SaschaFranck

Correct. Or maybe rather the tone of another amp/cab. Again correct. Match EQs (or the IRs you might generate from their settings) are just a linear thing, so anything dynamic (such as overdrive and compression) isn't covered. As a result of that, if you want to match whatever the original might be, you'd have to set up your own sound to be as close as possible regarding all things drive "structure" and so on. It certainly also helps to use a similar guitar as in the original sound.

And fwiw, in case someone needs dirac impulses, I can post them.

Quite complicated, IMO. Here's how I do these things: - Use any Match EQ to copy whatever sonic imprint (this is described pretty well in the video). Should work similarily with almost all Match EQs. - Once done, have a track running nothing but that very Match EQ on it. - Place a "dirac" impulse (basically a sharp full frequency spike) on that track and bounce the result. - Just to make sure everything will be working correctly, trim the bounced file. -> There's your matched IR. Note: There's an advanced method as in manipulating an existing IR with a Match EQ, requiring somewhat more pre-select action. Might be worth it, though, simply because even 1024 sample IRs do come with some "distance information" which you will lose when just using a Match EQ.

According to his post, he did that already.

Question: Why would you go through all this (which likely won't turn out too great anway) when you could just create an IR from the Match EQ?

Well, in case the device is stuck already, there's no point in trying with HX Edit again as HX Edit simply won't even connect. To Papug: - Make sure the Stomp is connected directly to your PC, using a quality USB cable. - Make sure you don't sign into your account with the Line 6 Updater. - Obviously make sure the Updater is the latest version and the firmware is the proper revision.

And fwiw, I even wouldn't care if it was nitpicking (which it obviously wasn't) as I'm pretty good at those things myself. Give and take and all that... And fwiw #2: I didn't realize @datacommando mentioned this before already, sorry. Anyway, it's edited now.

Thanks! Quite obviously a typo - and possibly even a fatal one as shutting down HX Native won't help you much with this very issue (as you've mentioned yourself) in case HX Edit would still be running. And yeah, that really needed to be corrected.

Just dissect the presets.

Can't you just reboot?

I'm afraid my answer won't be of much help, but I always thought the process was way too complicated to bother with it. So, I either record a clean DI track and do the rest via HX Native (and btw, you can as well record your "performance part" and the DI track, so you have a good orientation) or just record the performance itself (more below). I also never bothered automating anything, I usually re-amp individual parts, then bounce them to audio and consolidate the various bounces. But: I actually almost completely stopped doing all that. What I usually end up with these days is recording everything either until the spatial FX such as delay and reverb (I just use them for monitoring, works quite well with the Helix) or even just until straight after the amp so I can as well fool around with IRs in my DAW. But generally, I don't go for the latter that often anymore. This way I need to finish complete tracks, avoiding many headaches and a certain amount of procrastination, too.

In case they're isolated outputs you're good to go. The HX Stomp is drawing around 900mA in total, so with 2x500mA you're fine.

Sorry, but I don't even remotely understand what scenario you're trying to describe.

Just give it a try. You might however also want to create a capture without the speaker. All you need to do is to connect the speaker out to a DI box (make sure to connect the "Thru" out to the speaker) and grab the XLR out. You could then use all sorts of IRs on that capture.

Look at the link provided above. Follow all steps.

Precisely. And it goes all the way from just some enhancements to form certain sounds to be better suitable/playable to full stop FX madness. I still remember when I was checking out a laptop setup for some musical gig back in the days (a rather safe thing as everything happened in a cosy orchestra pit). Been using Guitar Rig and while the amps were pretty much lackluster and not even remotely as dynamic as I wanted them to be, that could be adjusted quite a bit by using input level as a modulation source for some parameters (mainly drive but I also modulated the tone stack a bit, from what I remember). At the very same gig, for some underscore moment, I also used a filter modulated by a step envelope, running into 2-3 nested delays, some parameters again being modulated through an expression pedal so I could seamlessly blend between a rather agressive chopped sound and some wobbly delay goodness. Defenitely nothing for the faint hearted, setting just this single patch up so it actually turned into something useable took quite a while. But I guess with a proper modulation matrix things could be done much faster.

He's changed that at least a bit recently. Have a look (in case it doesn't start playing there, go to 24:00):

Thing is, modifiers can be used for all sorts of purposes. Yeah, you can use an LFO controlling filter frequency with the LFO intensity itself being controlled through an expression pedal - and I'd agree that there's not a huge audience for that kinda stuff (Guthrie Govan doesn't mind, though...), but you could as well just use things to, say, increase the dynamics of an amp. Modulate gain with input level and you'll end up with the most dynamic overdrive ever. Want your modulation to only kick in once you pick softer? No problem. And so on. The possibilities are endless.

Guitarists being the most conservative branch of musicians, I'm quite sure hardly anybody is using them - but subtle?!? I could post some things that are as far away from subtle as it gets, maybe using Guitar Rig (which is a modifying/modulation monster) instead of a FAS unit. And yes, I really wish that the HX-verse would offer modifiers/modulators. You can do most incredible stuff with those things.

All the Match EQs I know of have vastly more "bands" (if you could even say so) than any of the Helix offerings, so while you could possibly try to transfer some of the EQ settings by eye, it'll never be the same. My guess would be that you'd be as fast doing things manually.

Yeah, I think I've read about that error elsewhere already. Sidenote: Gotta love the "nicht wohlgeformt" in the first line. For the non german speakers, translates to something kinda "not well shaped" (usually related to whatever physical body shapes).

A) Having all those options within one patch. Would likely be less of a problem, but as said... B) No global tweaking options. The combination of these two is what makes my setup vastily easier to operate and adjust than any all-in-one-modelers. I could get closer with either the Axe FX or the GT-1000 (the only units featuring global blocks) but it'd still be more tinkering.

Nothing special. I just have a loop switcher controlled pedal board. Basically, it's 5 relevant loops. 1) Pre-boost loop. Mainly serving for lead boosts. I can preselect whether I want this to be a slightly compressed clean boost or a light drive or both. 2) Clean loop. Just a NUX Amp Academy and an RC Booster clone. I can obviously preselect whether I like it clean or with a little "hair" coming from the booster. 3) Dirt loop. An Atomic Amplifirebox set pretty clean with several drive pedals in front (atm 4 drives and a boost) that I preselect. 4) Modulation loop. Don't use that much, so I'm getting away with a Zoom MS-50G, usually I load 2-3 patches and cycle between them. So, just another preselect thing. 5) A "spatial" loop with an HX Stomp serving for all kinds of delays/reverb. Yet another preselect thing. With that setup I can switch extremely quickly, it's extremely flexible and - most important, really - I can do global adjustments. With the Helix, it's totally impossible to even get close.

I'd argue it's cheaper. But it's not faster and easier. At least not when you want the kind of flexibility I want in the way I want it. Which might not be everybody's COT, but that's not exactly relevant. Overall, the Helix is vastly more flexible than my current pedalboard - but it simply can't even remotely get close to the way I operate that very pedalboard.

Because otherwise it's impossible to modify things globally. That's not related to modeling, you can do that with analog devices as well.