bassbene

There is no direct option to apply an upward compression. You may check if the Noise Gates (Noise Gate, Horizon Gate) can do the trick. If they can operate in an "attenuation" mode which does not cut the complete signal below the threshold. However, it is likely that the ratio is to high. If you are really fresh to the world of pedals and fx, I would start "simple" and go for classic downward compression instead. Plenty of options and in most (live) situations, the difference is neglectable.

In case you use Mac and have a somewhat up to date MacOS: Keep the Updater/Edit Window in focus all time. (As stated in the release notes) It caused me the same trouble and mild panic attacks...

If DSP resource consumption is a criteria, go for the Parametric EQ model. If you have Helix Native at your disposal, you can run both plugins and check with an analyzer or flip the phase of one to strive for complete cancelation. Note that the parameteric EQ block is limited by only a fixed slope for High and Low Cuts. So if precision or consistency is your goal: The IR capturing of EQ settings is the way to go.

The frequency range you are targeting is roughly 1k-2,5k. Unfortunately, that is not only the attack, but also a lot of harmonics, especially those added by amp models or distortion boxes. To keep the original "clank", I would start off with pitch-shift the fullrange signal, send that through your signal chain and add a clean, parallel path to that merges at the end of the chain. In this clean path you can boost/shape the parts of the signal you wanna add again, so likely a massive low cut* to 1k or even higher, and boosting the frequencies you wanna add back. That may not sound that natural in solo, but in the context of a band, you won't notice. *You can use a 3-band eq as flexible low cut/crossover as well. Just set the threshold to 0db to deactivate the actual compression and adjust the gains and crossover points...

So this is solely about the visual order of parameters, and not about sound right? I would not expect that the order of parameters reflects anything in terms of the signal chain. Take the SVT4Pro as example, the graphic eq will not be after the master volume in the real world, right? To the big "why this inconsistency?". My bet is for the sake of consistency - Havng the channel volume at the same spot on nearly* every amp model. The channel-volume parameter is typically* the 6th parameter of an amp, making it the most-left parameter on the first page. If an amp has a small number of parameters (like the Aguilar), it might be that the "master" is used to fill the space, to ensure that the channel volume is on its usual position. *Ok, picky people might notice, that there are exceptions as well (Del Sol, Busy One..)

If your preset does not use a parallel path at all, you might work around it by using one :) Create a parallel path to the FX-Loop block (100% wet) and add a Simple Delay block into the parallel path. 100% Mix, 0% Feedback. Play around with the delay time - likely something in the 10ms ballpark. This will compensate for the d/a-a/d-d/a-a/d conversion massacre in the loop. Edit: Mea culpa, a very similar and even more elegant approach was already mentioned by "somebodyelse". (lol)

Chad Carouthers is probably the most out-of-the-box-thinking person in terms of Helix. Check ou his other videos like using the Helix as a synth without any guitar for instance. Just brilliant to show what is possible with the Helix unit. In terms of side-chaining with the use of an external source (like fx return or alike), there is currently no chance to implement it without an external device (aka a compressor with side chaining capabilities). I would love to have that option as well. Maybe it is worth a shot on Ideascale.

I encountered similar challenges when I started with the Helix as well. My first advice would be to check your input level. If you feel that every amp as well as the fuzz are too hot, then lower the gain at the input stage some db. Another thing to keep in mind is, that you don't hear an "amp in a room" through the helix. You hear a "miced up cab" through the helix. This tends to reveal more highs than we are used to from normal apps, which emphasizes existing distortion. What sounds pretty clean to us through an amp, some meters away can be quite distorted when putting a mic close to it and listening through studio or hifi'ish equipment. The Helix (and the modelling world in general) is not really kind of plug&play. It needs some time to get used to. Things are different and the possibilities to overcome them are overwhelming. In other words: Even yedi need to train to use the force :D

This should work with the Pan Block located under Volume/Pan -> Stereo. By going full left or right, you basically mute the other signal.

As far as I know: No, not possible.

Consider playing one octave higher and use an octaver to pitch down again. This helps tracking and might remove the "farty" parts. It also makes the sound more synthetic. You might also hit a high-cut quite early in the chain to remove all clank and string noise. The prodigy example sounds to me like a simple (gated?) fuzz. Like a muff, big with a big cut in the lows....

A assume DNB means Drum&Bass. A general advice is hard to give. It depends also on the drum sound.. Do you have any example for the sound you are aiming for?

