Heavyville

I don't know the answer, but I heard they are working on being able to hit a button and it will order your pizza and change videos on youtube.... still waiting for beer button announcement. 3.0 maybe... why not buy one from one of those fancy american music stores, try it out, if you don't like it, return it...

Dirty Shirley sounds like a cannabis strain name....i like it. but, isn't dirty shirley associated with Friedman amps? Single Channel - 40 Watts - Handwired; Dave Friedman’s Dirty Shirley open-back 1×12” combo was designed for guitarists that want a Vintage Classic Rock tone inspired by British tube amps from the 60’s and 70’s. It is based on a modified JTM 45 but still delivers the signature high gain tone for which Friedman is best known. The Dirty Shirley is a 40-watt, 5881 powered, single channel amp that will give you that vintage crunch and also clean up nicely by merely backing off the guitar’s volume knob. Extremely versatile, it is capable of producing many styles of music from blues to rock and country by just adjusting the gain and master controls. This handcrafted in the USA combo utilizes tongue and groove Baltic Birch construction and houses a 16 ohm, 12” Celestion G12M Creamback speaker that deliver the bass, mid response and signature sound you would expect from a Friedman amplifier. The Dirty Shirley 1×12 combo was designed to take pedal and loves boosts, OD’s, phasers, flangers, tremolos and wahs, while the brand new ultra-transparent series effects loop handles your time-based effects pedals and rack units. The Dirty Shirley from Friedman Amplification, a real screamer that fits in your backseat!

Not to hijack this thread.... If your into IR's, get Mikko and be done with it. Every IR or stock cab I was using got blown out of the water once I made IR's for my patches. stock cabs are nothing compared to Mikko generated IRs IF you know what you are doing. IMHO.... Of course there are those that may be completely happy with stock cabs and IRs. and that's totally awesome and respect that. I made my IR's by sending my signal out of the helix into Logic with no IR/Cab block. Then I insert Mikko as the plugin and dial away until I get the tone that cuts in the mix the right way. I always have a mix going when I'm dialing in. Cabs make a bigger difference to tone than switching out between amps imo. Once i'm happy with the IR, i save, export and import into the helix and apply it to the patch. Down the hatch. tasty tones all night long. its more work to this, but the ROI on my soul being happy is worth it.

I can't believe this is only 4 pages deep...y'all getting soft or what....lol

why not use 8 snapshots? that gives you 8 options during a single performance. Not an expert on it...but snaps are the ultimate way to get around and toggling between sounds. Clean channel snap Hi gain snap Lead snap you've got 5 snapshots left to make noise. seems more than enough to cover a song.

Ground loop issue maybe.... try separating your electrical plugs from the same source. there is also products like humbusters that get rid of 60 cycle hum.

if 6 isn't enough, get the floor / LT / rack ............. it's simple, when you bought stomp it had 6 blocks...... you are spending to much time worrying about what it doesn't have.

to record wet using the Helix, make sure the output is set to Multi output. as for the noise. i don't understand you patch design, you have a split path doubling up to path 2A. there is a distortion block after the amp.....try turning off and on the different patches. good luck.

soon......you will have meters. perhaps you won't have to go through all this effort then......my short answer is, I have no idea. But i'll be making my own IR's with mikko soon, so this is relevant to me perhaps.

MIkko (ML sound lab) looks to be an amazing platform for fine tuning/creating IR's exactly how you want them to sound. That's what I'll be doing. STL tones Libra is another cool platform for mixing IR's. Both platforms utilize advance studio techniques, so the results can be outstanding relative to the static IR's available., which are still awesome. The best thing you can do for IR's is understanding the recording side of guitars /cabs and speakers and why different mics / distances are used and why mics sound different etc....(its a rabbit hole) AND always audition at the intended volume and preferably with a track going on in the back ground, this will ensue your tone cuts in a mix. my 2 cents.....

How many HX family members do we have? it's turning into the Jerry Springer show. Jerry, Jerry, Jerry.....

what patches you make for your studio monitors, generally will not translate to IEM's, AT ALL. unless you're an actual mixer using really expensive IEM's and you know them well. you seems to be very particular about your sound, yet your applying a one size fits all mentality. Not sure that is ever going to work for critical listening.... I do studio mixing, i have to balance my plugins with gain staging ALL the time. I see the Helix as the same amount of work, the final product is always worth it to me. if an essential variable changes, so do the settings, that's a cold hard fact. oh yeah, your audience gives no ducks about how you sound in reality.

i don't understand it either, but if it sounds good and it is good. let the sleeping dog .....

not sure if this will help....turn the mix down on the effect...75% or so and try that.... i don't use Wah a lot, but on the one song i did, i did this trick and it made it sound way better.

