jws1982

Sounds like you have the gain parameter set to be controlled by a footswitch as well, and you don’t realize it. The minimum setting for the gain when you do that is zero, so it’s going to default to that every time to load the patch.

I usually end up running similar cab models on my patches. So, if I had a cab that I loved, I’d consider using it. It’s hard to beat the versatility of the power cab though. Playing out live, I’d most likely choose the powercab for weight and flexibility alone. It’d have to be some really awesome cabs to make me haul them to gigs these days.

+1 i’d isolate the pedal snake to only the 9v power, and run separate cables for all the audio connections just to test and make sure the noise is actually only from the distance run for power.

I see a lot of threads where someone’s getting bad sound when try to build a patch or when they change what they’re monitoring through. So, I wanted to start a reference thread for everyone to describe your equipment and process for building good-sounding patches. ——————————— I always build patches with the end-listener and sound source in mind. Typically, this is a live sound environment. I’ll mimic this setup to build the patch. I use a Yamaha DXR10 in wedge mode at lower “stage volume”. I’ll turn on the low-cut on the speaker, as I can expect any sound guy to automatically put a low cut on the guitar channel when I play live. I’ll then build the basics of the patch (amp, cab, and comp), then change speaker orientation and volume to fine tweak it where it sounds good across the stage volume range. I’ll then add effects, and again tweak like before. I find the DXR10 does an excellent job of being a general representation of the stage sound wherever I might play. I’ve yet to make a patch on it that didn’t sound good on other PA systems unless the sound guy didn’t know what he was doing. I’ll also test the patch by playing music in a similar style through the speaker, and see how the guitar sits in the mix. Usually some very small EQ tweaks are needed after this. After building patches this way, I find that other monitoring sources (like my in-ears) sound good as well, especially once I’m on stage playing. When I play live, I’m either using in-ears, or monitoring through the DXR10. Either way, it sounds great, and I don’t have to worry about what I sound like out front. Oh, one more thing. I take breaks when I build patches. Ear fatigue makes bad sounding patches.

Try putting a blue comp (legacy effect) in front, then going into the detailed Ingrid amp/cab model. Set the master to around 4-4.5, and the drive to between 3.5-5.0. Drop the presence, everything else around 5.0. Change the mic to a 121 ribbon at 1”. See how you like that.

Gibson p90’s, with their alnico 5’s and 500k pots, are just too hot/crisp/bright for me. I usually end up switching them out for Duncan antiquity p90’s and a 250k volume pot. It smooths them out a bit and lets them play nicer with rigs set up for humbuckers.

Also, make sure you’re using a warmer mic setting, or warm IR, then pull frequencies back as needed via EQ. The helix mic model placements are all centered in the cone I believe. A ribbon mic would smooth out the highs for less of that crunchy sound you’re talking about. As another amp option, try the derailed ingrid model too. Drop the master and the drive to around 4. Put a pretty strong compressor in front of it too. Then use eq’s to smooth everything out.

The craftmatic adjustable floorboard. :) How about a reaching aid and screen magnifier instead? All I can think of to lift the device would be a hydraulic-assisted small table. It’d be bulky and likely custom made. It’d be easier to either extend your reach or provide additional controls at standing height. Another thought is a helix rack with a foot controller. That’d put your editing right in front of you.

I’ve always really liked the HD500’s model of the dual rec. I actually prefer it to the helix model. Of course, don’t use a stock cab on the hd500. Just run the full amp model, set it to No Cab, and run it into an IR. I’ll usually mix it with a clean amp sound too.

I’ve always preferred the helix (and hd500) sitting on the floor versus on a pedalboard. The extra angle from a tilted pedalboard does bug me, though it’s not unusable or anything. Everything still looks and works fine. I guess it’s just what you’re used to.

I believe the high-cut filter on the high / low cut block is actually turned off when set to 20khz. When you change it, I believe that’s when it turns on, and that’s why there’s a noticeable difference in sound.

Use a separate path with a cab or IR, then set the output to XLR only. Or, just put a mic on your Mesa cab and run that to the wedge. That’d probably be easier.

I believe windows doesn’t natively use the ASIO drivers. The mic input is only available via ASIO, so it wouldn’t be available in the “sound” options under control panel in windows.