Quite an interesting procedure to increase the voltage... when would you have stopped trying? ;-) Thats definately hardware failure - not sure about the internal operation voltages used in the Stomp. Sounds like something is broken in there. Something may have increased some resistence significantly or some internal voltage regulation is broken... Hard to claim warranty now after you operated with more than twice the demanded supply voltage..

I can second that. After updating, I gave the Ventoux a try - as a cyclist I just couldn't skip that name ;) - and I was surprised. It turned out to be a sort of chameleon (which would be perhaps a more telling name - i think the model is not that hard to master as the Mount Ventoux is). That chameleon can morph into nearly everything. Tight or loose, cleanish or dirty, good options to shape the low end (from bloating to real tight) and very responsive. Turning the sag down on guitar amps when used for bass applications is a good hint to get them closer to the punch you are used from bass amps.

After updating to 3.15, I noticed that Rochester Comp block seems to have a quite big shift in phase. Some of my presets that use that block in a parallel path sounded significantly different (loss of low end) after the update. I could trace it down to the Rochester comp block. I could reproduce the issue with Helix native as well. The screenshots show an analyzer after Helix Native, fed with white noise. You can see the phase cancelations if the model is used in a parallel path. Is this the "correct" behavior of the model? I am pretty sure that it sounded differently before the update to 3.15

Upgrading aka exchanging the processor will be pretty hard. I would not be surprised if those chips are actually BGA types, meaning: If you are not familiar with a reflow oven and have a pair of very skilled hands, this is close to impossible. Even if you find a drop-in replacement with the same pin layout etc - as MusicLaw stated: If you change the chip, the code will have to now, usually at "compile" time.

That is nearly the simplest case. If you don't want or need any individual treatments between both outputs (to amp and to FOH), then just put your effects in and use the Multi-Output. The connect the 1/4" out to your amp and the XLR outs to the FOH. Make sure to set the 1/4" Outs to "Instrument Level" in the Control center to deliver a more suitable level to your amp. Be aware that the sound through your amp will sound significantly different than the signal you send to FOH. If you wanna compensate for that, you can either go for the global EQ (and configure it to just effect the output you want to adapt in the global settings), or you split paths at the end and route them to 1/4" outs and XLR outs individually and add blocks in one of the paths.

The volume knob is an attenuator only. If you set it to "headphone", the other outputs will get the full signal. As a bonus, you get consistent recording levels over time - it wont change everytime you touch the volume knob :)

You can have a look at CustomTone: https://line6.com/customtone/search/?submitted=1&family=helix&search_term=bass Also you may check out Youtube for some patch-building tutorials where the author also provides the patch itself for free. That's just starting points to get inspiration how the Helix can be used. "Good sounding" is down to personal taste, so there wont usually not be a perfect out-of-the-box patch available.

Guitar and bass do not sound the same, even when pitched to the same frequencies. Just compare the higher octave on a bass with the lowest notes on a guitar. Total different story. In addition, a bass plays and feels different which results in a different kind of playing. You may also sound like a guitar player playing a bass and not like a bass player. If you want to just sketch down some ideas, it is totally feasible to just use the pitch shifting and you are fine. But for live business or recordings... please dont. As codemedia mentioned, a lot of "fake" instruments are just in recordings. Mostly those are midi driven and pretty decent simulations/samples of the real deal. Plugins like https://www.toontrack.com/product/ezbass/ do a fairly decent job if you lack a bass player at the moment.

Usually when people say "digital sounding" they refer to something like "harsh sounding". Therefore: Try highcuts and the end of your chain or in your cab block.

Did your Helix work before? What has changed? Does the tuner get a correct guitar signal? Did you connect the guitar to the correct input jack (just asking)? Did you try another guitar cable? Is there no signal level indication on the output block? (Or in other terms: Are you sure that your monitor/listening setup is working correct?)

Bypass all blocks, enable them one by one and check which block increases the volume. if you dont wont to mess up your gain structure, you can start with the amp and go from there. Just identify the block that increase the volume and tame their output level. You may also check for any "hidden" gain applied by merge, split or even output blocks.

A and B indicates which poweramp was used. A tube amp (A, Peavey 5150) or a solid state amp (B). The mics are listed in a document attached to the files. I can not resist to end with an annoying question: Does it matter? When it sounds good, it sounds good. No matter what the mic was that capture the IR that made the sound good ;)

Basically you can use any compressor that offers a ratio parameter. You can use the Deluxe comp, set it to 20:1, shorten the attack time and you are entering limiter territory. The new Rochester comp allows even higher ratios, but might color the sound a bit more.