There is a lot going on here. how are you currently doing volume checks? if you have a daw, set up a recording channel when making a patch.... now you have a output meter. I;d rather not give up any possible DSP to a level meter. what volumes are you making these patches at? should be gig volume on the device you are going to use live. Live should have specific patches for live, imo. recording should have another set, imo. 60 patches is a lot imo. what are they for? cover band with different genres? try to start with basic patches - 1 clean 1 clean boosted 1 classic rock 1 modern rock 1 Metal or hi gain. then populate 60 patches from there. I used to have 50 patches set up individually for different songs....does not have a good return on investment. I have 4-5 patches that I'm happy with and cover the songs for the most part, if one has a funky effect, then I'll set up another patch to include it.... good luck.

my advice - settle on one tone at a time and learn to adjust parameters in time. The helix can be adjusted on the fly using the expression pedal. Do this at rehearsal. complete one tone, move on to the next. Also schedule it with your mates to do tone checking for 15 min before rehearsal. It's a good habit imo. 85 db is not as loud as you'd think. That's a pretty standard volume for mix engineers as well. Even if you hit the tone's for ten min. Force yourself to make quick decisions, those first thoughts are probably the right ones. stick to ten min, the deadline will force you to make decisions. good luck.

IR's are simply snapshots of mic positions /distances / angles / of different speakers using different mics, etc. You purchased OH, which is a thoroughly professional company that provides all the snapshots or choices one would need for finding a "mic'd speaker cab" for the particular application you are doing right now. For those that know, carry on. For those that are overwhelmed, stick to the folders that are pre-mixed etc, until you gain an understanding of WHY there are a million choices. I prefer companies that offer the gamete of positions / mics / mixes etc. TO me, they understand the IR business the best. It seems the majority of users talk about what IR to use live, but I think the studio environment is where all of the options are required and geared towards initially. this rabbit hole is a big one, its a good one though, make sure you pack a lunch too.

I try not to let this drive me nuts, whenever I do shows, I show up at the last min and leave right away, to avoid "those people" who just can't keep the cork soaker shut on tone, because of what they saw. I usually reply with a "i saw your GF/wife dancing her panties off in front me"...I'd say the tone is working perfectly as intended.

2.9 won't be released until we have at least 10 pages of mostly non relevant subject matters....lets go team!!!!

People should be more worried about whats going to happen to tube amps, not modelers.

i'm asking simply because i do not know, and i'm too lazy to research the WWW for it. can you use a helix floor and power cab+ in the following configuration. Helix sends a none cab'd signal to the PC+ ( PC plus set to whatever "amp in the room is" or whatever you desire per patch ) a separate signal from the helix sent to FOH with an IR or Cab? I understand this would be a giving up DSP and a parallel path to achieve as well as potentially EQ'ing different paths.

If you look at the worldwide metal community you will notice Kemper / Axe / Helix imo. When you trace back to the root of these high gain amps, you'll find they are all born essentially from one of two....a Marshall or a Fender imo. all these high gain amps are essentially modded versions of one of the two at the base core. its pretty clear to me, the majority of the users are not high gainers, or that would dominate the releases consistently. seems simple. I like the diversity the Helix has to offer, I can find an amp model to cover almost anything. I mean its just saturated white noise and an eq in the end. For marketing reasons I agree the absence of a Diezel product is odd, but I also think those are difficult to model component to component considering the internals are vast compared to other models. that's what I understand of the schematics of Diezels. I'm still giving blood, keeping the faith.

@MGW-AlbertaYou end up where you ended up,....seems pretty simple and you couldn't figure that out. you're at fault for not educating yourself ahead of time, so is everyone else that put themselves in that boat buds. you're lucky to have the support of this community and line 6 to resolve your short comings on being prepared.

If you know what your doing these days with modelers and tube gear, the only people "who can tell" are musicians ruled by their ego's and they are the very last people anyone should ever be trying to please with tone. #biggestbitchesaround They base their egos and comments generally on what they see behind you too...... nothing to see hear.

seacow cabs, good stuff.....free....go now, you have been informed.