Lelik

Thanks a lot for this information! By the way it worked with my registered Helix Floor, and I got Native, too!!!

Thanks for your information. But if I understand well you're using both XLR and 1/4" outputs in stereo, so I'm sure in that case there's no problem. On the contrary I'd use the XLR outputs (stereo) but with only one 1/4" channel (left mono) and what I don't know is if the XLR and 1/4" outputs are completely independent so that using one of them in mono works when you use the other in stereo.

I can't try quickly because I don't have cables and devices available, so I try to ask here. My target is to make my patches this way: when I have some "synth" tones or "oscillators", I'd like to send the guitar tone to one channel (let's say "right") and the synth tone to the opposite channel (left for example). And then from Helix I'd use both XLR outputs (L and R) to go into the mixer with two separate channels so that they can mix the two sounds more properly (and anyway panning both centrally). But at the same time, I'd like to have a stereo-to-mono summing in the left 1/4" output connected to my own monitor so that I can hear all the sounds coming from my Helix through my single mono monitor. Does it work this way? Or if I use both the XLR right and left "stereo" outputs, the 1/4" output is not mono anymore (or even viceversa)? And if it works as I hope, do I have a problem of different volume if I edit one patch with the guitar tone panned 100% to just one channel vs the same fx chain panned to the centre?

I'd suggest to consider the Floor version because it is more robust that the LT, even if Line6 is very efficient in assisting any user (abroad too) when a problem arises. However it is not water proof... Snapshots are a very practical and powerful tool to overcome the lag changing presets. You can consider that in one preset you can also place more than one amp (it depends on the "weight" of the other effects, but I have some presets with even 4 different amp models!) so that it means that the snapshots could really replace the need to use some different presets. I agree anyway that changing presets during a song is not recommended, because the change is very noticeable: it's not only a matter of silent gap (that is very short), but the fact is that the "loading" of the new patch is slow, so that - specially in case of complex presets - it seems like you start playing an analog/tube amp while it is still turning on, with a slow start and then the sound/tone changes slowly till it reaches the proper and expected settings.

The DS-1 has a circuit that is rather different from the other OD models in the Helix. One important characteristic of the DS-1 is that it cuts (a lot) the mid frequencies; there is a big void between 300Hz and 1000Hz, that is very similar to the typical mid scooped tone of the Big Muff. But since the Big Muff has a different distortion voice, maybe with the Helix you could get closer to the DS-1 using the SD9 (Hedgehog) and with an additonal eq to cut the mid frequencies I mentioned (and you could try to place this equalizer before or after the OD effect to hear what you prefer; I'd even suggest to try it before the od stompbox with a more aggressive cut).

Thank you very much for your helpful information! It was pretty simple, but - I don't know why - I didn't think about it, because I'm used to the "knob hold-down" only when I assign something to a switch or to a snapshot. PS: ops, I see now that I have two different profiles here in this forum and I thanked from the other one. Well, it doesn't matter. Thank you anyway!

Thanks! It's a very interesting and practical information. Much better than the usual explanation I already read many times without understanding the effects. Even if I could not put together such a good understanding, I can say that mostly on my presets, I prefer: high master volume, low sag, medium or low bias, and high bias-X. And I mainly use the Soldano crunch, the Litigator, the DC-30 and the Archon Clean; I still have to try the latest amp sims (added with 2.30 fw). I mean everything at loud volume (practice room or live). With headphones or low volume monitors, it could be different.

You're just beginners.... :P I tweaked with many many changes an amp model (at loud volume), I noted that the changes of many parameters didn't affect a lot the sound, but you know: when the volume is loud some differences are just subtle. After a while I finally saved the preset, because I thought I had found a good version. And at that moment, I realized that I was tweaking the second amp model in my preset and it was in bypass mode...

I agree 100%, including the negligible difference between the 1024 and 2048 samples version.

