zolko60

STL Tonality - Howard Benson installs 12 very good IRs. 
https://www.stltones.com/collections/stl-tonality/products/stl-tonality-howard-benson-guitar-plug-in-suite-trial

Some member of https://www.facebook.com/groups/line6helixusergroup/?ref=bookmarks claimed he bought them and replaced. They are cheap (as far as I remember 30 cents).
If you can't  join the fb group I can ask for you.

Which Helix has L6 link input?

https://www.dropbox.com/s/9v24sgosnsnnti3/247 Cabinet IR Impulse Reponse.rar?dl=0&file_subpath=%2F247+Cabinet+IR+Impulse+Reponse
 

Digital inputs have no input level (gain) adjustments but you can use Volume DSP block afterwards.

On 4/8/2019 at 8:56 AM, lemueldave said:

I haven't noticed it since I have a powerful PC. My concern is will the latency be drastically different if I use a laptop

The latency hardly depends on computer speed.

To make it short:
1. Constructing patches with Volume Knob (which in fact is Digital Attenuator) maxed out is a good idea. This is what FOH hear.
2. Treating maxed Volume Knob as the loudest possible gig level is a good idea.
3. Checking the digital output level once in a lifetime with DAW to make sure you have plenty of headroom is also a good idea.

Set your HiZ level once with peaks about -10dBFS and forget it. If you feel some amp models give you too little gain you can use some boost before the amp.

Yes. Axiom is not cheap, but if Ola is able to set it fast with midi controller it can be convincing for laptop players and quite reliable.
There are very good amp modelers on the market and using such a host you probably can override some HxN limitations I suppose.
If Axiom 199$ specific plugins and features are redundant or not needed so Patchwork 99$ can do almost the same job.
BTW their free stuff is also worth checking. https://www.bluecataudio.com/Products/Category_0_Freeware/

Check this out. Seems to be a nice solution for using Native and other modelers/plugins on stage.

Take a support ticket. Congratulations! You just won your old Helix LT replacement for a brand new one!

22 hours ago, phil_m said:

You don't really gain anything by recording a track a -12dB compared to recording it at -20dB anymore. In a very real sense, it's better to record everything a bit lower because it gives you more flexibility while mixing. I know people who are going to school for recording, and they're still being taught that they need to record so they are just below clipping... They spend forever setting input trims and messing with analog compressors before the converters (the compressors themselves aren't necessarily bad if you sure that's what you want). I just think people a lot of people are still clinging to this outdated information, and that's still be passed down as gospel to beginners... It's madness! :-)

Well... Everything has its consequences. The console faders are what they are for 50 years. They have 10dB gain above unity. If -12dB is the level a guitar is sitting good in the mix and you have -30dB signal this is inconvienient. If you have too hot signal then avialiable fader movement is too short. Of course there is no dogma how to mange things but the statement "I always keep my Volume Knob at noon because it gives me perfect equality in both directions" is... at least naive. Can it be practical? Yes.
BTW thinking about digital as "it does not matter these days" make me think why 32 bit floating algorithms are implemented in Helix. 24 bit integer should be less DSP consuming, nobody could tell the difference. 2 SHARCs DSPs are not champions comparing to i7 in 2019 and saved processing power could be used for more/better algorithms.

This is not necessary the Android fault. There is some Class Compliancy problem with Helix limiting its use only to Apple "implementation".

Clean sounds are highly dynamic. To have the same percieved sound level you have to make them louder by 12-20dB. Hi gain amps have their name for some reason, also electric guitar sustain does not come from nowhere. ;)
Some people claim Hx needs metering and metering will tell them the truth how to set the levels. I don't think so. There are plenty types of metering but your ear is the best tool.

33 minutes ago, xmacvicar said:

The intention here would be that I send the full signal to the front of house that is not affected by the big volume knob which is the same as the USB signal as it is also not affected by the large volume knob so Im thinking it is an effective way to measure the volume level consistently

You are right. Measuring of headroom in DAW to make sure you are in safe headroom zone while treating the volume knob clockwise as the loudest giging level is a good idea.
But please consider that 12dB of digital headroom is ok with overdiven sounds. To have the same percieived "clean" sound level your headroom is about all gone.

Overdives/distortions just act as a heavy limiters.

