stooxie

I think also that people don't appreciate how difficult it is to work with embedded systems and DSP programming like the Helix. The fact that it doesn't have some super pretty update process doesn't bother me at all-- in fact, this two-step upgrade process makes me think they had to do some pretty cool acrobatics to shoe-horn in the substantial update. I was impressed! People's expectations are just totally out of whack these days about everything. As soon as it ain't pretty or perfect, and there's a commercial operation behind it, people grab the pitchforks and torches at the slightest thing. Maybe it's because I've been deal with computers my whole life... I always breathe a little prayer of thanks when any kind of update actually works. The chances for something to go wrong are infinite. -Stooxie

That's some truth right there.... I got the 100W for the reasons stated above. Not that much bigger, 5 pin DIN midi port... just didn't even want it to be a question. I'd rather have it and not need it than need it and not have it. The 50W and 1/2W settings work perfectly. -Stooxie

I've done all three. Helix to DT25, Helix to FRFR, Helix to Catalyst. Let me answer this in a way that might be a little different: let's talk about YOU. First off, the DT25 is a dead product to Line6. It's pretty awesome to use with the Helix-- from preset to preset or even snapshot to snapshot you can control the output stage of the DT25. You can get some killer tones for sure. But there's no support for it any more. If it breaks, you're stuck looking for donor parts. ALSO.... the DT25 will always color your tones with its own output section. If you're in a cover band situation we're you're trying to match other people's tones you'll always be compensating for the DT25. I chased that wild goose for two years. But if you're creating your own tones and will love whatever you have dialed in? The DT25 is a killer amp with the Helix and L6 link. FRFR: I use a QSC CP12 with 12" speaker. In short, it's amazing. Using stock amps and cabs I get all the tones I want and have a MUCH easier time matching versus the DT25. Yes, I can literally watch a rig rundown on Youtube, set up the same blocks on the Helix and have the tone 85% there. That takes some practice as well. I'm getting better at it. Once you get used to the Helix and really start to understand how it all works a LOT of this "tube amp vs modeler" stuff disappears. So much of it is user error, and as people say, the instant you're in a band mix no one could tell the difference anyway. Catalyst: Lots of good things to say here. First, the Catalyst by itself really IS an amazing amp. The built in amps and effects sound terrific on their own. So if you want just an amp and don't want to lug a lot of equipment you've got that. The power-amp in works as advertised. It's an "uncolored" input for the Helix or whatever monitor you want. That said, you're back to a cabinet again so you'll always have that color in your tones. However.... you don't have the zillion variables that the DT25 has so OCD people have an easier time with the Catalyst. You get what you get. With my Helix, it sounds great. I just prefer the absolute simplicity of the CP12. Of course the Catalyst is a current product from Line 6 so there should be firmware updates, etc, for it. Hope that helps. -Stooxie

Surely there is some bluetooth adapter that can be parked in the USB port that would allow a cellphone or tablet to connect with it and pass MIDI messages. Time to start Googling... -Stooxie

If you go to the output block in the Helix you will see a DT25/50 tab. That will allow you to control many of the DT's parameters. Connecting via L6 bypasses the DT's built-in pre amp on channel A, while leaving it engaged on channel B. So I guess you could, for example, double up on pre-amps. Many people opt to use the Helix's pre-amps or amps and then use the DT output block to control the power amp parameters, which I think is what you are talking about. You can also save some DSP in the Helix by using the DT's reverb (although you can't change the type of reverb via the output block, only the amount... You could use the Command Control to issue a midi command to set it but unless you need the DSP room it's easier just to use whatever reverb block you want in the Helix.) There's been lots of calls from the DT community to add those additional controls via L6 and/or the Helix output block but so far those calls have not been heeded. Most likely because the DT/Helix combo doesn't represent a large amount of Line6's business, but at the same time, how hard could it be? The DT tab is there in the output block, why not add in a few more parameters? -Stooxie

Right, in the link I posted above, the actual guitar player from the Toadies shows you exactly how he does it and with what pedals. Just a Tube Screamer 9, lots of gain and a loud amp. You can hear how cranked it all is when he just turns up the volume on his guitar. Clearly no noise gate. Feedback, of any kind, requires volume. -Stooxie