The Helix editor anyway will truncate the length of the IR to about 21 ms (if you use 1024 samples) or 43 ms (2048 samples), so you may want to start from the shortest one you have.

I loved the Orange AD-30, but I don't like the Mandarin 80 at all. I agree that it's kind of lifeless, if it makes sense. But no problem, Helix has so many good amp models that at the end I don't need anything else... not to mention that the new fw 2.3 has just added something else to try! I can't tell you if the following models are very similar, but I love and I'm using a lot the Soldano Solo Crunch (lot of master gain, very low highs, low lows, low sag, low preamp gain) and the Litigator (with a lot of gain). And in case I add some Minotaur or Timmy OD (but mainly at home, live & loud I mostly don't need them).

Thanks Phil for the suggestion! But I prefer the sound of the 4 OSC Generator. And I found out how to set those special values: I have to edit the .hlx file in Wordpad!!! Well, it's really tricky, but it works!

I have a stupid question (maybe), but I can't find the way out. In the 4 OSC Generator: how can I set a specific frequency? I mean: only till 100Hz I can set any number (97, 98, 99) but then there are some bigger incremental steps, both with the on-board knobs, and with the Helix Editor (moving the mouse, too). But some music notes require halfway values. I bought some presets from Fremen, and I see that he could set some values that I can't access... and I wonder how you can get there. Thanks for your help!

Well... luckily no model of MT-2! It's a way too compressed and uber-distorting. Knowing a little its circuit, you could try a chain with: - a compressor with a lot of compression - an equalizer before the amp and od pedals, with a lot of mid boost (and low q factor), and a cut (with high q) of treble; you could also boost a little (or a lot) the bass frequencies - an od pedal with clipping diodes shunted to ground like the Rat (Vermin) with a lot of gain; the Rat cuts the bass frequencies a lot, that is why I suggested to boost the bass before the OD, because the MT-2 does not cut anything - and then a parametric equalizer, specially to adjust the mids (both gain and frequency) Good luck...

I agree and do the same

And I add myself to the list... but what is your favorite switch position of the Timmy? I generally set it in the middle; it seems the position I prefer, but I don't know what it does and am curious about your favorite choice. My second choice is generally the Minotaur, and I don't use any other od pedal modelled by Helix, even if with the real stompboxes I loved the DOD250.

In my experience it is very difficult to make a good sounding patch through headphones, specially if you don't use a reference patch that you already know that works well in your context. Unfortunately the stereo image, the different volume, the different space will work against a good result. Imho the only way to make effective patches is to build a situation as similar as possible to your use, and most times it means: performance loudness level through a FRFR monitor, backing tracks with sound similar to your band mix, mono output. The only tips I could suggest are: - add an eq block with the low/high cuts, for example with low cut at 120Hz and high cut at 5.0 kHz - reduce a little the gain of the amp sim (because at high volume you will need less gain to get a good cutting tone) - reduce the level or turn off the reverb (spring and plate are often better for live use because they do no add any other early reflection to the ones of real space reverb making a muddy tone) - be ready to adjust the equalization of the amp sim (mainly to boost mids or reduce lows/treble)

I almost use the PEQ effect always on my patches, and mostly before the amp to shape the pickup sound. I agree with the original poster: I'd prefer to have no band limit on all the frequency ranges, and I suppose that would not be a problem of DSP or logic to make that change for Line6. In case you post this request in the Line6 ideascale forum, I will vote it!

In the rehearsal room, where my band mates need to hear me, I put my monitor on a pole behind me (just few cm/one or two inches taller than me, and about 2 meters behind me). When I play live, and in my case I generally put my signal into the mixer for the FOH, I prefer by far to have my monitor in front of me like a wedge monitor; in this case I use the monitor eq to reduce its bass frequencies at the minimum, and the sound is very close to the same tone I get with no equalization when it is on a pole.

What is the volume level you use? Bedroom low level? Or performance volume level to cut through a dense mix? Do you prefer a nice tone alone or a good tone in a band mix (or anyway with a backing track)?

