SaschaFranck

Cheers.

Yeah, they're kinda costly - but among the coaxial bunch they're comparatively cheap. Wish I could check one out somewhere...

Use the Simple Delay. Feedback zero, mix 100%, time to your liking, mission accomplished.

In case you're really doing this often, I can only recommend getting Helix Native.

Fwiw, I wholeheartedly support the notion that auto-impedance should offer an (alternative, as described by qwerty42) option to act exactly as things would in an analog chain of true bypass pedals. This should actually be doable quite easily, because, as we all know, you can already do it yourself manually, using snapshots or switches. Fwiw, I considered doing one of the latter two but ultimately gave up on it, simply because I'm usually using a healthy mixture of snapshots and (usually multiple-assign) switches - getting impedances right in this scenario is barely possible (as I may add a drive withing snapshot set to another impendance than what the pedal may like to deal with, whereas on other snapshots it'd be doing fine). Whatever, for the time being I'm usually getting along fine with a fixed impedance of 1mOhm or 230kOhm for my live patches. Fortunately, I discovered the Top Secret OD, which does a nice job for all my fuzzy needs, even at 1mOhm

I think it's been these that I've seen mentioned: http://yorkville.com/loudspeakers/nx/product/nx10c/

Fwiw, regarding Yorkville, I heard great things about one of their coaxial monitors. No idea about the model name anymore (they're not available anywhere in Europe, so I have to pass...), sorry. If I will update my monitors one day, I'll certainly be looking into something coaxial as they're said to cause somewhat less phase issues (which can become an issue in case you're pretty close on almost all stock 2-way monitors) and most people also seem to think of them as "feeling" a bit more like a guitar cab.

Fwiw, I dig compressors (sometimes along with certain EQ tweaks) as lead boosts on overdriven sounds. Doesn't add much more gain (I actually boost the output very little) but some "meat" during the decay phase. I really like it that way, especially in case the compressor isn't affecting the attack. Keeps things very dynamic. Out of the Helix models, the Vetta Comp accomplishes that job nicely IMO.

Yeah, you're right (been wondering already, becaus 1/4 only would be quite strange these days), the picture I looked at has been too dark.

For obvious reasons, I only use a noise gate when there's noise. And I usually don't use the one in the input block at all but rather add a separate block along with noise introducing amps and pedals. My guitars aren't particularly noisy to start with, too.

Hm, for whatever reasons, the prices over here are extremely varying (from €215 to €350}. Got good memories about a Cerwin Vega power amp I owned plenty of years back, they've been a pretty solid company then. In case of this particular monitor, I wouldn't know whether I'd like to go without an XLR in, but for a modeler monitoring scenario, it might be less relevant.

Fwiw, I'm using a fixed impedance (usually 1mOhm) for pretty much all my patches, the reason being "reliability". That way, I just know how things react, especially as the Helix keeps the impedance of the first hit block in "auto" mode, which sometimes (see the link qwerty42 posted) yields less than desirable results. In addition, I sometimes use other buffering devices in front of the Helix, which usually render any internal setting useless (or at least very different). With a fixed impedance of 1 mOhm this is way less likely to happen. I'm also used to that because my previous live rigs always had a buffered input stage, likely introducing something around 1 mOhm. I do fool around with the settings for recording and on some selected patches, though - but my main ones are all fixed.

Ok, fine... I should've been asking for that earlier: Could you as well record the same (or almost) the same bit as a raw DI guitar take by recording the Helix' USB 7 stream? Having your verty own guitar signal is a pretty important point for reconstructing any given sound...

I actually changed from input pad on to off (at least for the time being), pretty much the other way around from what many others seem to be doing. I started with it on after reading several comments about it to improve some things. That was before I bought the Helix. When I finally got it, I compared on/off with what I thought would be my most used amps and some things seemed to sound/react a little better, so I left it on. Ok, over time I was working a bit more with Helix Native (and other software amps), using the straight DI signal (coming from USB 7/8). And even with my hotter guitars, it's always been pretty weak - which is annoying as I have to way zoom in to visually control cuts and such. But well, that wasn't the main reason for me to turn it back off. I noticed that with my particular assortment of guitars (my absolute No.1 being an Anderson with pretty low level PUs) some of the drives would simply work better with Input Pad off, most notably the Top Secret OD (which is indeed my most loved drive within the Helix, actually delivering what I usually expect from a nice fuzz). So I checked all my patches and re-adjusted them. I found most of them to work better in the end. There's some drawbacks, though. I think some Helix amps deliver too much drive, so I have to turn their drive parameter way down or activate a volume block in front - which wasn't necessary with Input Pad on. Now, I have a volume block as the first thing in my signal chain anyway (at least on all of my regular patches), but I prefer to have as little blocks as possible switched on for a basic tone. Whatever, unfortunately my most used amp models for anything slightly driven to standard rock kinda stuff, namely the two 2204s, are affected the most. I like them a lot with very little drive (I rather add gain with some drive models), just as I did back when I owned a JCM800, and with the Input Pad off, without a preceeding drive block I need to go down as low as 1.0 or even 0.8/0.9 on the Drive parameter. I may have to revisit the entire thing one day, for now I decided to live with IP off. Whatever, ideally, there would be a patch setting allowing you to overwrite the global setting (global/on/off). And IMO it'd be even better in case there were more settings (I'd likely go for something inbetween), but that would require new hardware.

