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I think you mean Line 6 Central, not Update. Central is its replacement.

@jesuscares AI isn't all there yet. Still has about a 25% hallucination factor. I am very happy I can get help from the real people on this forum. Have fun with the Stadium. jpd

Solved! The issue "Helix Stadium Bulk Tramsfer" is fixed finally with version 1.3.2. No crashes om connecting the app or Line 6 Central via usb, no "Unknown Device" in device manager. Line 6 Central got stuck trying to update. But probably I wasn't patient enough. L6C did not give any feedback. Firmware update with the Stadium Application worked fine. Actually the firmware update 1.3.2 did not work with self update yet.

Greetings Airguitargb, From where I am sitting, 58 is the good old days. I am over 70 now. I just received my Helix Floor three days ago. Yes, it is daunting to look at the manual, and all the options that there are. But, I am enjoying it so far. I am determined to get the hang of this. I have had an HD500x since 2020, and it was simpler, and harder to use at the same time. Don't give up! I won't be.

I’m not sure it’s relevant in your case but be aware that Stadium implements a different approach to presets and setlists. The USER preset area contains the only actual instance of a preset; a setlist contains ‘aliases’ to the presets, not a copy of the presets. The Setlist section of the manual is worth a read in the context of what you’re doing.

It sounds like you're comparing apples and oranges. No FRFR (and I mean none) will sound the same as your amp through a guitar speaker direct to your ears. When modelling there is always a microphone between the amp/speaker and the reproduction system (then your ears). So, unless you're mic'ing your amp into the B1s you, and the audience, are hearing a raw guitar amp/speaker sound. To acheive a similar sound with a modeller you would use an amp model, into a power amp, into the speaker cab - no speaker model. If you mic your amp/speaker and run it through the B1s as well as stage, you need to work out how that sound compliments the stage cab sound in the room and aim for that through the B1s, or the compromise that emulates that mix. The latter will be very tricky. You might need to change your mindset about what you want/need to hear and accept the inherent compromise of ALL modelling. As to the volume jumps between amp models - that's why the Helix/Stadium chain has a heap of post production tools like compressors and gain blocks to normalise the levels, and EQ to assist with getting common perceived volume. The analogy of modellors being amps and effects in a box is fundementally flawed, they are a studio in a box with guitar amps and effects and need to be treated like that.

It doesn't matter what you think you see in the preset. The only thing that matters is what is actually being sent. Here's a simple FREE monitor: MIDIView - Free MIDI Monitor tool for Win & Mac Here's an online monitor: Disaster Area Designs MIDI Monitor

I haven’t done this myself but the manual says you can. See Global Settings -> Switches/Pedals, particularly the Control A/B settings. You will need a TRS cable with a Y-splitter to control up to two external pedals/footswitches. Also, probably good to read the manual section on Configuring External Controllers.

https://rigclone.com/ https://thegearforum.com/threads/fractal-and-helix-stadium-presets.10392/

Overdrive pedal are typically placed very early in the signal chain. If it’s not problematic try placing the overdrive pedal before the Helix, between your guitar and Helix, and removing FX Loop 1.

Sharing this because I went crazy trying to figure it out, and maybe it’ll save someone else some time. A few days ago, I tried logging into Line 6 Helix Stadium, but the QR code never appeared. The manual login didn’t work either. To make things worse, the HX Stadium App kept crashing, and I couldn’t update it from my computer or through Line 6 Central. Ironically, those were the two options the manufacturer recommended when I contacted support. Since I work in tech, something didn’t add up. Everything pointed to the app not connecting to the server, which explained why the QR wouldn’t generate. Then I thought: “What if it’s the time zone?” I tried something simple: Disabled automatic time synchronization Set the time manually And… BOOM! The QR popped up instantly, and I was able to log in without any issues. Hope this helps someone out there.

Just re-assign the level of that output to FS9 with the opposite MIN/MAX settings - it'll look just like the original preset's settings for FS9. The MIC Path will continue to work because you're cutting the AUX signal in the middle, not at the final output. I've attached a modded version. Unless I've missed something, that should work. MartinJ28 2o Vx2.hlx

Hi, A picture is worth a thousand words. There are diagrams of how to hook up your HXFX for use in your amps effects loop, plus the 4 cable method on pages 9 and 10 of the HX Effects 3.80 Owner’s Manual, available from this link below. https://line6.com/data/6/0a00051afdbe673ccc8bdcf2d/application/pdf/HX Effects 3.80 Owner's Manual - English .pdf Hope this helps/makes sense.

