USB Audio

Helix Stadium s as a UsSB, multi-input/output, 24-bit, audio interface for macOS and Windows^® computers and mobile devices, compatible with all major DAW software.* 

Using USB Audio

With the Helix Stadium’s default Input and Output settings, you’ll automatically hear audio software playback on USB 1/2 routed directly to the Stadium XLR, 1/4", and Phones outputs. This lets you jam along with YouTube™, iTunes, or your DAW tracks without hearing them processed by the current preset’s amp and effect blocks. 

If you set your DAW software track to record from Stadium’s USB 1/2 output, you’ll capture your Stadium-processed signal in the DAW track—with zero-latency monitoring since your input signal is heard from the Stadium hardware outputs before it is routed through your software. The Helix Stadium signal path that is heard on USB Out 1/2 is also determined by the Global Settings > Ins/Outs > USB Out 1-2 settings (Direct Out, or the Matrix Mixer for the 1/4”, XLR, or Phones outputs).

The additional Stadium USB audio inputs and outputs are available as selectable options for the Input and Output blocks, as well as within your DAW software’s track menus. You can utilize these USB ins and outs for numerous routing configurations, all without patching extra cables—see the following recording and Re-amping section examples.

ASIO Driver Settings (Windows)

When using Stadium as an audio interface with Windows DAW applications, it is highly recommended to configure the software to use the Line 6 Helix Stadium ASIO driver (available for free download from line6.com/software). The Line 6 ASIO driver delivers low-latency audio performance required for DAW recording on Windows systems, operating at sample rates of 44.1kHz, 48kHz, 88kHz, or 96kHz with ASIO - Windows audio applications. Driver selection is typically found in your DAW software’s Preferences or Options dialog—see your software’s documentation. 

Once you’ve selected Helix Stadium as the ASIO device within your DAW software’s audio device settings, you’ll also see a button in its settings for “ASIO Control Panel” (or with a similar title). Press this button to launch the Line 6 Driver Control Panel. 

• ASIO Buffer Size: The goal is to set the optimal Buffer Size to achieve the lowest possible latency in your DAW software while maintaining glitch-free audio performance. Smaller buffer sizes result in lower latency; however, they also increase the processing demands on your computer, which can cause clicks, pops, or other audio artifacts. Set the panel’s ASIO Buffer Size slider to the left to start with a lower value, and click Apply. If you encounter audio performance issues in your DAW, return to this panel and adjust the slider to the right to increase the value; this typically resolves the problem. Please also refer to your DAW host application’s documentation for more information about its own specific audio device, buffer, and project settings. 

• Driver Format - Sound Control Panel: Windows multimedia applications, such as Windows Media Player, iTunes, web browser apps, use the included WDM driver for playback and recording. You can optionally set Helix Stadium as your “default” USB audio interface for these multimedia applications using the built-in Windows Sound control panel options, which you can access via the Driver Format - button in the Control Panel. (These Windows settings are also available via Windows Settings > System > Sound.) These WDM driver settings are completely independent of your DAW host application’s ASIO driver selection and settings for Helix Stadium.

Core Audio Driver Settings (macOS)

No additional drivers are required to use Helix Stadium as an audio interface for macOS applications. Helix Stadium automatically uses the Mac computer's Core Audio USB driver when you connect to its USB port, offering low-latency, 48kHz native sample rate, 24-bit operation. Helix Stadium will appear as a selectable Core Audio device in the Mac Utilities > Audio MIDI Setup panel and/or directly within your macOS DAW host and other multimedia applications.

Hardware Monitoring vs. Software Monitoring 

Helix Stadium provides “hardware monitoring,” which allows you to hear your live input signal at all times, independent of your Digital Audio Workstation (DAW) software’s monitor settings. Hardware monitoring can be desirable since it allows you to hear your live guitar with processing added and essentially “latency-free” since the monitor signal is not routed through your DAW software. 

