Leaderboard

Yes and no...L6 didn't do you any "favors" per se, but they have provided you with options. The behavior of those up/down footswitches is selectable, depending on what footswitch layout you want and what mode you prefer (preset, snapshot, stomp/snap, preset/snap, all snapshots, etc etc). so it all depends on how you have things configured. The arrow switches are assignable to either "bank" or "preset". When set to "preset", those arrow switches will instantly change to one preset higher or lower... if you had been in that mode, you would probably have screwed yourself up even worse selecting the wrong patch. But when set to "bank", the next set of 4 patches become selectable, which you'd then have to access via another footswitch. The various options are in global settings under "footswitches". But regardless of how you have things set up, hitting the wrong footswitch will usually foul things up to some degree. We've all done it. Whether or not the moment is salvageable though, will depend largely on two things: 1) How well you know your gear, and 2) How easily you get rattled. If you have a good grasp of #1, then #2 becomes less likely.

Someone on the RJM forum suggested quickly switching the Stomp to true bypass, when a new preset is loading. I think this would be a cool and simple solution to reduce the pain of the current 200-300ms complete blackout. Especially, if not using amp sims and only effects. This would make preset transitions much less audible for sure!

Ah, now I get why you were asking :-) Of course the Stomp is mega versatile compared to other pedals. No question about that! Just as a side note though: a great fuzz face is probably the most versatile analog pedal possible: likely every gain stage you'll ever need just controlled by your guitar's volume ;-) Ok, so let me rephrase: Without being able to fully use presets while you're playing, the Stomp is very limiting to ITSELF. Think of the thread "Are 6 blocks enough?". I think they can be enough for one specific sound. But for a full song, 6 blocks are not a lot to work with. Sure you can work around that with using snapshots, using amp gain instead of overdrives etc., but compared to having and being able to access 126 completely unique presets, this seems really limiting. You could do: ambient swell for intro, crunch for rhythm parts, blistering solo with a Wah part in the middle and then a clean outro with a slight chorus. This would be really hard to do with one preset, but very easy with 4 different presets. Even without any other pedals! So I stand by my word, so much unused potential without good transition between presets. Always a matter of perspective, I guess ;-)

This is my favorit! Listen to his youtube channel! He make great presets as well! https://www.scottminchk.com D

A notch filter is just a parametric with a tight Q.... the Stomp has the perfect tool for you... a parametric EQ. The parametric EQ has 3 bands (essentially 3 notch filters) plus a high and low roll off. Each band has a specific range of frequencies... but you should be able to find 2 that overlap enough to cover your needs. The Q control is critical... you will want to keep this "tight". The higher the value, the tighter the Q. By default the EQ will load with a fairly wide Q for tone shaping, but for a notch filter I would start around the half way point... then adjust as needed, probably increasing the value even more. I find with Banjo (I dabble with 5 string) I also like to utilize the low cut... and raise that to about 400hz. This stops my banjo from shaking violently as the tech turns up the volume :) YMMV depending on the tone you are after. I don't need rich low end, you might! As for the phase invert.... there isn't a direct switch for it, but when using a parallel path the merge block allows you to flip the "b" polarity.I don't know how the LR Baggs implements it... but if it's just a phase reversal on the output (common) you could try this... In your chain, drop one effect to the B path In the split block, change it from a Y to a Split A/B and route ONLY to the B side In the merge block Set your A level to it's lowest setting possible. this is just a precaution to make sure no signal is bypassing the B path Now you can invert your entire signal by changing the "B Polarity" as required.

The Helix has the ability to rebuild a preset if it's an older version.... therefore it is partially doing this already. I can't imagine that a "verify presets" sequence would be too hard to create. I can understand if there is no way to correct a bad preset... but it should be able to identify one without locking up. Another consideration.... The big helix units have a start up sequence that allows you to clear the existing preset... (6. Helix can now restore by clearing only the current preset instead of wiping out all presets. While holding footswitches 11 + 12) When a preset becomes corrupt and won't allow you to start the unit applying that sequence will clear the bad preset and put you back on track - minus that preset. Even if that were added to the Stomp and Effects it would save the user from complete restores and troubleshooting. The bad preset is just removed!

got it, thank you! it's indeed so easy :)

I'd just add that if there's any reason to be listening to the DAW output (synths, drum programs, clips), you'll have the Mix control on the iD4 turned more towards the middle than full left, so be sure that the MONITOR button on the DAW Helix track is OFF, else you'll get an echo effect due to the slight latency from the DAW vs the direct monitoring from the Stomp.