Just ask Clark Vogeler how he does it: https://www.facebook.com/premierguitar/videos/10155692984448917/ -Stooxie

Not sure what any of that has to do with stereo behavior of more than 2 units. Look, Line 6 makes a huge deal about their L6 link as a selling feature of these products. I'm not talking about making the Helix integrate with the DTs like the HD500 does, in terms of total FX loop insertion and all that. I'm talking about simply extending the control command operation to units 3 and 4, and adding that to the Output block. Also, adding a simple drop-down menu that would select the reverb can't be too difficult. People that have DT amps would appreciate not being left behind by Line 6. I don't think I'm asking for anything that is going to require extensive development or regression testing here. Also I believe the HD500 does a lot differently in terms of controlling the DTs, i.e. being able to assign L or R to any of them and being able to send wet/dry to any of them. I don't have one, but that's what I read in the manual. Line 6 makes awesome stuff, they don't need any apologists. They need to support users that spent insane cash with them. -Stooxie

I'm resurrecting this thread. Is the above true? I was wondering this just now as well. I would have to imagine that no more digital work is done on the signal once it hits the power amp. So is the DT25 modeling the cabs, cabinet microphone, etc, before the power amp? It's not a criticism, just a question. If that's the case then there's no difference in me having a cab in my Helix path and then going into the DT25 since that how the DT25 would be doing it anyway. -Stooxie

I'm starting a separate topic about this because someone suggested it in Ideascale and I think it's genius and much needed. The suggestion is to have a global cabinet setting/block that could be turned on or off. This would account for cases where we usually play through a particular cabinet, or power amp, and design our patches that way. For example, my Helix goes into DT25s so I really only ever use pre-amp blocks and let the DT do the rest. But if I were to use any other output method (say into a PA) I would want to be able to apply a global block that would take the DT's place. I understand this would mean the system having to recalculate available DSP bandwidth but maybe a simple solution would be just to grey-out any patches that didn't have enough room left. Just wanted to call some attention to this idea. The capability for global blocks in addition to the EQ would be great. -Stooxie

So through some experimentation I have found the following in terms of stereo assignment via L6: 1 unit: collapsed into mono 2 units: Unit 1 is left, unit 2 is right 3 units: Units 1 and 2 are left and 3 is right 4 units: Units 1 and 2 are left and 3 and 4 are right. However, only units 1 and 2 will have their power amp settings controlled by the Helix. It would be awesome if there was an option to get the Helix to control all of them. It would also be awesome if the Helix could select which type of on-board reverb the DT uses. -Stooxie

This is what I did as well. Got the error the first time, clicked Update again and it worked. Who knows. Typical Windows software, just keep clicking until it works. -Stooxie

I posted an IdeaScale entry and I'll also mention it here: It would be great of the Helix would control more than 2 DT25 amps. It will send audio to four of them and divide stereo among them but it will only control the first 2 via L6 using the DT25 output block. It really should be able to send the commands to any connected DT25s, at least up to four which has always been what the DT series advertised. At a minimum the interface could have an "All" setting, i.e. DT1, DT2, DT1+2, DT All. It would also be great if stereo L/R channels could be assigned to each DT unit. -Stooxie

Hello all, Searched through the manuals and I can't find anything that says how (or IF) the Helix LT will allocate stereo channels if you have 3 or 4 DT25s connected via L6. Easy enough to find where it describes the behavior for two, but what about 3 or 4? Also, it would be nice if there was a way to change it in the DT25 output block. Say 1+2 are left and 3+4 are right or assign them individually. Of course I am talking about powered DT25 combos or heads, not extension cabs. Thanks for any help! -Stooxie

Ooooooh on the second channel, that would actually make sense.... I can give that a try for kicks. And yes, I meant that if the Helix changes from (for example) triode to pentode there is no MIDI output response. To be honest I'm not sure why that would even be useful other than to get some insight into what's really going on. I know that you can daisy chain DT25's together via the L6 link and that will duplicate the commands if set to do so in the DT25 output block. -Stooxie