had auto-engage but did not see any details indicating it had the delay and position settings which appear on the Helix when you select one of the EXP assignments rather than "Toe Switch". That made me assume it was just set to automatically activate the expression pedal after you moved it from either 100% or 0%. Does the HX Effects have those parameters for the expression settings(delay and position)?

I think someone else can better answer this question as I generally run a mono path.

This could be something that has changed in my rig but I was wondering if anyone had noticed a change in the Tuner since the 2.50 firmware release. For the first time, at least that I remember, since I have owned the Helix I am actually getting a tuner screen that does not have the large note indicator (G, A#, etc.) visible when I get sufficiently off tune and in between notes(not exactly in between, that would make sense). I mean the alpha indicator for what note you are on completely disappears leaving only the bars showing. Not saying that this did not happen before or even to the same extent(could be this aging memory) but it looks like the tuner behavior is slightly different in the latest firmware. Not saying this is a bad thing as it could be part of an effort to stabilize the tuner(purely speculative). Could very well just be me or my current guitar/cables but has anyone else noticed this?

I think you both make good points as well as those made by DI. The big picture is that ongoing development probably depends to varying degrees on a host of factors ranging from the initial readiness/completeness of a product when it first hits the market, how it compares with competing products, its sales numbers - both initial and projected ongoing, how many other unrelated products are diluting development resources, the profit margin per unit, the degree of pride the company takes in the product, the level of satisfaction of users, the number of bugs present that need to be fixed, etc.. I don't think there is any one single factor that drives updates although there can certainly be one that becomes the most important or even overriding determinant. I will say that I have seen lack of sales absolutely put the brakes on update releases such as the Line6 M20d mixer which simply did not receive enough sales to merit further development. It started out as a really good and relatively "complete" mixer, despite its lack of a GEQ unless you owned Line6 speakers(which was kind of a shame), but it was more than adequate and quite ground-breaking in its initial release state. I think the overriding principle in the Helix as it regards to updates is the sheer genius and huge benefit of the consolidation of the HX code and apps across the entire product line(Helix, LT, Native, HX FX, and whatever is still to come). This adds an economy of scale to new updates and innovation that makes it cost-effective to do updates and provides benefits that accrue to every user of an HX product. I think that is what DI was getting at in the quote above although I hardly think it was the only thing that would have driven updates but it is probably the most important factor. What a fantastic architecture this consolidated codebase is as it holds greater promise of further improvement because each update improves the entire line of products, generally increases the level of user satisfaction, and hopefully helps to improve or sustain sales across all of the HX devices. If they maintain this consolidation every new HX product released holds out the possibility of improvements for owners of the older devices. At some point I am sure they will revamp the whole line to the next generation of "HX II" devices that follows "HX" and their focus will shift to that(probably is a bit already) but until then this is a win-win for Line6 and everyone who owns a device in the HX family!

I think phil_m makes an important point(assuming I understand him correctly) that "Stereo" is not necessarily the same thing as "dual mono".

Another quote on TGP from Ben Adrian regarding the 'Placater Dirty' model: https://www.thegearpage.net/board/index.php?posts/25820362/ "Okay, this is probably my bad. There is level compensation tied to the gain controls of amps. What happen is that the amps sometimes get unusably quiet at super low gain settings. So, when the amp is in a super low gain setting there is a slight, totally clean, post amp model level boost applied. It's not a compressor. I try to calibrate this so that it's sonically invisible, but I was in a big hurry to make the NAMM release code freeze deadline and I biffed it. I'll put this in the bug list and make sure it's fixed in the next release. For the time being know that there is nothing changing behind the scenes except what might be considered a hidden Channel Volume adjustment." Thanks! Another quote from the Line 6 developer Ben Adrian regarding the Placater model. This reveals an interesting design detail about how some other amp models in general as well as this one use a compensatory boost when the drive is turned most of the the way down. The heart of this quote certainly applies to the Placater model but I was also noticing a loss in volume as the "Drive" parameter was turned all the way up, such that it seemed this model is not only getting a bump where it should not at about Drive=1, but also never attaining the level it should when the Drive is cranked up. Not sure if that is by design or not but it seems like the bug fix should include not only an adjustment to the area at the bottom of the Drive parameter setting but also a fix to the Drive curve such that cranking it up also increases the signal level and adds some volume. That is what I find happens on most amps as you drive the preamp section harder but I don't own this one so maybe it is different.

You wouldn't think it would be intentional as the manual points out which blocks are mono such that ostensibly you can maintain your stereo path elsewhere. But you're right, there's always the chance it could be by design.

I think I follow what both of you are getting at. Shouldn't a stereo effect that has stereo inputs and stereo outputs retain stereo separation whether it is 100% wet or not? In my head at least, wet versus dry just refers to the amount of direct signal being mixed with effected signal. It seems that even if only the effected signal is being passed out of the block to the output(100% Mix) shouldn't it still maintain stereo separation all the way from the block's input thru to output?

Totally agree! It has become a serious communication problem. For a lot of users of Line6 devices this has been the primary destination for sharing information and looking for assistance. And why wouldn't it be? It is Line6's official site and people assume this is the most likely spot to get help and advice on Line6 products, mostly from fellow users but when they get lucky or it is warranted, directly from someone at Line6. A lot of users have given their personal time to help out on the forum and quite frankly saved the support folks at Line6 a lot of phone calls and tickets they would have needed to address otherwise. Why not continue to encourage that? It does not seem like too much to ask that if Line6 staff is going to make TGP their primary destination that the information gets shared here as well. For now I would just say again to everyone who frequents this forum, you have a much better chance of getting your questions about bugs, features, future direction, or anything else answered by Line6 staff over on TGP. That appears to be the current trend, I'm not going to try to buck it. Does seems worth mentioning though.