mefife

1) Output blocks have level settings that can be controlled by snapshots. 2) balanced out is nice, but I'd use the USB connection right into your DAW. There are several useful reamping solutions available natively and other cool stuff (thumbs up) 3) what kind of noise are we talking about here? 60 cycles? More of a hiss?

This is really all there is to be said about the subject. If you're modeling you will inherently need to edit based on environment, situation, preference. The +5k debate is tail chasing. In a parallel studio life, I work with RAW video and color treatment and I see the Helix to be very similar (anyone who's familiar w/ DaVinci or LUTs will agree). In our working environment we get to sample the wide gamut of wavelengths that CAN be produced from a signal amplifier. We get to choose which ones SHOULD be accentuated or attenuated. It adds a subtle layer of art to the creation of your signature tone based on these models, which is quite exciting in my book. There's a difference between a point-and-shoot Sony and a RED Epic, both have uses and once requires significantly more work back end to make what some would see as essentially the same image.

Fairly new owner here and for the most part, I can appreciate the overall frequency output of the helix for its flexibility. Running into the OT of a 100w marshall SLP, the presence knob on the amp allows for great "stage" tones, while an IR'd signal can be sent to FOH out the XLR's. IF i use the globals, they're only applied to the XLR and matched to my on stage cab. Room matching is a collaboration w/ the sound tech at the venue. That aside, I like to view the Helix "Environment" as a portable studio setup for a guitar rig. Bussing (somewhat),blending, crossover, EQ, compression, etc. can play a huge roll in how the unit sounds and feels. CAB blocks directly after the amp and before an IR can really focus a tone when blended the right way. Of course, there are infinite shades of "good enough", but amp and cab sim is a small part of the overall achievement of tone w/ these bad boys.

In one FX loop (2 on the helix), I have the 8 paralell paths of my OneControl OC10 running (in order): Bogner Harlow, Mad Professor Simble Pre Drive, Lovepedal germanium Believe, Bonamassa Fuzz Face, Vertex Dynamic Distortion, Silver Pony v1, Paul Cochrane Tim v2, and a Keeley Time machine boost. Through Loops 3&4 I've got two h9's and a timeline. Midi through CommandCenter and snapshots was a gamechanger.

Posts above cover most of the ground you'd need. Currrently working through routing w/ a OneControl OC10 (using the helix to control midi) using two amps and a smattering of pedals. Seems to be working great at the moment...quite fun to have two distinctly different OT signatures on one tone. Ping me if you have any specific questions on how/what I'm doing.