bassbene

Only option for an "internal" solution might be duplication of presets. One for your dual output setup, one for single output. As an "outboard" solution you could use a mini-mixer or similar device between the Helix and the amp to merge both signals.

You can rename them on the LT as well. One way is by using HX Edit, it is also possible to do it on the device directly: Push the "preset" rotator knob, the display will show you options on the bottom. The most right option is "Rename Snapshot".

As far as I understood IRs, they just capture the reaction of a "system" (room, cab...) to a defined impulse. You can't cover the Fletcher/Munson curve with this, because the "system" - the EQ curve in this case - is based on the volume. You could only cover an IR/Correction curve for one specific level... ending up as a simpel EQ. Possible Workaround to get in the direction: - Measure the level in db you use to rehearse with your band - Measure the level in db you use at home - Lookup the EQ curves for these levels in the Fletcher/Munson chart - Substract them from each other lower-level minus higher-level - Mimic that curve with an EQ Block. ... Hm, could be covered by some excel-sheet or online tool, let me think about it ;)

There is no general advice, but If you take a look at the usual approach PA/FOH guys use, you will see that they set the poweramps to the max desired output and control the volume with the preamp (=mixing console faders). I would approach this the same way: Set the headrush to the max needed volume depending on the location and control the volume with the Helix.

There is no way around using a parallel path (which you can't because you already use it for other parallel processing) or the FX send you mentioned, which consumes one block.

The problem is the FX Loop block: It adds a small delay due to D/A and D/A conversion. This will delay the signal by a certain extend and Helix will not compensate for that in parallel paths. This could result in some phase cancellation issues. A "fix" - no, let's call it workaround - would be to add another FX Loop in PathB and just connect FX Send to FX Return with a patch cable. This would add the DAC conversions to this path as well, so that theoretically both paths should be in sync again.

It's amazingamusing how people think (software) engineering works. If a company would react to every small lollipopstorm, they would have a hard time doing real development on a product.

Go for 2.91. You just started using Helix, so start with the latest features and build your presets based on them. You will find a bunch of bad news for every update after it was published. That might leave the impression that the latest update is unstable or not reliable. At least from my experience, no version felt unstable so far. There will always be the 20 people having trouble with an update or having a very special use case that is blocked by an update... but the thousands of users that update successfully will never write a forum post about it.

I don't know for sure, but it sounds a lot like a "stereo link" option. I guess this parameter is not available when using the mono version of the 3 band comp. Meaning: If you select "link", I would expect that the detection circuit of the compressor reads both stereo channels and if one of them is hitting a threshold, BOTH signals are effect by the compression, no matter, which of the two channels triggered the compression.

A noise gate might be the cause for your sustain cut off. Is the noise gate activated in the input block? Which firmware are you using?

TL;DR: No, not with the HX Stomp. Long version: There is no option to route a path to a certain output directly. On the "bigger" members of the HX family you could choose which output type (XLR, 1/4") should be used as source for the headphone out. This allows you to route the dirty path to XLR only... but well. I guess this would also not fit into your pedalboard layout ;-) Besides that: On the bigger Helixes, the stereo separation is disabled at the moment when only one output jack is used. You might have to plug at least a dummy plug into the other output jack.. Perhaps its easier to find some millimeters of space to just go for the normal R/L outs on the top.

Did you achieve the desired sound with the same bass on some other platform? The bass guitar should have fresh roundwound strings and a low action to get enough fret buzz. Your approach appears good to me. It is all about separating the fundamental lows, keeping them controlled. The highs can be distorted to taste, most of the time a certain amount of clean, punchy highs are preserved. The Obsidian/Darkglass pedal is a good tool for that job. It might also be a good idea to cut the lows AFTER the distortion, supplying a fullrange signal to the effect to preseve its "natural" response.

It depends on the type of cabs you are using. I am using a similar setup with very transparent cabs (Glockenklang) which are similar to FRFR cabs. With "character cabs" like a Ampeg810 or something similar, it might be hard. One approach is to use an EQ to compensate for the cabs frequency response: Pull out some mids (that are likely to be emphasized by the cab) and crank the highs (which are killed by the cabs). Another option would be adding subtle distortion which will add more highs and high mids - and through the cab it might not sound like "distorted". Can you describe the kind of sound you are after?

In general, the following parameters can be used to clean up an amp: - reduce Gain (obvious I guess) - reduce Master volume (reduce/avoid power amp saturation, effect depends on Amp model) - increase Bias & BiasX (prevents power amp saturation) - reduce Sag (prevents power amp saturation, maintains dynamics) - reduce Ripple & Hum (this is more to reduce subtle noise) In extremes, this might lead to a harsh and crisp sound. Does not sound like what you are looking for, but "fatness" can be added by some EQ and sustain by a compressor.

