waymda

Hi My personal experience with my kids is that the simpler the better initially, with them ramping up the complexity as their understanding and desire 'for more' builds. Its very easy to forget where your knowledge vs theirs lies, and even 2 years of playing is way beyond none. For me I had 20+ years playing before having kids old enough to be involved and the gap was substantial. Through that time I'd started on acoustic, moved to electric with effects and amps, and then eventually modelling. I introduced one of my kids to a simple modeler/multi effects and it blew their mind. My suggestion is build slow, and invest in 'reasonable' simple gear so they're not feeling its all too hard. The ideal is probably buying stuff you may also use and that they will benefit from. There is certainly a point where what you are paying for is more and more esoteric and nuanced to the point your skill level needs to match to know the difference - musical gear is no different to any other product where what people are prepared to pay varies with knowledge + marketing. On the point of variaxes - they're very nice guitars when set-up well. I've owned a few and now use Standards exclusively for live work. However coming back to the point of building skills and knowledge, would you or your kids know what to expect from a Strat/Tele/Les Paul/etc in terms of sound - or perhaps even care? I do think a variax is much better than a bunch of cheap guitars, but it is a significant investment in learning. Perhaps a mid range acoustic and mid range electric of the type a guitarist you really like would be a better starting point? Its a really tough question to answer, and largely driven by your budget - if money is no issue, go for it. If your partner will question why you need more than one guitar definitely a variax. If you want to learn about fender vs gibson etc then definitely appropriately priced examples as a starting point. Perhaps consider what you want first and then hope your kids will share/use the gear is a way of thinking about it.

Reading this it sounds like the mix for the trails is controlled by changes in the snapshot you move to (pretty sure you get this already). The approach holds logically, in that the mix parameter has been assigned to snapshot, the snapshot has changed, the mix parameter changes with the snapshot, and is then reflected in the decay still 'in the reverb'. Imagine a physical reverb unit staying on as you change patches and someone moving the mix parameter, then being turned off. A strange analogy, but I think that's what's happening. If there was a way to queue the 'events' in snapshots you might have a chance, but that sounds a lot like scripting and more complex than what most Helix users would want to deal with. So I think the idea of 2 reverbs, each with different mix levels is the only one that works.

The number of times this is asked in this forum (and elsewhere) is mind numbing.

Super quick demo of the pathing - all blocks just dropped on the paths, no editing Amp and desk.hlx

Am I correct in reading this to mean midi output, ie the Helix doesn't send pre-amp changes to the DT like the HD500 did? If my read is right I do believe you are correct. I think that if you want to use presents on the DT you have to program them independently using midi, and then select them from the Helix using L6 Link on the second channel. My use case of the DT is to only use the power amp in various configurations so cant provide a definitive answer.

Hi I doubt there's a 'best way' other than what suits you. The simplest way I can think of is: Use path 1 for a range of effects that run before your amp Use a split block as late as possible in that path (1b) to create an output tap to the 1/4 inch outputs - I would put an EQ of choice on this path Send the output of path 1a into path 2 Use path 2 to replicate your amp/cab sounds and any post microphone effects to get your desired direct to the board sound - I would have at least one amp, one cab, and EQ and a compressor Set the output of path 2 to XLR Only use the global EQ if you really have to - it will affect all outputs Some of the thinking/options here: You want your amp onstage and the send to the desk to sound similar so need an amp and cab going to the desk Tuning the EQ for the room on the XLR send is best left to the desk rather than your sense of how it needs to be tuned - hence not using global (at least for the XLRs) You will need to test your XLR sends at 'stage' volumes, through good monitors or PAs to ensure they are OK - headphones won't cut it If you have an effects send on the amp you can introduce loops and 4 chan method in Path 1 but it will get complex You could probably go with a 2 amp stereo set-up for the desk if that what you wanted - you will then have a stage sound that is different to the desk send, but IRL the desk doesn't 'hear' what you do I can quickly make a patch for you to play with if you like.

Did you not ask this and have it answered here?

The other observation I'd make is the PC+ can only model the speaker within a cab, and there's no mention of what the reference cab is or if its a 'raw' model affected by being in the PC+ cab. I only raise this as I've had some cab and speaker combinations that work great (for me) and the same speaker in a different cab was, hmmmm, not what I wanted.