The Editor app is going crazy on my computer & does not transfer tones! I wish someone will get the app updated.

Same here. I had problems logging in and updating and read about it being the wrong timezone(?) or doing via usb(?) I honestly cant remember what I did but fumbled around a few things doing a bit of everything, got it working, and its been absolutely fine ever since. Infuriating for a new product I have to agree but I assume it will eventually be shipped out with a later firmware and the issue wont exist any more

I got one of these: https://www.amazon.co.uk/dp/B0G6MZ6ZHS?ref=ppx_yo2ov_dt_b_fed_asin_title After recommendations somewhere on here I think. Not glass but very thick strong plastic and looks nice without affecting the touchscreen. I went for matt. My only gripe is it doesn't stay fully adhered underneath the knobs but that's just an aesthetic thing due to the small width below the knobs and really doesn't affect anything unless I am really looking. Much better than risking the lovely screen

@jesuscares, From what I have gleaned since the Stadium release there isn't a Helix Stadium Native plug-in (yet). I just use the Helix Native plug-in and it does work for now. jpd

Thanks for the response. I guess I can't trust the AI answer on the internet that said the opposite!

Line 6 Central is not necessay because the Helix App does the firmware update fine with usb. Interstingly my Line 6 Unit was on 1.3.1 abd said it was up to date. - I guess it was not stored on the dedicated web space then. Anyway. You are right. It was at least a bad communication attitude by Line 6 letting me been not informed for months. RL

Sorry 'bout that! The question really does get asked so many times, usually wrapped in negativity, that I get a bit tired of typing the same thing over and over.

ReverendLove, I am glad you have the issue solved as far as the drivers. Communication during the process or at least a message saying they are aware and will work on it in future updates would have been nice for your peace of mind. I don't use Line 6 Central nor have installed on my systems. Hopefully the self update will work as expected for you at some future time. jpd

jesuscares, If I am understanding your question, you should see the "ASIO Stadium" as a selection from the ASIO dropdown. As you probably already know, you will use Logic's external midi tracks to send the commands for preset/snapshot control. For connectivity use the USB-C on your mac to the USB-C on the Stadium. I am not a Mac expert so the way the drivers get installed from the Line 6 Stadium App is beyond me. You might want to open a ticket with Line 6 if you are truly having a Stadium ASIO driver issue. Compatible OS: Mac OS X, macOS Big Sur, macOS Catalina, macOS Monterey, macOS Sequoia, macOS Sonoma, macOS Tahoe, macOS Ventura And what I did is completely uninstall and & all OG Helix software with the exception of Helix Native. I found having a clean system works best for me. jpd

1. No special care required when using headphones. 2. No, the display screen can’t be disabled while the device is powered on. Turn it off when not in use. 3. Very subjective. Personally I usually apply a high cut filter at around 10-12Khz in the guitar cab block, sometimes lower.

Yes. You use the Stadium app running on your computer to export Setlists and USER presets to a folder on your computer. Then you swap devices and use the app again to import them to the other Stadium device.

I don't think the question is how is it possible, but is it possible? The answer (AFAIK) is no. That would require something like a sidechain triggered by a gate, which the Helix does not have. All time based/mod effects in the Helix run off their own clock and are not 'triggered' by an input. Your sound bite is very cool, but also sounds very DAW/Studio based and outside of what the Helix can do. It'd be cool to define (for example) the point on the curve a flanger starts when triggered by a sound, but no.

No, Capacitive Touch is not designed as an alternative to pressing the switch down. It is intended to do something different. For further info there’s a section in the manual explaining Capacitive Touch.

It might be worth (re)reading the manual section on the matrix mixer. Perhaps a mixer reset and making sure the channels aren’t linked unexpectedly?

You can submit this idea as a feature request here: https://line6.com/company/contact/productfeedback/ It has been suggested before but the more people request it the more likely it will eventually be implemented. The idea is partly addressed in Helix Stadium. This is how presets now behave in Stadium - a change to one preset is propagated to all. It has not yet been implemented on a per-block basis but the request has been made there too.