The controls match the LA-2A very well. I don't think that the LA-3A had an emphasis control...

I had a similar problem/limitation and there is no way around it if you need the parallel path for other purposes. The external DI is the only way to achieve this, if you are short of parallel paths. You may check the delay of both DI signals, they are very likely not perfectly in phase... That might effect the low end.

You can select which outputs are effected by the helix volume knob in the General Settings. Depends on the inputs ;) I get lost thinking of 7CM. So general rule of thumb: If you feed into an amp input, select "instrument" level. If you feed an effect loop, select "line". You find these settings in the General Settings -> In/Outputs.

The best way would be to use XLR (female) to stereo 1/4" jack cables so that you benefit from the balanced signal of the XLR outs of the helix. You can just use standard 1/4" mono instrument cables as well, it will work and it would not make much of a difference for most environments.

Best way to "learn" to use modelling gear is to try things out. Nothing can go wrong, so just try some things out. Nevertheless downloaded presets can be a good starting point or inspiration. If you want a clean and compressed tone... start with a clean amp with a lot of headroom. The SVT4Pro, the Cougar (GK) or the Aqua (Aguilar) are good choices here. All of them are really hard to distort. Since you seem to fancy some Darkglass stuff, you can also use the B7K "overdrive" as amp simulation. Just turn down the distortion part to a minimum, perhaps just enough to give you some extra overtones. Result is a very clean but still typical modern Darkglass sound. Perhaps too clanky for this application, but perhaps worth a try. Have fun trying things out. That's the power of Helix&Co.

I would love the option to give blocks custom names. Sometimes I end up with multiple EQ blocks or Compressors, each for a distinct purpose. Would be great to give them names like "mid scoop" or "bass cut" for instance. Would make complex presets much simpler to work with.

When it comes to Steve Harris sounds, you have to check first: - P Bass (no way around it) - Flatwound Strings - Dig in like hell (or attack the strings more "vertical" so that they snap against the frets, the famous typewriter style) That's what 90% of his sound is about. On the helix side I would start off with a clean amp, like the GK Cougar, the Aguilar or perhaps the WhoWhat100. Since you are obviously not Steve Harris, it might be a good idea to also add a fair amount of compression, since you might not be able to control the hard picking as good as he can. This might even out the most nasty spikes that can occur when digging in hard. Customtone has several patches for a Harris sound, but none of them is compatible with the Effects or Stomp :/

Complaining about 7db of boost? There are miles to go before will run out of headroom. Input impedance will only affect the tone, especially with passive instruments. It will not affect volume. Keep in mind that the Input Pad does about 5db of attenuation. If you say that this does not make much difference, the assumption is that you have something in your preset that is hard on dynamics. Compressor? Overdrive? Hard driven amp? Some block seems to kill eat your volume with the bass guitar. I would start with a clean, minimal preset and build from there. And don't be scared to add a boost of 7db...

I had a similar problem with the Helix LT, driving me nuts for some days: To have the stereo separation on the outputs, you have to connect at least a plug into both outputs, left and right. Otherwise, the signal will be combined to mono again.

If you add the frequencies again, you will change the character of the sound again. This sound will never work fine on higher registers since the foundation for higher root notes is simply carved out. A hard compressed low end eases the pain a little, but in general that is simply the downside of such scooped sounds. Try to drive the Mic Preamp hard, just before "obvious" distortion. The tube character will bring up the highs by adding some overtones. That was more of a general advise. If your sound lacks growl, you can add another channel to force lowend growl. You might have to apply a mid scoop here too, because the midrange of a driven SVT is very dominant. Another general tipp for growl: Do not boost lows. Cutting the midrange instead often brings out a more "raw", growly lowend.

A few thoughts about the sound/the song in question: - Note that the bass plays mostly unisono with the kickdrum. So the real "thunder" might come from the drums - check the bridge section where the bass is solo. - Mr. Kroeger is playing only in the first position. So we don't know if his sound would be consistent over the fretboard (guess: no) - The sound has a really broad mid scoop. 250Hz - 800Hz at least... My tipps for a good bass tone with the helix: - For consistent low end: try to compress the sh*t out of everything below ~100Hz. (Split path, X-Over...) - For clarity: Try the Mic Preamp Block for a Tube DI'ish sound in parallel. (you can use the Aguilar as well, but it costs more DSP) - For growl: Really crank up a bass amp (like the normal SVT) and cut the treble on amp and cab. None of these tipps sounds extraordinary standalone. But in combination they can do the trick ;) Which bass are you using for this sound?