Lelik

2024... I found out this model just few weeks ago (and I have been using my Helix for almost 7 years) and I love it! I mainly use it as a clean amp and with some ODs in front (Valve Driver is its perfect match!). Imho it has an excellent dynamic response even if it's a 1.0 firmware amp (if I'm not mistaken).

I think this choice is more flexible, but there is an important point to consider, specially if you try to build your ideal EQ curve in a DAW with other VST plugins. The "Q" factor of Helix eq blocks is (much) wider than what you get with the same value on most (or any) EQ plugins. I mean that even with Q=10 you will affect a larger bandwidth, similar to Q=3 on EQ plugins. If I remember well when I tested it, in the Helix eq block Q=10 is about half octave bandwidth (instead of about 1/7 octave like with other EQ plugins I have).

I'd add that positioning the monitors properly is almost as important as the monitor itself. Ideally you should decouple them from the desktop, and put the tweeters at ear height. Then, listening as close as the speaker design allows helps: it reduces room interference to you ears (specially about low frequencies).

Very badly is too much. I agree that it's far from perfect (specially because after many updates it still doesn't detect the note when it is between two semitones, I mean when you're out of tune a lot), but I can use it and don't need anything else. Imho the best free IRs still available in the web are these: https://valhallir.at/shop/v2-teaserpack/ but you'll need anyway low and high cuts (very narrow limits if you use them live or in a loud band context; imho for example 100Hz / 4.5kHz aren't extreme in that context) The Helix stock cabs and mics are anyway usable too. If you don't play metal, my favorite "general" Helix sim is: 2x12 Match G25 with Shure SM7 mic (short distance about 2", and the same hi/lo cuts mentioned above). Or you can try the typical speakers and mics you are used to. And I don't agree about complex chains being necessary, even if like anything, if you want to fine-tune your tone, you may appreciate the possibilities that Helix can offer. My (rock music) complex chains generally have: - noise gate on in the input block (very low threshold, between 74-80 dB, it depends on my different guitars) - low/high cut block (some 120-160 Hz, only low cut) - a compressor (if any), with mix at 60-70% - one or two OD blocks (mainly Teemah, Dhyana, Minotaur, KWB) - modulation fx blocks (if any, mainly: Harmonic Tremolo, Ubiquitous Vibe, Deluxe Phaser) - the amp block (my favorite: Litigator, German Mahadeva, Archetype Clean, but I try also others sometimes just to change a little my tone) - the IR block (mostly just one far field IR, not available any longer in the web) or the stock Helix cab/mic mentioned earlier - delay (mainly Transistor Tape or Ducked Delay) - reverb (mostly legacy Plate or Glitz, very light mix about 15-20%) - Tile reverb: I turn it on only when I use headphones, because it helps to simulate a nice ambiance and with the above stuff, I get the best tones I have ever had in my last 30 years, and I enjoy a lot my beloved Helix!

Define usable... ;) (just kidding, but I didn't like those mid scooped IRs at all) I can speak about myself: 10 IRs slots are enough imho to play live, to get more consistent tones (when just 1 or 2 IRs are the typical situation). Maybe in a recording studio you may need (many) more, but in that case you can manage them by a PC or directly in your daw.

I like the V-Tron among the recent legacy effetcs. Even if it is not as extreme as the talkbox at all, imho it is very musical in a band mix.

Everybody has written very helpful information. I just want to add that in live music, I generally use only the plate reverb, with a very low mix, and anyway I use aggressive tone cuts (of the reverb) around 200Hz and 3kHz; in my opinion it is much better this way to avoid any harsh sound, and it also reduces the muddiness and confusion that the reverb can add on top of the natural reverb of the place where you play.

And that's the very important point that DunedinDragon was stressing. The Alto TS308 speaker has very good specs, but it doesn't have any bass adjustment that you'd need when you use the speaker on the floor as a wedge (unlike your placement on a stand). And it's a pity. On the contrary it has a "contour" switch boosting the highs and lows (a kind of the "loudness" switch we had in the old hi-fi systems), that is not useful for a guitar modeler use.

Most users would be ready to swear that, specially after the firmware 2.0, the tones of the existing amp sims improved. I think that Line6 has never confirmed that kind of change anyway. I have to say that in my case my favorite amp sims, and the ones I use regularly, were added later (Litigator, Archon clean, Cartographer), so I may say that Line6 improved the implementation of the amp sims after releasing the Helix hardware and its first firmware, but it could be accidental, too.

I agree with the remarks above, and I don't like how Helix handles the panning, either. In my case, I use some "synth" tones, and I made the decision to edit all my patches again to split the traditional guitar tone from the synth tone. I put the mono guitar tones on one channel (left) and the mono sinthy tones on the other channel (right). When I played at the rehearsal room, I found out that the volume was much lower and now I have to put the volume knob at the maximum level; I don't like it at all, because I don't have any chance to increase the volume a little more if/when I need it. I should re-program all of my patches to increase the volume, but then I should test each patch again in a live situation, because I don't think there is a safe/automatic way to increase the volume so that every patch keeps the same relative loudness. I'm disappointed about this point, even if I love my Helix a lot.

I'd say that it depends a lot on the volume and on the type of sound. Clean tones doesn't necessarily need a severe high cut, unlike hi-gain tones, because the fizz content is smaller. Nevertheless, I prefer to have the same IR (and the same hi-/lo-cuts) that I use both for clean tones, and medium-high distorted tones. And then the loudness is very important. Playing at gig level (that is live & loud) imho any hi-cut higher than about 6.5 kHz will give rather bad and fizzy tones, specially with a lot of overdrive. Obviously the same severe high-cut may be a little dull if you use headphones or studio/home monitors, even if now I'm getting used to that tone, and I like it.

The Grid Slammer pedal circuit is almost exactly the same as... TS9! Well, to be honest, the diodes arrangement is similar to Timmy, so there is a little change. In view of this, I suppose that it would add too little to the diversity of simulations. There are, on the contrary, interesting and original OD pedal circuits that are not covered at all in the Helix at present, such as: Zendrive, Boss OD-3, Subdecay Liquid Sunshine, Crowther Cake Overdrive, EHX Hot Tubes, Skreddy Screwdriver, Marshall Bluesbreaker, Barber Gain Changer, Ibanez MT-10, Emma Reezafratzitz. These, imho, would add a great value to the Helix, specially when it is used as a multi-fx pedalboard with a real guitar amp.

I'd suggest the Cartographer. Adjusting the gain levels you can get both very good cleans and distortion tones. Or the Litigator. Both amp sims work well with the guitar volume knob to get cleaner tones, without getting muddy. Or I also propose the wonderful Archon clean + an od pedal; I specially love the Timmy (sim) with it.

You're welcome, and I'm happy that you enjoy playing with it. Bon musique!

It's an original IR that I made (with a real Classic Lead 80 + e906). It isn't a commercial IR with some mods. But then, as I wrote, I made a lot (or even more) of post equalization. I mainly went to the rehearsal room (several different sessions), playing at high volume with backing tracks and using some different Helix patches (with my favorite amps: Archon Clean, Litigator and DC-30 with and without OD effects), and tweaked my IR till I was happy with the result, unconcerned about keeping the starting tone.