themetallikid

your right Coda, without expressing it, I'm aware of that difference. Just mispoke (mistyped) while at work. hehehe

So I've seen some threads where people are using their Helix to control other devices via Midi (of course, I've done that with other rigs), but I could have sworn I've seen people controlling apps in tablets via USB. Am I crazy? How do I know if my amp will accept that, or how do I begin to set that up? I do some acoustic shows and have a library of songs and would be great to assign a stomp or two to page up/down during the performance. Is this possible?

ok, that's basically what I was picturing in my head. Thank you for sharing some of the guts. I just enjoy trying different setups and exploring if they work better for me and while doing it from scratch can be rewarding as well, I usually need a jumpstart to explore and get it setup or at least have something to work towards. Thanks again!

thats very cool. I've been using my 'core' presets for better part of almost 9 months. Few changes here and there to how I'm boosting them at times...,but that is more of a feel rather than tone thing. Can I ask to share the details of your 'rig' in the presets and what you have your stomps/snaps/amps set to. I dont need exact settings as that is always a variable that will never translate from one to another...but curious on how you structure and control the snaps/stomps and get the variance in tones mostly. If you dont want to share publicly feel free to pm me, and if not at all, I can respect that as well for sure!!

Right, I get that there is a learning curve to go from clueless>novice, and novice>experienced and experienced>expert, etc....even with my years of experience growing up with the Boss units and a rack setup, and then the G-System, then the Fractal unit, then back to Boss and ultimately here in the Helix-sphere....there is still a learning curve to learn the hardware, software and output signal options. Some of those subjects and tricks/tips carry over from one unit to the other because the application of techniques and signals is the same regardless of what rig you are using...however, all those have their own curves and some just never take the time to learn that even though you may be doing everything 'right' in the Helix...your external connections will have a huge impact on what your internal settings sound like. I think that is where most people get confused and give up. If there was an internal issue, sound quality wise, the Helix wouldn't have been released....nor raved about, nor compared in blind tests, or used on multiple professional stages (and not so professional stages) with such enjoyment and excitement. I'm far from a tone snob, but do get compliments on my tones live....this are

I may have missed something in the reading of this, but wouldn't snapshots work for this? The way I have my helix setup I would think it would work great in 8 snapshot mode.... In this setup you'd have guitar 1/guitar 2. Each section would include a chorus and whatever you do for your lead sounds (delay, vol boost or whatever). Not sure how the DSP would work with this....but on paper, this is how I'd do it. Its actually got me thinking of trying this as my other guitar player would benefit from having an actual 'preamp' for his elec/acc guitar. Right now its just a straight out with no preamp controls and such. Here is what I'd try. Exp pedal could then be attached to delay level, chorus level, whatever you want across Exp 1/2 settings and utilizing the toe switch to gain control of two effects. Preset - Dual Acoustic Snapshot 1 - Dual Rhythm = raw rhythm sounds Snapshot 2 - Chorus/Rhythm = chorus on path 1, raw on path 2 Snapshot 3 - Rhythm/Chorus = raw on path 1, chorus on path 2 Snapshot 4 - Chorus/Chorus = chorus on both paths Snapshot 5 - Lead/Rhythm = guitar 1 solo/ rhythm on path 2 Snapshot 6 - Rhythm/Lead = rhythm on path 1/ guitar 2 solo Snapshot 7 - Lead/Lead = solo on both guitars Snapshot 8 - Extra - I can't think of another scenario I'd prefer. I'm by far a guru and doing this from work, so again, not sure how feasible this is.

Yes I do this, I have 7 core sounds and then I use those 'template settings' to build song specific presets....or will save those in banks that make sense for genres.

could you assign something trivial and not directly 'needed' to the switches, and assign the same color to the ones not needed? Name them with a 'space' so the ID or screen shows a blank name to help lower confusion. That way when you look down, you see all blue lights with no tag names (for example) except the ones you need which are colored something different and labeled right? You would only have to assign the button to something for it to register probably. Even something as simple as changing the input resistance (forget the actual name) from 'Auto' to 1m. Just something that if you hit it, it should affect your tone or sound much at all. Even something that allows you to assign it to a 0.1 change in a setting that is maybe deeper in the editing of a pedal/amp/cab (like the high cut) would be almost negligible in a full band setting. All depends what you can assign it to in the preset itself. If it was me, I'd assign it them to the high cut on the EQ block that is first in my chain. I usually dont lower the High Cut (use it mostly for low cut before the amp) so if I assigned the button from 'off' to 20khz, it wouldnt affect my sound in anyway, but still allow me to assign a stomp name/color. I havent done this with stomps, I dont use them much....but I do something similar with snapshots