What silverhead said. I'd possibly not bother too much as the latest internal cabs of the HX series are pretty damn good, so you'd likely be wasting a lot of time hunting IRs without much of a substantial win (if any). Add to this that you'd have to "waste" an extra block for them whereas you could just use a single amp&cab block in case you're doing fine with the internal cabs.

user error found and remedied.

This is a known bug that came with the latest update. It will be repaired in the following update, which I am told will not be for about a month or so.

Any questions on bundle-and-save should be directed towards Flo.

Read the manual. It’s all there. for the record, I did it and everything still works.

Load a MIDI Monitor program so that you can see what EXACTLY is being sent. Using the preset that works, note (on paper) the messages being sent by each Snapshot. Do the same with the preset that doesn't work. This procedure will show you where the problem lies.

rmbecker23, Maybe I missed it, what amp are you using? jpd

The switch is momentary, so I don't think that would work. It would only close if you kept it pressed.

Gain pedals are inherently noisy. The HX FX Loop adds a small amount of noise. The inherently noisy gain pedal amplifies that noise. Put gain pedals between the guitar and Helix. If you MUST put a gain pedal in an FX Loop, use a Helix FS or Snapshot to bypass the FX Loop, rather than the pedal FS.

That was the first thing that came to my mind. On several occasions when swapping Agora amps which have linked cabs I have accidently ended up with two cabs in series which sounds like crap. An Amp + Cab clone should not have any cab blocks in the chain since the cab is built into the clone file.

Are you using the ‘amp+cab’ option for cloning? And disconnect the USB cable.

Got it from general knowledge of many years as a computer programmer. (Search USB host/Usb client) If you don't want a computer in the mix to provide host, you need another device that can provide host like a Morningstar MC4/6/8 midi controller, or others. "USB-C PORTS: DEVICE AND HOST The Host port is a built-in MIDI USB host. With this, MC6 Pro can directly control other USB devices such as the Source Audio C4 Synth, Line 6 Pod Go and Zoom Multistomps. No need for a separate MIDI USB host that is both costly and cumbersome"

Please Help. I can't download POD HD500x edit from the website due to error link. The website not found, something error with the website. Can you share the software by provide alternatif link ? I appreciate any help from you. Thanks..

Windows 11 considers this driver invalid and refused to switch 'core isolation' on, which MS considers a safety issue.

Maybe check your letters? When I changed folder and wav-file name from BÖC to BOC I was able to drop my files.

I'm not going to re-type my explanation/refutation of your nonsense assertions. If anybody believes this guy, tag me and I'll link to the LENGTHY discussion that he hopes nobody is skilled enough at SEARCH to find for themselves. The short version - there's a SWITCH. In one position it IS attenuated. In the other position it is NOT attenuated. It's an OPTION. The long version explains the reasoning.

