I currently have a Line 6 helix as my main sound processor for live performances. I'm currently playing in a hard rock/metal cover band for stuff like Metallica/Megadeth, which means that I add a bit of grit to my sound to get it more in line with the rest of the band. I know that sound men usually prefer a clean DI for bass, but my current live setup does not have an onstage amp/cab, so if there's no dirt in the FoH signal, it will be completely absent from my sound. What would be the best way to set up my signal in the helix to make things the easiest for the sound guy, but still maintain a bit of grit in my sound? I know sound guys typically don't like processed bass signals, so any advice you guys have on how to approach getting the best live sound possible would be appreciated. My current singal chain in the helix is light compression -> darkglass b7k model with no distortion, just eq shaping -> slightly driven SVT amp model -> 8x10 cab IR
Just hand them them an XLR cable from your XLR(MONO) out from the back of the Helix. That's all you need. While I know many soundguys want a pure signal, if you aren't messing with the effects/tone/settings constantly, I (as a soundguy) have no issues with you sending me a processed [POST] signal. I doubt any that know what they are doing will object either..
I use one patch and pretty much no effects for the whole show, so they're getting a single sound throughout
or rather, point to the XLR out on your helix and say "plug in here". find different soundguys! what good soundguys like is for the bass to be easy, so it's on you to create a tone that works and fits in the mix without too much trouble on their end. once you've got that sorted it's a simple matter of "bass comes from here" (pointing at helix).
Yeah, even as a sound guy myself too, I can't say I would have any trouble with a little bit of SVT grit. In fact, it's arguably the most used live rock bass tone ever. You're good to go. Now, if YOU really feel the need to "work with them" on this (and it's totally up to you) you can send one side of the Helix clean and one side with some grit. But the tone you describe can't be a struggle for even tue most inexperienced sound engineers. It's the sound of rock bass.
That wouldn't be hard at all to set up with the helix given its IO options. If we were a bigger band I'd definitely being doing this, but with the size shows we're doing I doubt the sound guy is gonna want to deal with a dual bass feed.
Totally agree with all of this. But anybody that does this, I'm going to presume they know that they're giving me. Meaning, if I get a slightly over-driven smooth tubey bass tone; I'm going to make it louder. If I get a bees-in-a-jar hyper distorted, over chorused steaming pile of bass tone; I'm going to make it louder. So make sure you know what your sending to FOH. Make it sound like it should through headphones, not a frequency limited bass amp. If I were setting something like this up, I would do what two fingers suggested and set up a a clean side and offer it up when needed.
Then I think you're still good to go sending your "true" sound to the board. As a sound guy too, trust me when I say a that a slightly gritty SVT tone is NOT a problem. Scooped bass tones? Oy. Now THAT'S a headache.
Unfortunately, I get more of that than glitter, or a cranked bass amp with the guy standing right on top of it and wondering why he can’t hear it.
In hundreds of shows (in fairness, I'm the soundman for half of them) I've never had an issue with the sound from the Helix. Take care to make sure your presets are exactly the same volume, I keep every block the same volume whether it's bypassed or not. Lastly, the Helix can be sensitive to phantom power, I use the XLRs to my stage cabs and send the desk a feed that goes from the 1/4" out to a Radial Stagebug just to be safe.