waymda

I've found the PC+ red light clipping occurs a lot earlier than 0db in my DAW. I want to set my presets so they don't clip, even when in a boosted mode. Running the 3 note generator into a volume gain block, with no other changes I'm seeing: 9.6dB gain on the block is causing the LED to flicker into red occasionally (sine wave with osc so sure) DAW (Studio One) via USB is showing -6.15 peak dB on the input chanels 10.6dB gain on the block sets the LED to solid red (prior to that was increasingly solid) DAW is showing -5.14 peak DB That suggests red still leaves some input headroom (assuming > 0dB peak = digital distortion). I think I'll go through my presets and set them a bit less hot - I'd been aiming for -6dB peak in the DAW, with a 0 through 6dB boost available for solos, ensuring none hit 0dB peak. I've not heard any distortion to date, but..........

I've had a few instances where my variaxs have taken a little time to synch with the helix, sometimes requires a patch change on first connect, but never required a reboot. If I was trouble shooting I'd start with a different cable. For testing any old network cable will work fine. I'm wondering why you need the battery in the Shruiken, as for the other variaxs the cable supplies power. Also why take it out of variax mode during breaks? When I gig everything is powered on from set-up to the end of the night, and I just turn down the guitar volume (oh and have an empty patch between sets - I use a patch per song due to the range of covers we play).

Its because its the standard for an AES/EBU cable - transferring digital information not analog. Do I really know the difference? No, but I brought 110 ohm spec cables when I was using a HD500x into DT amps. Never had an issue with them so kept using them. Bit of a discussion about the differences here https://www.gearslutz.com/board/so-much-gear-so-little-time/157424-cable-question-xlr-vs-aes-ebu.html And there's some discussion in the line 6 forums which I found by googling "powercab standard xlr vs aes" but can't get to just right now for some reason.

I went from variax >> HD500x floor >> frfr to replacing the HD500x with a Helix. Prior to this I was a 20+ years analog only guy. Whilst I was generally happy with the HD500x, I found I was constantly tweaking patches just to find a little more 'something'. With the Helix I initially built about 50 patches in a couple of days replicating my HD500x patches (only better) for a gig. Then built the remaining 50 or so for the full rep my cover band has a bit later as songs got back into the set list. I would estimate I tweaked them for about 6 months more as I learnt more, and now (18 months later) rarely change the existing patches unless I want to try or do something new. Snapshots have proven invaluable, and allow me to go from acoustic, to clean, to push, to dirty lead (or any other combo, including guitar and tuning changes) within a single patch easily. I've found the workflow and patch management considerably improved with the Helix, and now I understand the built in cabs better (thanks Jason Sadites) have been reverting to them from impulses. I have a few impulses I use to enhance the acoustic sounds and that's about it. Each version of the editing software has improved the workflow too. I've just purchased a PowerCab+ second hand (was looking at the standard) and from first plug in via Line6 link, in Flat mode, has given the patches an even better feel. A little darker than they were before but more 'organic' sounding (to me). So it seems a winner too. To be honest, I was sold when I first demoed one in a music store just based on how much better it 'felt' compared to the HD500x.

oui

Or the derailed ingrid, with lower gain input for grit, opened up master for 'output valve' dirt and a pedal in front - so many options.

And don't forget, you can name all the pedal scribble strips any way you like, so you can make them as Français as you like.

Sorry just saw you'd replied - I can't remember, I'd grabbed a bunch and tried them - I think one that is designed to balance out the volume across the models. That was important to me for patch creation even though it changes how hard a strat (for example) hits an amp. I can cope with that. Happy to dump mine if you want - even though this is months later.

