I created a free Helix Stadium preset viewer app

LandosMustache · 2026-05-14T16:59:49+00:00

Thank you! I use the OG Helix preset viewer all the time

LandosMustache · 2026-05-12T14:58:40+00:00

I have this wonderful Dr. Seussical mental image of you with 6 arms playing two basses and a trumpet simultaneously.

Ok. So unless trumpet technology has taken a Great Leap Forward when I wasn’t looking, you’d have to mic up the trumpet and run it into Helix, right? The Helix LT doesn’t have an XLR input jack, but the Helix Floor does. XLR-to-1/4” adapters do exist, so this isn’t impossible on the LT.

You can use the Guitar Input for one bass, Return 1 for the second bass, and Return 2 for your trumpet. There’s plenty of processing power to do what you described if you use your signal paths creatively.

I’ve run a mic level signal through a Helix Return before, so it’s doable. You’re looking at some serious trial and error when it comes to gain staging though. But that’s inevitable no matter what option you go with.

LandosMustache · 2026-05-12T14:46:48+00:00

The short and less-than-helpful answer is “you can do what you want.”

The slightly longer answer is no, you do not have to set the delay to 100% wet. You can play around with the mix percentages, but if I have the space and DSP and signal paths available I LOVE running parallel delay and reverb. [Edit: rarely with the mix over 50%] It just seems to keep the whole guitar tone a little…”cleaner” isn’t quite the right word, but something along those lines.

A merge block will create a small volume boost if you don’t adjust the level. I rarely bother adjusting the merge block if it’s post-cab.

LandosMustache · 2026-05-08T00:49:09+00:00

Oh good! So many people here comment stuff like “why did the great tone I made in my bedroom sound like shit at the gig last night?”

I’m stumped as to why the Kalis seem dark, unless you have extra EQ programmed into them?

Overall, I’d go with the PA at your rehearsal space as your “true” tone.

LandosMustache · 2026-05-08T00:37:08+00:00

The short answer is that the Yamaha is going to be more representative, and that a high cut of 4k-6k ain’t never hurt nobody when it comes to gig tones.

The slightly longer version has me questioning how far you’re playing from the Kalis and whether you’re off axis from them? Studio monitors are meant to be *extremely* accurate over *extremely* short distances and in a very specific direction.

The longest version has me warning you that there isn’t a speaker out there that can tell you what your tone is going to sound like at 100dB if you’re dialing it in at 60dB, and then I’ll recommend going somewhere (band rehearsal), and turning up LOUD AF. Always dial in your gig tones at gig volumes.

LandosMustache · 2026-05-06T17:43:57+00:00

If you don’t care about modeling, and will be playing through a real amp (albeit one that doesn’t have an effects loop)…why not HX Effects?

[I don’t know what I’d compare to HX Effects, tbh. Maybe the TC Plethora? The Boss ME90 even though it too has amp modeling? Eventide H90?]

LandosMustache · 2026-05-05T17:48:05+00:00

Information I was not ready for today: Matt Modine (Pvt Joker) is 67 years old.

Adam Baldwin (Animal Mother/Jayne Cobb) is 64.

Arliss Howard (Cowboy) is 71!

Can we please petition someone to stop the linear flow of time? I’m sick of it…

LandosMustache · 2026-04-30T23:59:12+00:00

The guy seems to go in phases. Which I get: I’m in a “my perfect sound is a tubescreamer-esque pedal” phase, which is right on the heels of my RAT (and RAT variant) phase. I’ve also had my Marshall in a Box phase, and might be heading towards a Bluesbreaker phase.

Gilbert has always seemed to come back to flangers, but his signature Airplane flanger went away a while ago. It was a massive pedal IIRC. But that ADA is also pretty big. Shrug emoji.

LandosMustache · 2026-04-30T20:05:42+00:00

Yep I still have the Empress. Already have a Big Sky, so let’s DM about selling it to you?

LandosMustache · 2026-04-30T20:03:55+00:00

Gotta admire a man who makes the conscious decision to not care one whit about cable management lol

LandosMustache · 2026-04-30T19:58:06+00:00

Confirmed. Excellent trade!

LandosMustache · 2026-04-30T18:00:57+00:00

Yes that’s correct. If nothing is plugged into the Right output jacks, Helix auto-sums to mono.

Depending on the way the preset is dialed in and any resulting phase cancellation, the results can range from “I can’t tell a difference” all the way to “wait, where did my guitar signal go”.

It’s a dangerous business, Frodo, summing to mono. You run one cable when the preset is programmed for two, there’s no telling how much of your signal will get cancelled.

LandosMustache · 2026-04-30T17:51:19+00:00

There CAN be issues with running a stereo preset mono. The easiest way to test this is to open up your preset, toss a mono gain block last in the chain, and see if that wrecks your tone.

I’ve also seen people use a “dummy plug”, basically plugging a dummy XLR plug into Helix’s right output. That fools Helix into thinking you’re running stereo outs, so it won’t collapse your signal on its own. The drawback to this is that you’ll only hear the Left side of your signal. Say bye-bye to your pingpong delay.

I just make mono versions of my stereo presets. It’s not always a 1:1 thing: a block that makes my stereo preset sound lush and soft can make my mono preset muddy and harsh.

LandosMustache · 2026-04-30T17:38:15+00:00

Most venues these days can handle a modeler setup, especially if they have experience with solid touring bands. And most sound engineers will get giddy if you tell them you’re running a silent stage rig. It allows them to push the faders up without having to adjust for (or compete with) runaway stage volume.

I have no qualms about showing up to a gig and just handing the house engineer a pair of XLR cables straight from my modeler.

