waymda

Have to ask, are you comparing your mic'd up amp and pedal board through the monitors with the modelling? If not its an apples and oranges comparison. The amp in the room (with you) will always sound bigger, better, etc.....

Sorry, my tin ears only hear: something weird with the first part of the "Helix" phrase, it sounds like its been played with a lighter touch and the Peavey being louder than both No chatter that these tin ears can hear. If I put all 3 in a mix there's no way I could tell them apart, perhaps other than the level.

Everything above is correct. However, it is super easy to accidentlly add a mono effect/block post the dual cabs that will sum the parts. I have done this numerous times and it drove me mad trying to debug it. Check every block, and then check again.

Hi Neil Processing tab below. I don't recall ever changing anything on this tab, but I've been using Studio 1 since V2, so may well have a long time ago. Apologies about the quality, the forum is refusing any file larger than 42.4 kbs - just weird. I just had to look up the Green Z so we can safely assume I don't use it. However, as mentioned I monitor direct from hardware. I've never had the need to hear DAW procesed tracks when recording, so my use case is likely different to yours. I use a DAW more like an old school tape machine with advanced editing abilities and post tracking processing abilities. I do recall on earlier versions having some real issues with mix rendering, but that issue went away around V3.x, and I no longer even maintain a specific boot optimised for audio (which i used to have to do), as both hardware and OSs and drivers seem to have their act together theses days. I could only suggest full uninstalls and reinstalls of the Helix drivers to see if that helps - a manual removal through Device Manager would be the most thorough. Checking the USB port and/or cable may assist - L6 gear is notoriously finicky about USB, and I have had issues in the past with specific cables and ports so once I sort that out for a hardware combo the Helix gets its own dedicated cable and port.

No issues my end. I tried recording at all four available sample rates, changing it in Studio 1 and the Helix followed flawlessly. It also played back existing tracks/songs fine. My audio settings for 48k recording and song settings attached, but they're nothing special. My line 6 driver is V 1.97.0.2, the Floor is on FW 3.5, Edit is 3.51, Windows is Win 10 Pro Windows Feature Experience Pack 120.2212.4190.0. Whilst my default sample setting is 2048 samples (I always monitor the affected sound direct from the Helix), I could drop it to 256 with no playback issues. However, I opened a song with a single stereo track I was mastering using Helix Native, and it distored@1024 which was the project settings. Once I changed to 2048, I could drop it back to 64 samples with no issues. One thing to note is I haven't updated Native for ages, and I can't for the life of me remember how to show the version number. Sorry, I don't think I've helped at all.

Hi, long time Studio 1 & Helix user. I'm pretty sure I've done some recording with no issues since the 3.5 update, but will have a look over the next couple of days and let you know, along with any settings.

Or you could use send block(s) for 1/4 inch output with 100% pass-through to the IR and make out XLR only. If you use this consistently across patches you just need ot remember what to plug your power amp to.

I had the same issue, and it was exacerbated using toppers. However I still need up and down, and found leaving toppers on everything but 1 and 7 stopped me being so clumsy, and made patch changes more deliberate.

What magic is this? How did you find these things? What is this Tube of You?

Not an identical scenario - but a create explanation about why recording at the right level for the interface and the impact of gain is important.

This to me speaks to the difference between effects on individual instruments versus mix effects (or bus depending on your orientation). I use reverb sparingly on guitar sounds in the Helix, unless its a specific effect (eg big bloom, spread, or alternatively a very small 'room' to make the guitar boxy) and almost always run some sort of 'space' reverb on a mix into which I place different instruments, and tweak for the room. This is for a 3 piece that generally works smaller rooms, self mixes vox, kick, snare, bass, guitar, and for larger rooms drum overheads. Always reinforcing stage sound, never big enough venues for a full mix.

"sound just went limp": ugly guitar? Never had those issues. Once had somehow accidently change the global setting so the big know affected digitial levels, and wondered why I was turning my PC+s above noon and still had my hearing. That was an easy fix. However, the Helix is a computer, L6 Link is a digital protocol, and rebooting computers often fixes weird issues. If I understood why and could determine a generic fix I'd be rich beyond my wildest dreams (well perhaps not the really wild ones). Do you recal any chane on the input LED for the PC+s? That might point to an input voluem change from the Helix.

This is where compression is can be your friend. Either in the form of amp compression through working the output tubes (real or virtual) harder so the pre-tubes get over driven by the guitar changing grittiness and tone whilst the output tubes help maintain perceived volume. Or using a compression tool before outputs (post the amp). My preference is the rochester comp using the knee and mix to allow unprocessed signal through along with processed to 'smooth' the volume differential. That said, when guitarists use the guitar volume pot, it is also often in combo with dynamic changes in the material so the volume change is less noticable in the mix, and typically set up the max volume/tone to sit best with solos. But there are no hard and fast rules.

Through to where? the point it hits a digital desk? the point it gets recorded digitally? the point post analog desk (yikes) it hits a speaker array with digital processing? the point it becomes a mp3, flac, etc? etc etc If you're concerned about how much you 'dropped' on a head and cab, why cheap out on the effects and go digital at all? The marketting department (for each of the products) wins, yet again. Like PT Barnum said "There's a musician born every minute".

To the $$$$ issue/concern they cost me (in Australia with substantial issues with what we pay for musical gear) : less than my Helix about the same as one of my variaxes less than my other guitars less than my 2 x PC+ less than any reasonable quality foldback solution less than one of my FoH mid/top boxes (ignore subs) significantly less than a single QSC 10.2 or 12.2 cabs that seem to be the benchmark in this and other forums significantly less than any quality valve amp And the sound quality/comfort etc outcome is amazing, and they are how I hear my vox, my guitar, the rest of the band, in a 3 pieace where I'm lead singer and fidelity makes stage work, just work - not hard work. Why guitarists, more than any other musican, appear to scrimp on IEMs then complain about them not working for them is beyond me. Especially when I consider the esorteric crap we/they will spend substantial $ on. (point to point amps, vintage pedals, modern re-issues of same, pretty lumps of wood with metal that makes noise) On fit - absolutely custom IEMs are not even in the same league as generics from a comfort perspective, and the ones referenced are silicon (softish) which are a substantial step above hard shells from a comfort/fit/seal perspective. And yes that translates into $, but see above. To hearing and protecting it - I have bilateral otosclerosis with up to 75db defeat from normal (yes thats a lot), which means a) it protected my hearing to an extent when I played very very loud with real amps b) I need stuff real loud to hear it 'normal'. High quality IEMs allow anyone to reduce the overall volume whilst increaing fidelity reducing nearve damage. IEMs that remove the need for hearing aids whilst onstage (I need them in the real world) and protect the fundementals (ie nerve damage) by allowing me not to drive as loud as ambient are worth the $. I would suggest that anything that saves people with undamaged, or even damaged, hearing from the horror that is constant tinitus is in the same league. Apologies for the rant - but being cheap in this space is just that, and I just don't get it. But then I don't understand threads about "whats the cheapest case I can get for my Helix?" for much the same reason.