14 minutes ago, DunedinDragon said:

It won't show up at the mixing board as -12db as it's a different signal than what's being sent via the USB

It won't because in the digital world to monitor headroom you are interested in dBFS peak scale. 0dBFS converts to 19dBu in Helix at line level. No sound man will fix your digital cliping.

I can't believe that! That guy encourages guitarists to read the manuals. :D

If you have two way digital connection each device can be clock master or slave.
If you have one way connection receiving device must be clock slave.

Guys... Common sense, not 32 floating mambo jumbo.

Do you mix? Would you pass peaking at -30dBFS mix for mastering? I don't think so.
Why not treat Hx Volume Control fully clockwise as maximal volume state you will ever use? In case of emergency playing in super noisy enviroment like in ironworks, during  hurricane or vulcano eruption you can always make your monitor louder. 
Peace bros! ;)

11 hours ago, DunedinDragon said:

There's no technical benefit to having the Helix master volume maxed out.

There is. This is not Master Volume but Digital Master Attenuator. Attenuation in digital domain is bit depth truncation. Each 6dB of attenuation is 1 bit less. According to my measurring Hx DAC S/N ratio can be about 115dB, so the real bit depth is about 19bit. Having patch headroom of 12dB reduces it to 17bits. Helix Volume Knob is logarithmic. At noon it has about -15dB of gain reduction. That is 15 bit. To make nice digital sound with 15 bits attenuation algorithm must add a dithering noise.

12 hours ago, DunedinDragon said:

We're in the digital world where signal to noise ratios (SNR) and total harmonic distortion (THD) are negligible. 

These are the main parameters by which we distinguish 50$ interface/DAC and 500$ one. Some people say they are important, claim to hear the difference and pay more.

I am sorry I don't know what do you mean by harshness within one digital device outputs when there is no clipping happening.
TRS jack is just the type of balanced connector. Hx 1/4" outputs are impedance balanced. You can take advantage if this type of balancing using TRS jack instead of TS but no guarantee you will hear the difference nor the circumstances of betterness ever occur. ;)
Sure, for somebody the particular Di at 1/4" can sound worse than XLR. Still better than phantom applied to XLR out accidentally. ;)

The problem has not technical nature or there is no problem at all. Helix is 32 floating internally so there is some headroom above 0dBFS before DA converters. It is possible to to clip coverters but rather hard to archive. The Volume Knob is digital attenuator, so it protects clipping for converters for outputs it is assigned for. This is why to implement clipping indicator that gives some useful information it must have been implemented for each pair of outputs converters cause they may have individual output block volume controll. 
Line6 aproach is different - while you make your patches with the volume control clockwise and do not hear (and/or check with DAW monitoring) clipping you are safe.
After all while having your output signal peaking at -30dBFS trades S/N ratio, nobody cares about it. It it good if it sounds good.

6 minutes ago, cruisinon2 said:

Some guys are obsessed with "unity gain", and leave it maxed out all the time, but then you've got nowhere to go if you need to turn up a bit.

They are not obssesed with unity gain. Unity gain is valid for instrument level in to instrument level output all DSP block bypassed (what nobody cares). Albeit it is also true for overal digital level of output block. When you make your preset volume peaking at eg -6dBFS with the Volume Control set to noon, you will loose all your headroom at 3 o'clock and have clipping fully clockwise.

It does not make make a big difference if you connect 1/4" TRS out or XLR out to your wedge. All you need is 1/4" TRS to XLR cable if the wedge has no XLR/1/4" combo input.

It does make much difference if you connect XLR mic level to console/stagebox,  XLR mic level via separator, XLR line level to console/stagebox via DI or 1/4" line level via DI box. DI and tranny separators have an advantage of phantom, ground loops separation and make signal fully balanced. You have plenty of options. Do whatever works best for you.

1 hour ago, EooN said:

If so, then can I cheat and have my signal unaffected in the heel position? 

Yes, you can cheat yourself and us. You can even be convinced this is the case. ;)
But seriously what is bypassed in Helix is bypassed.

Native Instruments is great company. Some of their synths will never have any hardware DSP based counterparts or versions. They are focused to use native CPU power what is much powerful and future oriented. To make DSP versions they would probably have limit their potential. It is their way. Line 6 is focused on the hardware DSP devices that can work autonomically. Full controlled Hx Native would be dangerous to their flagship products. Think about that - if you can use 10 instances of HxN on laptop with less than 10ms RTL interface so only reason to buy RA/FL/LT/ST is their controll ability and autonomy.