..... and it looked like a great fallback option for Helix failure, until I saw it has no VDI

https://www.vguitarforums.com/smf/index.php?board=138.0

I had a JTV 59, having played fenders forever. Loved it for the sounds once I loaded a custom set, 2 years later got a standard as back-up, had to use it one night and kept using it and got another as the spare. Had some weird 'resonating' issues with both the 59 and the standards. Fixed them with, thick hairband behind the nut to stop sympathetic string resonance, a bit like heavy players use (could probably use something more elegant but it works and no one has noticed), and lowering the magnetic pickups to reduce interaction with the strings. I seem to recall having some issues making sure all my patches used the right inputs on the helix as well as forcing tunings and models to make sure they worked consistently/as expected. But that's now just part of my standard template/workflow. I don't use the mags (ever) but use pretty much every sound the variax has to offer along with custom tunings.

I know nothing about Aviom, but I do something similar using a cheap unit called a POSSE to blend, headphone out from Helix, foldback send from FoH (Vox only) and ambient from the onstand unit of the POSSE. If you got a stereo mixer with stereo 1/4 inch inputs you could use a single cable, I use a stereo Y cable (insert) rather than an adaptor for simplicity. Like so https://www.swamp.net.au/insert-cable

To answer the OP. L6 Link will detect whether you are running one or two cabs and configure them as a mono or stereo set-up accordingly, in addition if they are placed relatively close together you can minimise the cable run between them, and not have to run 2 longer leads from the Helix. If you wish to send to FoH from there use the XLR out from each cab.

I had a JTV 59 as my main guit. Dropped a bigsby on it to have a trem. Got a Standard as a spare. Broke a string at gig and used the Standard for the rest of the gig. Left the 59 in the case every gig after, and ended up selling the 59 to get another standard as a spare. Got both the Standards Plek'd, and the spec sheet came off them as being better set-up pre-Plek'd than other high end guits the guy works on (or so he says), but both play really really good now (they were good before). I only use modelled sounds.

This may seem obvious/stupid, but check that the behringer channel doesn't have any inserts such as compression or gate turned on, and that the input gain stage is set correctly. We had someone play with the kick channel at a gig and accidentally turn on gate and compression, and it took ages to realise that was why it sounded so crap.

Hi rd2rk I read the thread and it seems no-one ever answered whether the FRFR-112 sounds different/better than the Alto TS312. Did you ever get a sense they do sound different? I ask as there's the FRFR sells for about 10% more than the TS312 here in Australia. Oh, you're right about IEMS. I use what I think is a low-mid cost solution: IEMs (64 ears, A3s) for my monitoring with a Posse (http://posseaudio.com/) providing onstage ambient sound as well as controlling the level of vocal monitor mix for the best balance/sound I've ever had - having ambient sound was really important to me feeling part of the band/audience and I couldn't afford the in-ears that have built in ambient mics. That and none of them seem to have the gain I require to hear the ambient properly. It's a set-up that allows me to work with very simple monitoring arrangements (just a vocal send) through to nice independent mix set-ups and still make sure I hear enough of me (vox or guitar) without bugging the sound person. I've also gone from being the loudest person in my band to the quietest with the Helix running running through FoH to compliment the on stage sound. I've even been told to turn up! Best decision I ever made. I'd also note that I have bi-lateral conductive deafness (about 60db defeat) which means I like things very loud and I run the Posse about half volume at the master. I'm just interested in different on stage monitoring that sounds more 'ampish' for my band members. I currently use a pair of laney IRT-x, which are good, but well you know there's always something else to try. thanks

I use a pair of IRT-x for stage monitoring and they've never sounded muddy/muffled, so a few thoughts: are they running 'full range' or with one of their built in cab sims? is the input gain optimal? - ie hitting them it so the peak light just comes on then turn back just a smidge have you played with the tone controls? - I did one gig where the tops had been wound right back, not so great, another where the drummer pushed up the bass by accident on one and made it meh are the wet sounds/signals from the helix ones that are 'damped' or lacking top end - they certainly won't sound like an 'amp in the room' if they're 100% wet signal picking up on the dispersion issue - does it work better with them on the ground as wedges directing more top end at your ears, and with a better bass response through acoustic coupling?