I had a similar (I think) problem with my Helix LT with 2.21 firmware just few days ago, just once. I got no guitar output from the 1/4" jack BUT I had a regular output (I mean the sound from the same 1/4" jack) of the USB sound going into the Helix from my PC. Since I had saved my few important presets on the PC, I made the decision to reset the Helix (turning on, while pressing the switches 8+9). Then it worked properly. I reloaded my presets and everything was ok and is still ok. I put the blame of this malfunction on some corrupt presets, because the day before I copied a setlist of presets into the Helix from the PC. Now on, I will move just single presets, and not an entire setlist. I'm not 100% sure of my diagnosis, but the problem occurred just when I did that for the first (and only) time.

Today I had an alarming problem with my Helix LT: I did not have any guitar sound from the 1/4" jack output, while on the contrary on the same output I had the sound coming from the USB connection (a backing track was playing properly). I tried my old presets, the factory presets, and also built a brand new preset, but I had no sound from my guitar (I mean from the "guitar in" to the "1/4" out left"). I checked the global settings, and I did not see anything different from my usual settings. There was anyway one strange thing: when I turned on my Helix, it rebuilt all the presets (?!?), and it's something I hadn't seen except when I updated the firmware to 2.21. Last night before turning off my Helix, I worked on the presets using the PC editor. For the first time, I put in order all the presets and IR in my Helix, to be prepared for my rehearsals in the next week. So I deleted many presets I did not use (pasting an "empty" new preset in many locations), I loaded the factory 1 & 2 setlists, using the files I saved from Native. Honestly I am not sure if I tested the Helix if the sound was coming out properly after this work; I think so, but I'm not 100% sure. Then today, when I turned on the Helix again, it happened what I wrote above :( I was really very worried, but since the USB sound was coming out regularly, I suspected that there was something wrong in the data, and not in the hardware. Luckily, as I wrote, I had also saved my own important presets the night before. So I decided to make a reset, by turning on the Helix while holding footswitch 8+9. As I already wrote in the title of this thread, the reset solved my problem. The Helix worked properly again, and after turning it off and on again, I did not get that preset "rebuilding" phase. All's well that ends well, and what's more I was just playing at home this time, but I admit that I'm a little more worried now...

I'm disappointed with the "non-guitar" tones. I mean I thought I could get something useful from the oscillators to get some synth tones similar to EHX special pedals (like mel-9 and similar). On the contrary, the current synth tones of the Helix are pretty useless, and also the pitch shifting is mediocre at best. It's likely I could have given up getting the Helix if I had known this earlier. BUT... it would have been a big mistake, because the Helix is really great as a modeler (both amps and effects). And its on-board interface is fantastic, and as quick and useful as real pedals and amps; I even didn't expect this ease of use. I don't care about its stock cabs, and I use some IRs that I already used before.

As to the monitor, my suggestion is to have your own monitor just for the guitar sound. In any other case, I'm afraid you could find yourself in the difficult position of not hearing yourself enough, or anyway to look for a new volume balance on the stage when time is not enough and it's not practical at all. Anyway this means that you may need an additional monitor to hear the rest of the band. When I play live, I use my own frfr monitor for my Helix/guitar, and then I rely on what the sound guy offers as a monitor for the whole band (that sometimes include my own guitar, too). As to the other point I have no experience, but it seems to me that to get what you want to do through the Helix (and I'd ask: why?) means to make specific patches sacrificing one path just for the input/ouput of the sounds different from your guitar. So that at the end a separate small and cheap mixer (or just a USB soundcard) would make more sense to handle all the other sounds.

If you want just to merge two IRs the proceeding is rather simple with a PC and free software. You can find here the explanation about how to make it. https://www.thegearpage.net/board/index.php?threads/why-not-mix-your-own-customized-irs.1808660/#post-23778431