TBH I have no idea how these relate to the speakers modeled in the cabs within the Helix. I thought maybe this would help https://helixhelp.com/models/13 but no, you'd have to cross reference the manufacturer's specs for the listed cabs and then hope you chose the right variant/production run to work out the equivalent speaker (assuming there is a match). When I was playing with the cab's modelled in the PC+ I started with a guess for the amp based on the list provided, and played from there. As you say your ears are the best bet. I think what I found was some general preferences I had (irrespective of amp), or at least for groupings of amps, which pretty much aligns with the real world of fitting cabs with speakers that reflect personal style. With 2 PC+s one approach I did like was 2 different speakers for one amp with each providing different characteristics, again just like happens in RL. Sorry I can't be more helpful with your original request.

I don't think this full list was ever put in the manual - I keep a 'draft email' with it from the release notes of a firmware upgrade, hopefully it helps. VINTAGE – Based on* the ubiquitous Celestion Vintage 30 which, despite its name, is commonly used and beloved for "modern" tones. GREEN – Based on* the Celestion Greenback speaker, typically paired with vintage Marshall® Plexi amplifiers for a signature classic rock tone. CREAM – Based on* the Celestion G12M-65, a higher powered version of the ceramic C12N with a brighter top end� JARVIS – Based on* the Jensen® P12Q, often paired with Fender® amps for great rich, full clean tones� BAYOU – Based on* the Eminence Patriot Series Swamp Thang™, which provides big aggressive bottom end with classic American tone, perfect for blues and jazz� ESSEX – Based on* the Blue Bell speakers often paired with Vox® amplifiers and Class A style amps for a "chimey" tone. HF OFF / Natural – This is the natural sound and feel of the speaker in the Powercab with the high-frequency compression driver disabled and no EQ of any kind applied DINO – Based on* the Eminence Cannabis Rex™� Uniquely constructed with a hemp-based speaker cone material, the Cannabis Rex is described as having a smoky, smooth high-end definition, and boasts a full, clean tonality, with lots of body and sparkle. LECTO – Based on* the Electro-Voice® EVM 12L. Designed for professionally precise, fully overdriven, punchy tones and brilliant cleans. They are a signature component of the classic Mesa/Boogie® sound� HERALD – Based on* the Celestion G12H(55) Heritage� Featuring a heavier magnet than the original G12M Greenback, this speaker replicates the sound of the original G12H� BROWN – Based on* the Celestion G12 EVH®. While the Greenback 20 played an essential role in the sound of Eddie Van Halen's unmistakable sound, this speaker was the based on the 60s version Greenback and used in his signature amplifier. SHADE – Based on* the Mesa/Boogie Black Shadow C90� Custom made for Mesa/Boogie by Celestion in the UK, this speaker provides a tight and controlled low end, aggressive midrange attack, and strong high-bass / low-mid punch� They are a feature in many Mesa/Boogie amps� JETSON – Based on* the Jensen C12K� The C12K is often paired with Fender® amps for great for a heavy mid and solid, straight forward, slightly darker tone� Can also present bold and heavy overdriven tones�

Hi Stevecastle - you say you factory reset the Helix, did you also restore your global settings from a back-up? I don't know what might be different but it's worth a try.

Hey is that Wurzel Gummage or a different Wurzel?

It's likely to also be the interaction between him, guitar and amp at high volume - a real amp in the room thing. I had a play with a 2 x amp arrangement using the deluxe vib, and the princess running drive and master flat out, taking some tops off, and bumping the bias up a little - ran that into a pair of DT25s, with an alt path to a dual cab arrangement of the 2x12 matchless H30 and the 2x12 Interstate cabs into monitors. Set the DT25s to about 1/4 master and cranked my monitors - the alt path was loud but didn't interact in the same way as the DT25 path and which was a bit more sensitive to picking touch and guitar volume. They remained clean until the guitar was fully opened up, and I hit hard, and they sustain a lot more than the monitors - but it's pretty loud. I found this illuminating https://happybluesman.com/how-sound-derek-trucks/ Even the Alessandro AZZ amp that Trucks currently plays is very similar to a Fender Super Reverb; it is just larger and more powerful. This gives the amp more headroom, which means that Trucks can crank it without the amp breaking up or distorting. This actually sets him aside from a lot of other blues guitarists, most of whom seek out amps that break up and overdrive at lower volumes. The main difference between these guitarists and Trucks, is that Trucks predominantly plays with a clean sound. And it is really this which dictates his choice of amp. He requires a certain volume and power to cut through the mix (there are 2 drummers and a horn section in The Tedeschi Trucks Band!) and he wants to be heard without his sound distorting.

The thing that changed (for the patch) is you're on the second snapshot. Saving the patch now would result in it being recalled with snapshot 2 active. Unless you actually change a parameter you want to save, don't (save). I've caught myself more than once modifying a patch and then saving on the 'wrong' snapshot - easy to fix but a trap.