to add information on the volume side of things....This is something that happens with my lead boosts when we use a different sound system for gigs. I'll try and explain in a way that is easy and makes sense, so sorry if it doesn't. Our PA scenario: My presets output are set to (for the sake of conversation only) +/- 0 db. The gain on our mixer is set at unity gain, +/- 0db. That means what my Helix is putting out is what is being pushed through the mixer (albeit controlled by the fader for mixing, but the signal strength/level is equal). When I hit my lead boosts (on average, +6db at the end of my signal chain), the board is getting an extra +6db fed into it, even without moving the fader, its louder. Random Soundguys PA Scenario: My presets output are set to (for the sake of conversation only) +/- 0 db. Soundguy uses a different mixer and its inputs are padded more than ours is, so he has to raise the channel gain on the mixer to get my signal to a 'happy place', lets say its raised +6db. That means my helix volume is be boosted at the input of the mixer +6db and being mixed from there. When I hit my lead boosts (again, +6db boost on my end), that boost is then hitting the mixers +6db, and my lead boost now will have a much greater level difference from my rhythm tone cause the +6db is being boosted as well..... Where I'm going with this is that, while your presets are leveled, and everything is good.....maybe the way you leveled your presets was done differently than his. If his outputs sound 'close' at home, but his mixer channel is boosted in your band system, then any volume/level discrepancy is going to be exaggerated. Its a long shot, but that is something I worry about and have experienced on my end....something to consider possibly.

what I do is 'copy' my main rhythm preset (or whichever one will cause the least audible mistakes if pushed by accident) and 'paste' it into the snapshots I do not need. Then to change the name, it wont let you just 'delete' out the name, but if you rename it and only enter an empty space, then on your display, it will show a blank nameplate. I do this to help remove the visual clutter of seeing Snapshots 5-8 as most my songs only need 4, but I use the 8 Snapshot mode and only go into Stomp mode via the 'Mode' button as theres only 2 songs that really need that right now.

I had this same issue with my LT, 2 of them actually.....but in toe down position. I like my auto engages to be 'off' when in toe down.....but same thing, I could build work arounds for wah stuff, but whammy I like to leave the block off until I need that affect and it would constantly go past my 97% 'off' point, but then when I released my foot from the pedal it would counter rock back slightly to a random number less than 97%. No matter what I adjusted the 'off' threshold to...it would always counter rock when I lifted my foot to lower than that number....unless I set it so stupidly low it almost made it worthless to setup that way. I created a ticket with L6 and they took care of me. Mine was registered and all...I now have the full Helix, and so far so good.

If its stereo, there is a little 'infinity' icon (sideways #8), if its mono, I don't think that icon is there, in HX Edit I could be wrong if that's not what your referring to

yes, I change them based on what my intention is for jamming. Yes, this is my editing nightmare. If I make any tweaks to the 'Song' presets, or to my setlist with my stock tones for jamming, I have ot make sure and copy the blocks/preset to additional spaces.

Either way I'll be happy to play with what I get, and excited for the others to show up. I'll try your suggestion for sure. Thank you for that!!

Space on the unit is good for me....roughly: 1) Templates - single/dual amp versions of my 'stock' presets, acoustic/vox templates, etc. 2) Setlist of 'Stock' presets organized in a 'live' manor. Usually have it setup for banks of 8 presets. Presets arranged so that each bank shows 4 rhythm on the bottom and 4 lead versions of those rhythms on the top. Each Bank is arranged to cover a style of music like dance rock, heavy rock, 80's etc. I do this for the occasional crowd request I don't have saved in Setlist 3, and also for just jamming or learning songs. Once learned, I'll use the sounds I like to create a preset in setlist 3...speaking of.... 3) Setlist of songs saved as presets. Organized for live work with my band in setlist order. This bank I have set up as presets on the up/down, and showing 4 snaps on the bottom, and 4 stomps on the top row. 4) I use for presets I download as sort of an in/out Setlist inventory, ones I like are then moved to Setlists 5 or 6 5/6) these are presets I like or have found that have something unique in them.

Yeah I was excited, then disappointed that only Ch. 2 will be modeled first, but assuming its the Ch. 2 (of the 4) he demos, that's the sound I have the hardest time getting a tone I like audibly and feel wise...so I'm excited to have another option there.

I've done this, you should be able to set the L1 'flat' in the preset section, and just make sure you aren't overdriving the input of the L1. My other guitar player has it, and while its a decent system, it can get harsh on the top end, and I'd imagine if your clipping the input level, its gonna make it worse. Also make sure your using a Cab or IR in your preset as the L1 really wont supply that type of EQ to your sound well.

just finallly got a chance to watch this. what a great review of the amp, and this amp might be replacing several of my presets. lol

I find this approach great for a 'one sound' style gain increase. However, I get stuck in shaping my guitar towards the song I'm playing so my Metallica crunch will be different than my 3 Doors Down Crunch which is different than my Poison style Crunch. I suppose you could setup stomps with EQ's that are curved different ways or even multiple cabs or IRs to get a change in that EQ sound and still retain the Exp sweep for gain control. On a side note, not to hijack the thread, but maybe a similar approach to what Jbuhajla is suggesting.........I remember when the original Axe FX (I had the Ultra) came out, there was a parameter in the deep edits (not nearly as deep as they go now) that gave the "Central Frequency" of the amp. It varied somewhat, but most amps seemed to be right around 700hz or so. One guys approach was to dial in a light/medium style gain tone (I picture a classic rock style tone, not balls out Plexi) and then he would boost the front end of the amp with a Parametric EQ that had the mid frequency only boosted. I think in his test he setup 4 EQ blocks, in +3db increments so the 1st block was +3db, the 2nd was +6db, 3rd - +9 db and 4th was +12db. Essentially using them as boost pedals, but boosting the main frequency character of the amp. I really worked pretty well in retaining the character of the amp. Just another approach if you have the space for extra EQ blocks and don't want to use your EXP pedal to change gain much. Instead of dialing in a Med Gain, you could set it up to just edge of breakup for a dirty clean type sound, then setup a OD pedal to give you the 'medium sound', and using the EQ blocks to boost the input further. Not sure if pre-OD or post-OD would be a better placement for those EQ"s.

