SaschaFranck

You could. But that reverb would exceed the maximum IR length you can use on the Helix, so you could only use it on a computer.

Ok, just the first few phrases cut up, tried to cut into shorter phrases for easier comparison. First phrase is the original, followed by my mockup and so on. Note: No, this is no exact recreation, for that a short attack with just the reverb following would be needed. Or even better, a direct 1:1 comparison. Also, as these are two different guitar takes, there's differences in the phrases, in the levels and all that. But still, I think the combination of a delay and reverb would get one pretty close. https://drive.google.com/file/d/1P4v9bmfm2q7zeSUI73VN1x-I5-m-1sS5/view?usp=sharing Edit: Link should now work.

And btw, there also seems to be a certain bit of "bitey" mid coloration (a little bit of a mid boost somewhere around 1kHz or so) coming along with the PodFarm reverb, something the Helix verbs don't exactly do.

I strongly doubt that - at least by using just a reverb. Which your YT vid kinda proves already. Anyhow, I listened a bit closer to the files and fooled around with each Helix reverb. Not one of them adds as much stereo image as what can be heard in lock84's wet file. Really, almost a difference like night and day. And quite obviously, this is becoming super noticeable through headphones. And that's precisely why I'd take almost any bet that this can't be reproduced with just a Helix reverb. However, what I think is happening under the hood of that PodFarm reverb is some kind of additional delay on one of the stereo sides. And I could get a whole lot closer by splitting the path, adding a 100% wet delay (no feedback, some ms of delay time) to one side, then merging the paths (A completely panned left, B right) and finally running them into the legacy Plate delay.

Could you post an otherwise naked sample with and without it, so we have an idea about it?

With predelay and decay all the way at 0, I highly doubt the "reverb trick" sounds anything like a gated reverb.

And as far as the "reverb trick" goes, while I can't reproduce it anymore (once had PodFarm installed as well, but those days are long gone), I'm sure it's got to do with some stereo imaging, which, regardless of the minimum predelay and decay, might still be a thing.

Wrong question. How do you *not* get sensations in your fingers when playing guitar, regardless of the monitoring?

I meant a PodFarm file. Anyhow, if that Soundcloud file (pretty good playing, btw) is representative of your tone (and tonal needs) you may indeed not need the Helix. I mean, all playing quality aside, that's a pretty generic lead tone that you can get out of pretty much every plugin and/or modeler since years already. So, just enjoy what you have and be happy. Or buy a decent audio interface and enjoy the world of plugins (a Toneport isn't a good choice for that due to its high latency).

Btw, I have a pretty strong idea of what this "reverb trick" might do, but it most certainly doesn't have anything to do with any core sound quality.

Well, let's wait for the soundfiles...

Would you please: - Share a soundfile with and without that Plate Reverb? - Share a dry guitar track without anything on it? I'm having a pretty tough time to believe this.

Oh right, that probably wasn't worded well. I'm not measuring IRs (well, I sometimes look at them in Room EQ Wizard, but usually I don't). I'm just using the dirac to "shoot" new combined IRs. Works a treat and doesn't require using any deconvolving software (unfortunately it only works well in the digital domain, hardware capturing usually requires sweeps or at least longer impulses to be captured properly).

I see, thanks. So that's a little similar to how I'm doing things. I'm however using a dirac impulse to trigger my IR/EQ-mixing-shebang, export and trim. I could possibly avoid trimming entirely (and Logic is already exporting .wav files), but I learned to not necessarily trust the bouncing function all the time (should give it a few more testruns as it'd really save me some trimming work).

Well, with a high cut at 5kHz, the higher mids are often affected way too much IMO, using the cab block's EQ. Similar for the low cut. I really got used to trim out pretty much anything a patch/IR doesn't need - but I want to retain sort of maximum tweaking freedom in the midrange frequencies, so I prefer very steep cuts. As of lately, I tried fooling around with iZotopes Ozone (some light version), allowing for brickwall EQing, doesn't work too bad, especially on low end stuff. Oh, so that M4L thing allows for IR export as well? And does it properly trim the beginning? Personally, I'm doing it manually, but I got extremely fast by now (I'm doing this since over a decade already).

Btw, I was wrong, the 70s Chorus *does* do some dynamic processing once Headroom isn't turned up all the way. So with a cab in front at its defaults, there's a difference. But once you level the cab so the output volume is the same as without the cab, the difference becomes indistinguishably small.

Fwiw, I don't think it makes much of an audible difference whether you place a chorus in front or behind a cab block. The chorus isn't doing any dynamic or input frequency dependant processing and it's also not adding any artificial harmonics. Neither is the cab block. So I think it's a good idea to save the additional CPU overhead a stereo cab block would use up.

Personally, I find the cuts (both high and low) on the IR block to be insufficiently steep. Of course it also depends on the IR, but usually, In case I just want to remove some low end rumble, very often the low cut will spread into the "meat" frequency range, something I usually don't want. Similar for the the high cut. Set to cut the unwanted highs sufficiently, it will often spread into the "cut through" or "chime" range and cut important things there as well. Because of that, I usually add an EQ block straight after the IR block. And fwiw, instead of cutting both highs and lows, I sometimes simply use a broad midband boost instead, giving similar results. Or a combination of all these. Once I'm happy, I may just combine IR and EQ into a single IR back home, using Helix Native and some "re-IR-ing" technique (which I would happily describe in case there's some interest).

Ah, these seem to sound quite nice, I like the smooth one. Will likely need a tad of low cut for live useage, but the general character is great.

No. But why would you need that?

Besides all that, chances are it's a hoax.

Or, also on unit, hold the bypass button and press the rotary. Easiest way to remove a controller assignment. In HX Edit: Alt-Click the parameter (on macOS, might be another modifier for Windows).

That's even the default behaviour. Parameter changes are only performed in snapshots in case you explicitely tell the Helix to do so (by activating parameter snapshot control in HX Edit or by pressing a rotary and turning it). Otherwise, only the bypass status will be controlled by snapshots (and you can deactivate that as well, so whatever block you can think of works patch-wide, including the on/off status). No. Would be quite great, though.

Which would rather be named "Cacophonia".

Not sure I'd like to be fooling around on component level (Fractal Audio already is almost taking things that far as well, fwiwi). I mean, I would - but as has been said by Falcor77, I'd likely find myself fooling around too much instead of playing. Anyhow, what I'd really like to see is a bunch of "freeform" amps and drives. These would then come with the most elementary classic baseline circuits to chose from (such as a Marshall, a Vox, a Fender and a highain circuit) but without any of the bells and whistles of whatever authentic real life models. Instead, they should rather showcase an integrated dual EQ (one pre, one post) for your tone shaping endeavours. You can do this already by using an existing amp model and two EQ blocks (and it can take you *very* far already, too), but having all this embedded into one block would certainly float my boat a lot. Heck, they could even offer amp+drive blocks, with various drives to chose from, still being switcheable, too - but that way, they would be an integral part of your sound straight from the start. The ingredients of such a "super block" might then be: EQ (perhaps selectable types) -> (selectable) drive -> EQ -> (selectable) amp ->EQ.