IMO.... Don't worry about recording direct with the Helix.... the benefit would not be worth the trouble. The steps below will still sound great, and give you everything you need! Stomp 1/4" mono output to the line input on the back of the ID4. If you "need" stereo.... connect the two Stomp outputs to the line input and DI input on the ID4. Adjust the "mic gain" and "DI gain" to balance the two sides. For direct monitoring, adjust the "input / daw" control accordingly. Set the DAW's audio device to the ID4. You will have two outputs and two inputs. Why do I say recording direct won't be worth the trouble? In step 2 above, you are hearing your Helix through the ID4 with zero latency. You are recording exactly WHAT YOU ARE HEARING? If you don't like the tone... change it so you do!

Hey, I'm finding this thread only now. Yes, you can get those presets without the big pack, just PM me ! And thanks for the review ! Btw the starter pack is mostly based on my very first presets for the Helix, I learned/evolved a lot since, you may want to check my 2.30/2.50 pack, for instance ;)

I apologize in advance for the long post, but hopefully there's a few tidbits of info that may be useful to some members of the forum in here. We've seen a number of discussions recently regarding where to set your Helix master volume setting, the pros and cons, and the speculations. I've mentioned several times that I normally have mine set at 11 o'clock when I'm working on and normalizing the volume of my patches, and have had it there with no problems for the last 3 1/2 years. However I have had some concerns about that that particular setting that really doesn't relate to better or worse quality of tone, but revolves more around having a better setup that's more easily managed. This stems from the fact that my rig is setup to use an on stage Yamaha DXR12 as my stage speaker which I position behind me on a half height stand in a normal backline situation, and a separate XLR output that goes direct to the mixing board using an inline phantom power blocker. I've disengaged my Helix master volume from controlling my XLR outputs and have set those XLR outputs to Mic level with my 1/4" output going to the DXR12 at line level and being controlled by the Helix master volume knob. This isolates any on stage volume changes made on the Helix volume knob from impacting the XLR signal level output to the mixer. And although this has worked perfectly in a wide range of settings with different PA's or with just using the DXR12 for instrument and vocals only through a PA, it has concerned me at a couple of levels for a while that made me start considering a change in the Helix volume knob setting. As far as background info, as you may know, when you disengage the Helix volume knob from affecting an XLR or 1/4" out, the Helix defaults to sending a signal that's equivalent to having your Helix volume knob maxed out on that output line. Even sending that XLR signal out at Mic level (which is quite a bit lower than Line level), there's still a considerable difference in the signal strength that goes into the mixing board, causing it to need the gain setting on the channel to be cut down considerably due to the volume levels within my patches which are higher due to having my Helix volume set at 11 o'clock. This isn't a huge issue as it can easily be gain staged at the board to unity, but it could present problems on certain mixing boards that might not have very capable channel preamp setups on their mixer. So by raising the Helix master volume up to 3 o'clock and adjusting my internal preset volumes lower, I can minimize this major disparity between the two signals that could potentially be a problem. Although I might lose some of the overall headroom for making volume adjustments to my on stage setup, I've never had to raise my Helix volume above 12 o'clock. So setting it at 3 o'clock gives me ample room for adjustment, and actually more headroom within my patches for adjusting master and channel volumes on the various amp models. I did this adjustment on six of my presets this morning and all went quickly and very well, although there were a few things I learned in doing it that may be something people need to consider. Although it's generally held that making volume adjustments in your preset using the channel volume of the amp won't affect the overall tone of your patch, that's true except for patches that contain effects after the amp since they're receiving a much lower input signal. Most of my post amp effects tend to be EQ's, compressors, reverbs, delays, twin harmony, and an occasional chorus or phaser, but that's pretty rare. First I didn't notice any kind of quality level difference in the sound by having higher Helix volume setting once I adjusted my amp levels. What was most noticeable were the level of dynamics in picking or plucking the strings harder. Not a huge difference, but noticeable. I suspect this may be attributed to the circuitry modeled in the amps that may act as a limiter if the channel volume is very high. What was most affected was my post amp compressor which is typically the LA Compressor. With the lower amp channel volumes I noticed I needed to raise my Peak Reduction or amount of compression from my normal settings of around 5.5 to up around 6 or 6.5 and that I needed to also raise my compressed/dry mix from around 80 to up around 90. I suspect these are artifacts from the greater dynamic range I got from the amp models when I lowered the channel volumes. Other than that I can't say I ran into any problems with the reverbs/delays or EQs. I wasn't working with any patches that used the Twin Harmony, but that will be the next thing I concentrate on. In the end I was able to accomplish what I set out to accomplish with my disengaged XLR output line signal now falling in line with the rest of the normal XLR inputs from other sources which is exactly what I was after. Hopefully some of this info will be useful to others.

Hi, i use a Helix LT and made the 2.81.1 Update. First everything was fine but soon Problems started. In my case i could not change the behaviour of my footswitches anymore, they stuck in 8 snapshot mode. As someone mentioned i tried to do the update again, but the problem remained. The solution was simple, i just made a Global Reset and now everything is working fine.