Doesn’t the aviom have stereo output to your in-ears? If so, send both your mono signal and stereo signals to FOH, then monitor the stereo signal through your aviom. Or, just send your stereo signal to FOH and let the sound guy sort it out. :)

I don’t think h9 users will be pleased until L6 creates a verb that utilizes an entire DSP core on the helix. :).

Yes, definitely check out IR’s. These are typically more “finished” sounds, unlike the stock cabs on the helix that can require quite a bit of tweaking to get what you want. Even if you don’t end up using them, it’s definitely still worth it to try them out. There’s plenty of IR’s that have the “thump” you’re looking for as soon as you load them up. At the least, you’ll be more well-versed in the uses of Helix.

If you’re using a closed back 2x12 on stage, I doubt you’re going to hurt your overall guitar sound in the room by going FRFR. That guitar cab is so directional that it’ll sound different to pretty much everyone watching you play. I run helix into a Yamaha dxr10 on stage. Everyone I play with loves it. I can position it so that it covers the stage and directs out to FOH, or points back at me like a wedge. Go for it!

Most of the “bad sound” experiences I have are from venues where they pay the person almost nothing, like $20 plus food, to do sound. That’s where I deal with the uneducated or depressed sound guys. Venues get what you pay for.

One thing that most every spider valve needs is new tubes and a good bias. Make sure you do this with any of them you pick up. Maintenance on tube amps in the spider valve price range is almost always ignored.

The spider valve series have a “power amp in” on the back that bypasses all modeling and just sends the signal straight to the tube amp. The tube amp in the spider valves is designed to be pretty transparent, so actually it’s a great option to complement the helix. It has a vintage 30 in it, which will color the sound, but you can change out that speaker to whatever you like. I ran an hd500 into a spider valve for years as my main gigging setup. It sounded great. I still break it out occasionally on a gig just to change it up.

When I approach developing a tone on helix that I’ll use to play out or do studio work, I do it in a similar way that I would to mixing a song. - first, while setting it up, I monitor it through the primary output form that people will hear (typically FOH live). I get it sounding good through that to start. I use a couple different PA speakers (Yamaha DXR10 [my primary], JBL Eon One, Alto TS212, etc..), making sure it sounds decent though all. - I then hook it up in my studio and track with it, making small tweaks to help it sit a little better in a mix. - next, take it back to the PA speakers and make sure it still sounds good. - drop “send1” into the chain, and send this “FOH” output to it. - after send1, add any EQ/Comp/etc... needed to make it sound better in my in-ears, should I use them on a gig. Send that out of the main outputs, or send2. Just like mixing a song song in the studio, I test my patch on many different sound systems. My in-ears are never the primary output, as that always leads to a bad sound coming from the PA or other monitors. If you get your path sounding good through various studio monitors and pa speakers, odds are it will need very little tweaking to sound good in in-ears after that. When end I don’t use in-ears, I always bring my DXR10 to use as my on-stage monitor. Also, I don’t completely cut the low frequencies from my tones, because it’s second-nature for FOH sound guys to automatically put low-cuts on guitar tracks. Double low-cuts can thin out a sound pretty quick.

If the jacks are like the other l6 equipment jacks I’ve dealt with, they’re closed. what about a magnet? Or, put a dab of gel-based super glue on the end of the broken 1/4”, insert it, let it sit for a couple minutes, then pull it out.

Does your amp support midi for channel changes? If so, perhaps that’d be the way to change it per preset without a footswitch.

The DXR speakers are great. The issues you’re describing sound like you have a faulty speaker. My DXR10 has no noise when connected to my helix with any 1/4” or XLR connections. It’s also very well balanced across the frequency range with every source I’ve tried. The DXR12 I tried exhibited similar behavior. If you can still send it back to GC, I’d do so. Otherwise check with Yamaha on getting some warranty work. But first things first, try another speaker if you have access to one.

If you just have to have a separate specific amp device like the amplifier because you love the sound, then go for it. Otherwise look at a helix. A helix into a Powercab or other high-quality speaker is hard to beat. I run mine into a Yamaha DXR10, and it sounds fantastic. I use it for everything from bedroom practice to large gigs.