waymda

Word on the street is the V3 update includes those pinging noises you get when you knock your amp if you kick the HX range. Makes stomp mode a real b1tch.

This thread seems to indicate shutting down the G-Hub fixes the issues.

Yes - if you set each string pitch to be controlled by snapshot you can change it, as well as the guitar model and other parameters controlled by snapshot if you want. I have at least one song where I change from a detuned pitch to suit the vocalist to an open tuning for a slide solo. One tip - you may need to set all your patches to custom tuning even if the patch uses standard to force the tuning change on patch change. Edit - attached an example - 4 snaps, 2 guitars and 3 tunings (note my variax presets are customized so may not sound any good to you - but will give you the idea) Sharp Dressed.hlx

The one I own - which happens to be a pair of PC+s connected to my Helix via L6 Link. I also own a pair of DT25s but stopped using them, because I'm to lazy to faff around with patches too much and want a smooth consistent work flow - which FRFR gives me. But honestly unless you find someone who owns all of these do you expect another sort of opinion? There's threads all over the place comparing the various solutions and in the end its all subjective and relative to your requirements. The only way you'll really know is to try them - in the wild as in store won't cut it.

I can't say that I have

I've found the Helix to be transparent when I used it in a pedal board type mode (ie stomp boxes only) - but I've not done any extensive A/B testing as I normally use it as my full system. Some observations: The volume control on the Helix is a volume defeat, not a gain stage, so fully on should be unity (there's a global setting to bypass the volume control - I'd turn it off in this mode) If that doesn't equate to unity gain for your set-up adjust the output block(s) so you get unity with nothing else in the signal chain You say you're going into fuzzes then a buffer on your board then everything else - what does that do to the impedance for downstream effects and then the sound (not sure you can reproduce this with the helix, but helix fuzzes to a loop with the buffer pedal then the rest of your chain in helix might replicate it)? There's lots of threads in here about impedance and fuzz pedals within the Helix - they might help for your set-up (not a big fuzz user so have only glossed over them) Not sure why changing input impedance on the Helix would result in a loss of gain - my understanding is it will change the tone, so perceived gain? Point 1 may be the crucial one and then monitoring individual effect settings to ensure unity is maintained across the chain (or boost as required) I'm assuming your preferred solution is not to have the existing pedal board in the mix - the opening par then description of the problem is a bit unclear (to me) If you've just got the Helix you do have a learning curve even in a pedal board mode, and may have to 'relearn' effects you think you know in the analog world

Perfectly happy with what's available - but I don't use use ambient sounds much and when I do its a texture, not the main event.

No idea if this still works with the current Helix formats but I used it to find all the IRs I was using and where in my set-lists some time ago.. http://www.dave-merrill.com/helix/hirb/

No brainer for me - Helix. The variax integration is phenomenal and allows patch and within patch changes of guitar model, and tuning model as well as the whole amp and effects shebang. Want to play "go your own way" starting with a chorused 12 string and move to a crunchy LP for chorus's and a a dirty LP for solos - no probs, I do this with 3 levels of dirt and delay for the chorus/solos via snapshots - all tuned down 2 steps to suit playing in open E shapes for the singer in singing in D The palette is wide open and the quality amazing.

Likely identical with 'premium' branding (its all relative). Things are worth what people will pay and branding is worth a lot to some people.

Interesting thread, but nothing that would compel me to upgrade, and no issues I couldn't find alternate solutions for. When Helix was released I was using a HD500x. The compelling case was testing the Helix in a music store and hearing/feeling the difference immediately. It took me 6 months to be able to afford to upgrade - but I absolutely knew I 'needed' one, as it was such a step-wise improvement.

The only way I've achieved this is to export the patches into a folder and re-import as the OS (Win10 for me) will sort them by name. However that requires doing every-time you add patches, and I've stopped doing it since using midi to select patches as midi requires them to remain in the same slot as it references slot not name.

Until recently four piece. Similar sized venues - pubs (australia, prbly bars US). Currently 3 piece and considerably louder. Material ranging from Johnny Cash through Foo Fighters, Blink, Killers etc. Massive range of material with my role being lead guit and some vox with acoustic drums, loud bass, and the other guitarist singer using valve amps. Using sounds from acoustic thorough big triple coil pick-ups and rectifier type grunt. I used to run 2 valve amps, a JC120 and a pedal board and was constantly told to turn down with any volume that gave me the tone/feel I wanted. The other guitarist in particular would complain about how loud I was. I now balance my volume to venue and event with no issues. In setting up patches and the PC+s I have made sure that the patches are optimised for stage volume, and that the signal hitting the PC+ is hot, constantly green (in the LED) and occasionally getting orange/redish for lead boosts - recognising they are single notes not chords so not so concerned. However, I'm not interested in replicating my old valve amp need to blow my ears (or pants) off to sound good/have sufficient feel to play well and am happy with a very big, very loud tone, that more than covers bass and drums on stages that only offer vox to PA. If we're lucky I'll need to add come kick to a sub and some guit to upper end cabs for stereo separation. No, its not like a valve rig in terms of moving air, but it can still make my bell bottoms flap, and frankly the whole hairy chested need to be painfully loud because 'that what it takes' just ain't doing it for me any more. I must be getting old (see reference to bell bottoms, that I never wore). :) I'm not here to convince anyone of the merits or otherwise of the powercab units, just offering an alternate, working musician, perspective. I would only go back to valve amps and a pedal board to do a very limited range of material where I need to have 'my sound' - and having written that I'd have to challenge if that's true as I know with a Helix and a pair of PC+ I could easily emulate my old back line with the speaker modelling and amps in the box, AND have nearly infinite pedal board layouts driving the front end (how I always liked effects). Mr Castellano says he's running his PC+ 85 to 90% on stage in this clip. I think that'd be getting me sacked or melting my ears (maybe both).

I don't understand the post about PC+s not cutting it live - Ive done gigs with one or 2 in stereo and have never run them over half - and the tones are great direct from helix with stock cabs and FRFR mode. Horses for courses I suspect.

I use a X18 (not rack) for home and stage. My use-case is different variax>>Helix>>X18>> DAW So I have to get the Helix out of the back pack and monitor direct from the X18, but I've had the DAW monitoring by accident and the latency was minor.