we do this song in our set. While I typically play Kirks parts and sing....I have done James/Kirks parts in one preset before. I run a split path on path 1 for everything pre-Amp, and path 2 is post-Cab. Meaning the amp/merger block is usually last on Path1 and my split on path 2 for the cabs is the first thing in line. My path 1 is split between the Roland JC120 in 1a and the Badonk in 1b. I use the A/B split block attached to snapshots to switch between them. By splitting the amps like this I can get a chorus on the clean amp, and still boost the Badonk for tighter rhythm/leads without affecting the other. I also add the Mesa EQ post the Badonk on 1B to help give that Recto Scoop type sound it does. At the beginning I will have an EQ block to help with cutting low end, and then a Valve Driver OD/Wah combination (I find adding the valve driver, settings to taste, in conjunction with the Crybaby wah model, min freq around 250-max freq around 2.1, really gives it an aggressive sound that Kirk likes as well) before the A/B split block. On path 2 I have my dual IR's and all post effects (Reverb, Delay, LA Comp (Sadites style), and a gain block for leads). This is how I would do it if I was doing the Clean picking part, utilizing snapshots to vary between clean/heavy sounds within the same preset. For right now, I am playing the ringing wah part in the intro and coming in when the heavy guitars come in (my other guitar player plays the James intro). For this version: I only have the badonk amp as mentioned above, all settings the same.....however I add a volume block at the beginning of my chain set to 1% (I think, maybe 2 or 3%, its not very high, more on this in a second) to give me that slightly broken up grit on the wah when it kicks on. I also only run one snapshot on this. As I only play the wah part in the beginning, I just automatically step on the wah (auto engage style, toe down=off, below 98% is on) at the beginning to do the wah. When I return to toe down, I'm on my heavy rhythm sound. I also have with the wah on auto engage my OD/Delay/Gain for my solo (being that the whole solo utilizes the wah, once you turn it on, you don't have it off until your done). Which is why I have the volume block at the beginning of the chain I mentioned above set to only 1-3%. Once you add in the OD/Gain boost for my lead....you don't need much input to really get that slightly gritty sound. This works for me, as always you mileage may vary...but when trying to sing and play, its great to just keep my right foot on the exp and only rock back when doing the lead fills during the 2nd verse and solo verses stepping on snapshots.

yes that is what I have mine set to. I have it opposite (toe = 0, heel = -18), and have it set to auto engage at 98%, so that when its toe down position the effect is bypassed. I make sure to set the time it takes to engage/disengage the effect to about 100ms or less, to avoid any awkward delay with the effect kickin in or off.

Correct me if I'm wrong, this works if you keep them all on the same path correct? Otherwise in my scenario where I have them on 1a and 1b, the dry signal would bleed through the 'off' amp as it is bypassed??

I myself set them up on separate paths (1A Clean(er) and 1B Heavier sounds). I use the split point as an A/B setting, and attach it to the snapshots controller and pan 100% towards A/B for whatever sound I want for that snapshot. My typical path 1 signal chain will be: Para EQ (low cut flubbyness removal) - OD (valve driver) - WAH - Path Split A/B Block < Path A - JC120, Path B Placater > - On to path 2 where my IR's, EQ, Reverb, Delay, Volume Boost go. WIth splitting where I do, I give myself extra block space to put different drives in front of the amps. For a song like Every Rose Has It's Thorn by Poison, I have 4 sounds I utilize, Clean (Path 1A-JC120 only), Gritty (Path 1A with Kinky Boost in front to add some grit/bite to the clean), Crunch (Path 1B Placater) and Lead (Path 1B Placater with a EQ/Kinky Boost added)

Thats sort of what I was trying to find out. I know on my path 2 A&B where I run dual IR's and both are active all the time the output levels are higher than a single IR so that makes sense. But with only running 1A or 1B, it would make sense its 3db (or whatever number)...I just need to find a different way then of adjusting for that output difference than using the Ch. Volume on the amp block then.

I'm not trying to be overly OCD about this stuff....I had the same issues with Fractal/Boss units as well. So there when paths 1/2 are split, there isn't a for sure remedy to restore the volume difference? 3db, 6db?? That's really what I'm looking for....I was just trying to tie it into the Amp Blocks CH. VOL parameter but it doesn't have to be. LIke you said could be remedied by a gain/volume block as well. I'll have to some experimenting. Thanks for the help anyway.