soundog

I look forward to the day we can just simply use Workbench with the Helix to do our Variax editing, instead of 1) looking for the USB dongle, 2) updating the Monkey, 3) looking for the battery charger, 4) charging the Variax battery, adn 5) juggling the dongle, USB cable, VDI cable, and 1/4" guitar cable — trying to get both dongle LEDs to light green without strangling yourself!

I wish I could play all the same licks I've been hearing for the last 20 years as good as he can. :)

...my experience from playing many venues—it all depends on the room. Most rooms have quite a bit of natural reverb and delay already "baked in." When you add reverb or delay, you risk combining all of that into a mishmash (technical term). When you play outdoors, you can get away with adding much, much more. What I have found works best is to be able to separately mix in 100% wet reverb, and 100% wet delay. Then you can slowly bring them in to levels that sound good to your ears, within the current venue. I start by dialing in the delay. Then add reverb if needed. But, as mentioned, its usually not needed unless for song-specific effects.

Its sort of a pain in the lollipop ... you gotta have all the cables hooked up correctly, all the software updated correctly, AND the battery has to be charged! I'll sure be glad when they add Workbench connectivity support to the Helix!

Does it drain with the VDI cable plugged in? Mine seems to....

I just use D'Addario .10-.46 (EXL110BT), which seem to be the factory installed strings. I'm happy with them.

Look for deals. I picked up a very-lightly used (like new) cream Standard for $440 at Guitar Center. Some folks buy one, and then decide they don't like it .... their loss, your gain. The set up wasn't bad when I bought it, but I set everything up for the way I like, and am quite happy with the workmanship and playability of the guitar. Can't compare it to a JTV model, though, as I haven't played one.

What works in the studio for vocals is not always best for live performance. For live vocals, my rule of thumb is "less is better." Compression often results in more problems with feedback (room dependent). The studio pre-amp is good, and I would para-EQ your mic before it hits the pre-amp. Roll of lows at 100 Hz, roll of highs as needed (to prevent ice-pick feedback). Cut muddy/boomy frequencies as needed. As far as effects go, that will be room dependent. A little hall or plate reverb if fine, but I prefer a little delay.

...oh Jeez, here we go again. Pepsi? Or Coke?

And so it begins. Expect more internet and electrical weirdness as Uranus begins its approach to Earth (at peak proximity on October 15th). Have emergency supplies on hand, and try to avoid late-night gigs.

I personally don't like that little ToneMatch mixer ---- it always sounded too shrill and "digital" to my ears. Instead, I use a small analog mixer with the Bose L1, and the Helix sounds good through that. My philosophy (unfounded or not) is ... the fewer A/D and D/A conversions between a mic or guitar and the speakers, the better. Other than that, the advice here is good .... use a flat setting on the ToneMatch and apply EQ on the Helix to taste.

Interesting debate. Coincidentally, I just read that Donald Trump has officially endorsed an erectile dysfunction medication, so there ya go. Not sure about toenail clippers.

...which has me wondering. If you are connected to the Helix via a VDI cable, the Helix receives a digital signal even if you are using the magnetics. Or, you can connect like a normal guitar: analog output via 1/4" cable to Helix. So where is the A-to-D done in each case? I am assuming: magnetics via Variax cable: Variax A/D --> Helix processing --> Helix D/A --> out magnetics via 1/4": Helix A/D --> Helix processing --> Helix D/A --> out Will one get a different sound with the magnetics using the VDI cable vs using 1/4". If you assume the A/D circuitry in the Helix is better than that in the Variax, using 1/4" would be best (although more prone to noise). Is this a fair assumption?

I'm OK if Vax magnetics are used on some hi-gain presets. After all, if the models can't compete with the magnetics on some tones, why argue? Best available from a given Vax/Helix/IR combo should be the goal, right? Also, perhaps some magnetic and model blends might work. Keep tweaking — we know you'll nail it. Also, I have a Standard, and am wondering if using magnetics will result in a diff between JTV89 and Standard tonality.

That Creed sound is good. However, I do originals and studio work, not covers, so would much prefer a focus on useful and versatile tones, without worrying so much about the FX, or about duplicating popular tones for specific artists or songs. Tone, tone, tone. Provide a combination of Variax models/pickups (workbench settings) and Helix presets with IRs that you design to work well together. Examples to provide: - clean tones (for various genres; eg rock, blues, etc) - crunch tones (for various genres; eg rock, blues, etc) - lead tones (for various genres; eg rock, blues, etc) - etc tones - acoustic - open tunings (typical, such as for rock or blues slide ... of course, user could change these as needed) Of course, the Variax tones and Helix tones would stand on their own separately, but together they would change lives, and eliminate hunger and poverty. The user could add FX modules to suit their needs. The method you used on the smaller Helix pack (snapshot for clean, crunch, and lead for a given tone) would work nicely.

Variax Pax! Variax Pax! :lol:

I play with a soundhole cover when playing live, and there is no adverse effect on the tone. BTW, I use one of these and prefer it over the rubbers, because it looks cool and it lets the sound waves "breath."

Helix editor working fine here, as is using Helix with Logic Pro X, Studio One 3. Also, I've had no problems with any of my AU or VST plugs. Backup with Time Machine before installing Sierra if you are scared of the dark. :o

Yes, a low cut is nice. I also like a high cut at around 8 Khz. But I like my tones a little on the dark side.

You have determined the correct pre and compressor. For more info, read this fellow's article: https://jimamsden.wordpress.com/2016/01/01/creating-a-helix-acoustic-guitar-patch/ It got me started up quickly when I first used my acoustic guitar with the Helix. To keep it simple, you could use his preset, strip out all of the extra stuff like effects blocks, and insert your acoustic IR. So, basically use the IR, some EQ if needed, the "studio tube pre" and "LA studio comp" . Put them in his suggested order, or like PeterHamm discusses above.

Best darned IRs for acoustic guitars I've ever heard. Thanks for bringing these to our attention, OP. I ended up getting the Taylor and the Martin, as they were the best match for the wood/size of my guitar. These are the days of miracle and wonder.

....that would be best, and dedicate the Voicelive for your vocal FX. Best of both worlds. Plus, you can easily set up the Helix to "sync" your Voicelive 2 presets to your Helix patch changes via MIDI program changes.

I'm not convinced that's the Helix in that youtube vid providing the vocal harmony. Any harmonizer in the Helix that I've tried on vocals doesn't seem to perform any formant processing, so vocal harmonies sound artificial. Nowhere near as good as harmonies from a TC Helicon box.

Same here. Thank @Rocco for the fix idea .... I'll give it a try.

This won't work without the proper haircut.