In some DAW recording scenarios, it may be preferable to utilize your recording application’s “input monitoring” (or, sometimes called “software monitoring”) feature, which routes your live input signal through the software’s armed recording track, thus allowing you to monitor the input processed by any plugins you may have inserted on the track. However, one downside of DAW software monitoring is that your live input signal will be slightly delayed as it is routed through the software and back to Stadium’s outputs, which is referred to as “latency.” Helix Stadium devices are designed to provide low-latency operation. For additional information and settings, see the preceding ASIO Driver Settings (Windows) section.

When a DAW track’s software monitoring is active, you’ll likely not want to hear the Stadium hardware monitoring signal simultaneously. To achieve this, set the Stadium Output block to USB Out 3/4 or 5/6. These Output block options will route your Stadium-processed, stereo signal to your DAW software without providing the Stadium hardware monitoring to USB 1/2. Then set your DAW track to receive the signal from the same selected Stadium USB Out, allowing you to record the Stadium-processed signal into the track. Alternatively, you can set the DAW track input to Stadium USB 7 or USB 8 to record a dry DI signal—see the next section.

DI Recording and Re-amping

A common DAW recording technique is to record a dry DI (Direct Input) signal, such as the unprocessed signal from your guitar, bass, or mic, along with your miced or processed tone. This allows you to process the DI track later with plugins and/or “Re-amplify” the DI track through an amp or other outboard gear. Helix Stadium has handy options built right in for recording DI tracks and for easy “Re-amping” of DI tracks back through your own Stadium tones, all without extra hardware or cabling! 

Helix Stadium offers two special DI outputs, USB Outs 7 and 8, which appear as available options within your DAW software track input menus. These two dedicated USB Outs are tapped directly from your choice of Helix Stadium input sources. To configure the Stadium input source for each, go to Global Settings > Ins/Outs > Re-amp Src (USB 7) and Re-amp Src (USB 8), where you can select your preferred Instrument, Mic, or other source for each.

Recording a Dry DI Track

For this example, we’ll record guitar into two DAW tracks simultaneously, with one capturing the unprocessed DI guitar and the other the Helix Stadium-processed tone.

In the Stadium’s Global Settings > Ins/Outs, set Re-amp Src Out USB 7 to Instrument 1 (on Helix Stadium XL) or Instrument (on Helix Stadium).

Dial in your desired Helix Stadium Amp & Effects while keeping the Stadium Input and Output blocks both set to the default settings. 

Create two new audio tracks in your DAW software project: 

• Create one mono-input track to record the dry DI guitar, and set the track’s input to Stadium’s USB 7.

• Create one stereo-input track to record your full, stereo Stadium-processed tone and set the track’s input to USB 1/2.

Set both tracks’ outputs, as well as the DAW Master output, to Stadium’s USB 1/2 to allow all tracks to play back through Stadium.

Arm both these DAW audio tracks, hit the Record button, and start laying down your guitar performance.

Now, you have your Stadium-processed track to mix with the project, and a separate DI track to experiment with further using DAW plugins and/or Re-amping (see the next section).

Re-amping Through Helix Stadium

If your DAW software offers options for routing individual audio tracks to outputs other than the main Stadium USB Out 1/2, you can use these steps to Re-amp a dry recorded DI track. 

In your DAW software, set the DI track’s Output setting to a Stadium stereo USB Out other than USB Out 1/2. For this example, we’ll use Stadium’s USB Out 3/4.

Create a new stereo track in your DAW project and set its Input and Output to USB 1/2. Let’s name this track “Re-amped.” Arm the track for recording. Disarm recording on all other tracks.

On Stadium, select the Input block and set it to receive from the same USB stereo pair (USB In 3/4) and keep the Output block set to the default (Matrix 1/4”, XLR, Phones) combo output. Load your choice of Amp and Effects on the current Stadium preset.

Now play your DAW project, and you’ll hear the DI track “Re-amped” through Stadium. Adjust the DI track’s volume slider to make sure the signal feeding into Stadium is not too hot. Tweak your preset’s amp & effects as desired while listening to your project mix.

Once you have your Re-amplified guitar tone sounding the way you like it, solo both the DI and Re-amped tracks, return to the start of the project, and hit the DAW Record button, allowing it to capture the signal into the new Re-amped track in real-time. 

Allow the DI track to play to the end, stop recording, and you’ve created your new Re-amped guitar track!