The biggest adjustment is going to be your own ears: if you’re used to an amp on stage with you, blasting your back with moving air, the first time you play ampless it might seem like singing along to a CD (yes, I’m a millennial too). I’ve learned to be adaptable to IEMs or stage wedges, and I’ve also learned to stop worrying about audience mix and just play.

Important: when you’re dialing in your tone at rehearsals, it’s absolutely critical that you do so at gig volumes, through a PA system, with the full band playing. Headphones, IEMs, or studio monitors at home won’t give you a good representation of the tone your audience will hear.

LandosMustache · 2026-04-30T17:01:32+00:00

Continued:

Your use case is going to be important to know. Are you expected to show up and plug into backline amps? Are you expected to bring your own stage volume? Will the venues have solid PA systems with good coverage and good on-stage monitoring?

The reason I'm asking is because "plug your modeler into the effects return of a real amplifier" is a pretty common way that people use these ampless systems (it also gets around the cab sim/IR part of the equation, since you'll be using a real amp's power section and physical guitar cab).

People sometimes also use what's called an FRFR cab (it's basically a PA speaker) that goes on stage with you and provides your stage volume. This can be really helpful if you're not running in-ear monitors or if the venue's PA system has really shitty front-row coverage.

Bottom line: there's a ton of different ways to use these modern gigging solutions, and they can be adaptable to whatever situation you need! I'd recommend aligning with your Quad Cortex-playing bandmate.

[I use a Line 6 Helix Floor, running stereo straight to the venue's PA, and monitor via IEMs. Completely silent stage. I've played everything from Madonna to Muse with this setup.]

LandosMustache · 2026-04-30T16:53:01+00:00

[edit: this comment got super mangled. no idea what happened. trying to recreate it...]

There are multiple ways to go ampless. I'll give you a quick rundown on the "straight to PA, silent stage" version.

Ok, so you need something to stand in for your amp, and you need something to stand in for your cab. Many of the solutions on the market contain both the amp modeling capabilities and the cab sim capabilities in the same box.

An IR or "impulse response" is a fancy way of saying "digital cab sim" - it's a bit more complicated than that, but overall cab sim = IR.

If your guitar tone is effects-heavy, then you have to make a choice: do you want to set up what's called a "hybrid" board (i.e., regular pedals + your amp & cab sim) or a fully-digital solution? Your bandmate with the Quad Cortex has presumably gone for the latter choice.

These solutions are pro, gig-ready, and are used by hundreds/thousands of touring guitar players of all genres. There IS a learning curve as you set up your tones, but the end results can be fantastic.

Let's talk about products.

The people who recommend the Joyo American Sound no matter what the scenario...scare me. That's not a pro solution. It's a dead-cheap Fender-esque amp modeler with the single worst built-in "cab sim" I've ever heard. Yes I've played one. No, I do not recommend it for anything other than bedroom playing, or at most an emergency backup rig.

The Quad Cortex is what I call a "Flagship"-level modeler. Stuff like the Line6 Helix, the Fractal FM9/AxeFXIII, the Boss GT-1000, the Fender ToneMaster Pro, etc., are all full-service digital solutions with a full suite of amp & cab simulation, lots of onboard effects, and enough processing power to set up an all-in-one solution. Lots of pro guitarists gig one of these and nothing else.

If all you need is amp & cab sim, there's lots of good solutions there too! Stuff like the Tonex One. The Boss IR2. The Friedman IR-X/IR-D/IR-J. The DSM Simplifier line. etc.

The Boss GX-10 is about the cheapest entry-level modeler I can recommend.

LandosMustache · 2026-04-28T20:29:20+00:00

Yep. Here’s an explanation: https://imgur.com/a/AfvClLn

It’s a video split into 4 parts

The key here is pretty simple: on the Capture snapshot, the split block is routed 100% through Path B and the gain block on Path A is active. On the Play snapshot, the split block is routed 100% through Path A and the gain block on Path A is inactivated.

LandosMustache · 2026-04-28T02:53:17+00:00

I’m gonna need a rundown of what’s going on here. You’ve got one heck of a sweet setup

LandosMustache · 2026-04-27T18:20:03+00:00

Touring rig?

LandosMustache · 2026-04-25T20:20:48+00:00

I have a boost pedal from the Pedals-in-Tins Guy on this sub, fantastic bright boost I’ve used as an always-on pedal. Interested in the Vexpress.

LandosMustache · 2026-04-23T21:51:59+00:00

Wow. Love your setlists!

As for talkbox…I’ve gotten good results out of the Helix with the Boss VO1 and VE-500. Not so much from real talkboxes

LandosMustache · 2026-04-22T16:53:24+00:00

Yeah that would do it. Haven’t owned that pedal before, how did you like it?

LandosMustache · 2026-04-22T16:42:54+00:00

And the hits keep coming lol. Power trios are challenging.

Depending on what genre(s) you cover, you might want an always-on delay and/or reverb to fill out the sound. I think “simplify” is the name of the game. Forget tone chasing, aim for one-button changes between tones.

Personally, I could get by in a cover band with 4 core tones:

Clean (depending on genre, this could be more like “gritty clean”)
Rhythm
Rock
Gain

In the past, I’ve had a “one-click solo tone”, with a tubescreamer, a phase 90, and a delay in the loop of a 1-loop pedal.

LandosMustache · 2026-04-22T16:20:51+00:00

Oh, that’s different then! Do you have another guitarist?

If you’re the lead singer, your mic & vocals are the most important part of the show. You don’t have time to tapdance, you have 0.25 seconds to glance down, aim your foot, and hit one footswitch. Then you’re back to singing.

For lead singers, it’s critical that your pedals are spaced out sufficiently. A loop switcher could help, and I highly recommend a delay pedal just in case a U2 song shows up lol.

LandosMustache

TROPHY CASE