It'd possibly be a good idea to post a recording of that very preset.

Maks sure to either reboot or having a look into task manager before attempting to open the Line 6 updater. A stalled HX Edit will continue to run as a background service as long as you don't reboot or shut it down manually - and the updater won't work under that condition. Also, use offline mode with the updater (you will need to download the firmware flash files for that to work). And finally, as has been said, you may want to go into manual update mode by holding FSs 6 and 12 while booting the Helix before you do anything.

Well, I'm a Helix Native user and like it a lot, but as Line 6 has no feature reduced free version but just a demo which is causing plenty of trouble for plenty of people (may have changed with 1.9x), I can't recommend it for a testrun (and yes, I know you didn't ask for a serious answer...). And well, in addition, some of the Ignite Amps stuff is simply up to Helix quality.

Yeah, 2nd generation should be fine. As far as amp sims for that kinda style are concerned, I would recommend to download the entire Ignite Amps suite (it's all freeware, apart from Libra - which you can skip), especially the "Emissary" amp (note: Most others are preamps only and sound better when you run them through their TPA-1 power amp plugin). http://www.igniteamps.com/#software You will have to run these through a cab sim (as they're just amps). To get you started, use their NadIR plugin, sign up for the newsletter at Redwirez and grab their free Marshall cab impulse responses (feel free to ask what these are doing in case you haven't heard about IRs yet). https://redwirez.com/collections/all To recap: Load Emissary and NadIR serially on one audio track, then load some of those Redwirez IRs into NadIR. You should get some pretty decent rock tones out of that combination alone already. If you want to go for the typical "slap a tubescreamer alike drive for a tad of boost and a little low end tightness in front" trick, check Ignite Amps' drives, but one of the best freeware TS alike drive plugins likely comes from Mercuriall, the TSC: https://mercuriall.com/cms/details_freestuff (get the other ones while you're there, too). The free content of IK Multimedia's Amplitube is pretty good, too, but maybe not too much useful for heavier stuff, plus, registering things is awkward. There's tons of other pretty decent freebies as well - but you should already be able to get a damn fine sound out of the things mentioned above.

Which generation is the Scarlett? From all I know, there's generation 3 by now - and the older versions aren't enjoying all that much of a great reputation (at least that's true for generation 1). However, as rd2rk already mentioned, you might want to check some of the amp plugin freebies for a start. What kind of sounds are you mainly looking for?

IMO purchasing the plugin on its own without being a registered hardware owner is quite expensive (the discount for hardware owners is massive), I can't exactly recommend it, especially given that you plan to get the hardware later on. In addition, you will need an audio interface with pretty decent drivers to achieve low latencies and it should as well come with a proper instrument input (many interfaces don't, for whatever reasons...). Also, your computer needs to be at least somewhat powerful as running a plugin such as Helix Native at lowest latencies is quite CPU taxing. Personally, if you plan to use things at home for the time being, I'd recommend an HX Stomp or a POD Go. Myself, I'd go with the former as you will be able to enjoy the discount for Helix Native and as you will also profit from updates done to the Helix family (which the POD Go will perhaps be excluded from).

I would say that a lot of that has to do with the "physical experience" of a real 4x12. Your best bet would possibly be to carfully check out your patches without your bandmates present, trying to find a nice balance between PA-"spread" and some more direct/pointy goodness from the Alto. Personally, I haven't had to compete with a 4x12 yet, but my Alto TS 310 has been holding up against a Twin pretty well on some gigs already. In fact, pretty much everybody prefered my tone almost all the time (not in each and every situation, but let's say around 80% of the time), which included the singer/guitarist who was playing the Twin (so much he is now thinking about going FRFR as well). I'd guess it depends a whole lot on the style of music, too. I should possibly add that I'm exclusively using some of my own IRs, which I have tweaked quite a bit to work well (I could easily share them). You could post one or two of your patches no needing any commercial IR, though.

Ah, glad you got it sorted.

Wait until it's ready.

Ah, there we go, that's the information I didn't find instantly (being a Floor owner I didn't look all too much, though...). This is precisely what I'd try, along with the Line 6 updater in offline mode (to the OP: You'll have to download the firmware flash file for that to work). As said, this seems to be what helped quite some people already in fear of having bricked their units.

Isn't there a safe boot mode for the Stomp? Seems that is what fixed it for some Floor/LT users.