Hi all, I recently posted this on a couple of Pod Go Facebook groups, so thought it might be useful for folks here too: NEW YEAR TIP: POD GO BACKUPS, SETS for GIGS, FRFR, AMP, HEADPHONE Hi guys & gals, and a very Happy New Year to everyone. Although I’d kind of assumed that this was pretty much common knowledge I’ve since picked up that it’s not, so the following might be useful especially for those who’ve used up all their Pod Go slots, & who need patches to suit different guitars, amps, FRFR, headphones etc and are worried about tweaking/over-riding settings and losing the originals. OK, I think Pod Go users are pretty familiar that when there’s a firmware upgrade (which incidentally you should only ever do through the latest Pod Go Edit) the process creates a back-up for you. You can also create a similar back-up if you go into ‘file’ in Pod Go edit and select ‘create backup’. These backups are a total backup of everything in your Pod Go and are convenient from a ‘safety’ aspect as these will get all your patches and IR’s back into your Pod Go if there was a glitch/failure & you lost everything. But it’s an ‘all or nothing’ backup and you can’t see and access individual.pgp or .wav (IR) files within the back-up file, which is a bit of a nuisance if you mucked up a single patch and wanted it back how it was. Now, I think most folk know you can save an individual .pgp file and export it to share or put on Line 6 Custom Tone etc. But some folk are under the impression that it’s a long and laborious process to save every .pgp and .wav file in their Pod Go – with up to 128 files in User, factory & IR sections that’s 384 files. But it actually only takes a minute to create a full back-up of all your user & factory patches & IRs in their proper .pgp and .wav format. Here’s how – I’ve made this step by step but the whole thing takes less than a minute: 1. On your PC or Mac create 3 folders and name them e.g. ‘My factory’, ‘My user’ and ‘My IRs’ 2. Connect your Pod Go to Pod Go Edit 3. Select ‘user’ patches in Pod Go 4. Click on patch ‘01A’ to highlight the whole entry in grey including the patch number (don’t select just the name where it highlights in blue) 5. Using the scrolling bar on the right of the patch list, not your mouse, scroll down to the last patch (let’s say you have used all 128 slots and its 32D but if you have less just go to the end of your list) and just hover the cursor over the patch name and it will highlight it in grey. 6. Now, hold down ‘shift’ on your keyboard and left click your mouse on the patch – you’ll now see ALL 128 factory patches grey highlighted. Now right mouse click and select ‘export’ or ‘Control+E’. 7. A ‘browse for folder’ dialogue box will appear. Go to the ‘My user’ folder you created in step 1, select it and press ‘OK’. ALL your patches will now load into that folder and they will be in full .PGP format that you can import back to Pod Go as individual files, or as a group set, or the whole list. So if you mucked up say patch 24B all you need do is go to that patch in your backup and drag and drop it back in to the relevant slot in Pod Go Edit. 8. Repeat the same process for your factory and IR patches, and you’re done. What’s great is that you can create groups of custom patches eg gig sets, patches for different guitars, patches for headphones tweaked for FRFR etc. Even if you’ve run out of blank slots, once you’ve backed up your original patches, it doesn’t matter if you copy these over other patches you don’t currently need because you have all of those patches backed up. And there’s no limit to the backups you can create. If you wanted to have 15 gigging patches for your Les Paul and 15 for your Strat and 2 for your acoustic, you can import and export these patch groups easily with no risk of losing anything you have. You can use the import & export set-list option within the Pod Go Edit ‘File’ tab, or just drag & drop these in. You can create umpteen patch groups eg those you’ve tweaked for FRFR or with your amp v those you’ve created for Headphones use. The options are virtually endless. You can even create template patches based on your favourite settings so that you don't have to start from scratch when you are creating a new patch.