RTFM

Cheap, but fits almost perfectly with room for leads etc - maybe a bit extra padding would be nice - been using one for a year and a half, and place the connectors of the helix at the carry handle end and no hassles so far. https://www.ebay.com.au/itm/MOEN-Guitar-Effects-Accessories-Pedal-Board-Hard-Case-/111298125269

If its anything like these, but in a guit cab with a 12 it should be great https://www.musiciansfriend.com/amplifiers-effects/laney-irt-x-200w-rms-powered-expansion-guitar-cabinet I run a pair of these on stage for the band's benefit, with in-ears for myself and Helix through FoH, and they love them.

Someone better tell a bunch of players in the analog world to stop using amps/preamps as feeders into their main amp to get their unique tones then. End of the day this has been done in the real world for a long time, by various people, and a modeler just makes it easier to play with a ton of combinations to create 'that sound'.

How about, before you post a condescending response with feigned happiness about other's actual experiences, you try the product in question. I'm pretty sure you'll struggle to find Mackies 1/2 the price of the Laney's but hey, I'm sure you can back pedal and say you meant the Gemini stuff. Opinions offered without even trying the products in question simply don't help the OP at all other than demonstrating existing biases.

As an owner of a pair of these that I use for onstage monitoring in stereo with a Helix you are straight out wrong. They compete with a hard hitting drummer, bass and a loud Vox AC30 player no problem. I had to roll back the levels for the band. They are very loud and do not sound like you are playing through an 8" guitar cab. They sound like a sub-less but nearly full range system and, as they are wedge shaped, don't kill your audience in reaching very solid stage levels. Personally I'd run them louder, but hey I went to in-ears for my monitoring to stop being the loudest person on stage.

Hi I was a long time user of a HD500x and a couple of variations of the DT series. I was going to say the reason they say the Helix will won't and shouldn't work like the HD series is that the DTs used the same pre-amp modelling so why bother. Then I remembered my frustration that the HD didn't hand over pre-amp modelling duties to the DT, thereby not reducing processor overheads. However, I don't think the Helix does a amp pre mode (from what I've seen) so you'd always end up with a modelled power section + the valves being reconfigured (unless pre's only came out). That said, I personally found the benefit of switching power output modes on the valves in the DT wasn't sufficient to offset the horror of volume matching patches using DTs and went back to power amp and speaker combinations. I also hate to think of the noise you'd get if you were changing models using snapshots, and the additional lag slowing things down. It was bad enough moving between patches with the HD unit. Overall I'm finding the Helix and Variax combination through FRFR's more if a dream rig than anything I got from a variax + HD + DT setup. Not sure what your comment about alt tunings on the Helix is. I use them extensively to match keys for singers, for open tunings etc, and have no issues.

If you'd like a low cost, yet very sophisticated IEM solution have a look at the POSSE personal monitoring system. I run one and it allows me to blend: Helix outputs (stereo 1/4 inch sends set to amp level) A send from the desk (just vox and mono but could be stereo) My vocal mic (dry and direct - pre-desk) A stereo pair of condensor mics on the unit All balanced from a small unit on my mic stand with a small box on the floor next to the Helix, whilst sending the balanced outputs to a pair of small wedges for stage monitoring for the band, then onto FoH. I run this up a long stereo 3.5mm extension lead gaffered to my Variax lead allowing a pick up point for my in ears at the guitar. This allows me to have fully sealed IEMs (I use 1964 triple drivers), and still hear the band and audience without needing to mic anyone else up. We just run vocals and kick (and now Helix) for most gigs. I have bi-lateral conductive deafness with about 60 db defeat requiring hearing aids to work in the real world and they can't supply the level of clean clear volume I get from my IEM solution and it runs at about half. So I hear better on stage than off - how many of you can say that? I can be as quiet as anyone wants on stage and still have a roaring loud energetic sound hitting my ears - which is how I always ran real amps, yes I was always the guy getting told to turn down. The POSSE cost me about half what the IEMs did, and I couldn't be happier. I had some minor issues early on using an OEM PSU that didn't supply enough amperage, but that's fixed easily. Sorry if this sounds like an advert - it just seems a very good solution for lots of pro-am guys.