LOL! Well, that's why I suggested you don't buy IR's. Whether an IR is 'good' is wholly subjective. One buyer might think an IR is fantastic, another will think it's awful. A lot of folk who've spent time with IR's have come to the conclusion that they'd just rather stick with the stock cabs. IR's a rabbit hole you can get lost in. If you're expecting a magical solution there really isn't one - but try this one free IR to get you started, as it's pretty decent: https://www.dropbox.com/s/m4fwk8jx6m08hse/ML Sound Lab's BEST IR IN THE WORLD.zip?dl=0 So, are IR's really better than the stock cabs in Pod Go? Better is a highly subjective word, but they can be 'different'. Why do I say 'can be' - that's because the stock cabs are actually pretty good and you'll often be able to tweak these to sound pretty much the same as a lot of IR's. But I honestly think you need to start from the basics and learn a bit about what the stock cabs & mics etc can do. So, just concentrate on ONE cab to begin with. Use that to decide what you like and don't like. for example, I play classic rock so I like Marshall/Marshall type amps. A 4x12 25w Celestion cab is pretty classic. So I picked that cab to start with. I increased the output level by 3-5dB because I found it gives a fuller tone (a big reason why IR's can sound 'bigger' is just that most are set with more Cab output) plus it more clearly highlights the tonal differences from adjustments. I found through experimentation that, generally, I prefer the mic 2.5"-4" away which gives an airier more amp in the room feel without overdoing it. Adding 25% early relic gave me just a tad more 'bouyancy/fullness' to the sound, again without overdoing it. Re the mics, I quickly found that there were only a few favourites that 'did it' for me. No surprises in that these were the three big industry standards. There are really only 3 main MIC types - dynamic, ribbon, and condenser. See here: https://www.musicianonamission.com/types-of-microphones/ For me, I generally mostly go for: SM57 dynamic - this is modelled on the Shure SM57 which is probably the most used mic in recording and micing up amps 160 Ribbon (Bayerdynamic M160) - very expensive studio mic in the real world! I like the 121 too. Occasionally I'll go condenser - typically the 414 Condenser (AKG C414 TL11 The SM57 is very much 'in your face' and will usually sound louder, but the Ribbon mics & Condenser mics pick up different nuances that are more sensitive to touch playing. There's no right or wrong here' it's just what you like. Once you've found a few favourites it makes setting your cab much easier. But it's really easy to go through them all in a minute as a check in case a different mic happens to give a tone you like or are trying to match. Re high & low cut, these are essentially EQ - slide all the way to the left and the right to hear what these do. A common approach is to set these as per the real speaker specs. Look up a 25w Celestion greenback specs and you'll probably see a frequency response range from 70Hz to 5,000 Hz. So setting the low cut to 70Hz and high cut to 5000 Hz pretty much replicates the real thing. But unlike the real thing, you can 'cheat'. Sometimes I'll slide the low cut all the way to the left, and the high cut all the way to the right (off). You'll quickly find what your ears prefer and follow that for other cabs too. Mix - I leave it at 100% generally, just like in the real world. Once you've found a few favourite stock cabs that work for you (and generally I'll go for a Marshall cab with a Marshall, a Fender cab with a Fender amp etc) and set these as you like, THEN it's time to compare with some IR's of those cabs & see if you like the difference, or whether you can actually match the tone pretty much with some minor tweaks and don't need to load the IR anyway. Some IR's you won't be able to match eg they've used multicabs/mics or a cab version that's a bit rare. Think of it like choosing a car - before you buy you need to decide what makes you like - Ford, Mercedes, BMW etc (akin to Marshall, Fender, Vox etc), how many doors (3,4, 5 - akin to 1x12, 2x12, 4x12 speaker) then the specific model (eg Vox 2x12 Blues, Silver, greenbacks), then how does it feel to drive ie how does the cab sound to you? What you're hoping for is that someone can just recommend an IR for you akin to recommending a car for you. I'm afraid me old china that you really need to invest some time in to learn about all this, at least the basics. Although it's a much simpler avenue to Helix modelling than a Helix, the Pod Go is not a plug n play MFX. If you're not prepared to invest some time to learn to walk before you can run, I'm afraid you've just got the wrong unit for your needs. But I promise you, once you get a feel for the basics, it's all actually a lot more straightforward than you think - and learning about tone is a really enjoyable part of the journey because you can make some great discoveries that can transform your tone & your playing enjoyment. But don't get overly hung up on all the permutations - because it honestly doesn't work that way. Hope all this is of some help (others will have different views re approach etc, which is fine). It's a journey, so enjoy it - otherwise you could easily keep ending up at the wrong destination with no understanding as to why!

Since all presets are exported in JSON format, you should be able to use oine of the hundreds of free JSON to CSV utilities to get what you want.

Easy way for me: Copy block. Delete block. Paste block :D

So stuck on the Litigator and the Matchless. Sometimes the Fenders. Can't seem to be bothered with anything else. Simple needs. Which leads me to wonder why people want more and more amp models.

I did a little dissection during lunch, to see what's inside the bridge. You can easily see that the stud and bridge have a V-channel. The set screw has a point as well. The net effect of sliding the studs into the channel groove and running the set screw up against the stud, and then stringing the guitar, is to "lock" the bridge in place. There is very little wiggle in the bridge when it's all assembled (and when it's at its lowest setting). By backing the set screws out of the bridge (a few days ago), I basically had the studs seated all the way back into the bridge, so I removed the set screws entirely today, knowing that my intonation will still work that way, in hopes that it would allow some more play in the bridge. The studs need to be backed way out of the body for the bridge to slide off (to give clearance for the wire harness to clear the body). I noticed that when the studs are backed way out, the bridge has an adequate amount of play, and would actually rock quite well, I think. However, when I run the studs back into the body (alternating one turn on each stud all the way down), the bridge gets increasing tighter as it gets closer to the body. When the studs are fully lowered, the bridge is solid again, even without the set screws, and even when the studs are at the same level. I need to play with it a little more to figure out why that is. Possibly the bushings are not parallel, and as the studs are driven in, they naturally create friction inside the bridge (by being slightly crooked from each other). Not sure yet. Sorry if this is boring. I'm documenting my steps for anyone else interested in putting a Bigsby on their JTV59. Hope it's helpful for someone. More to come...