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Yes, you can defeat the tweeter in the PC112+ either through HX Edit OR on Helix itself. Keep in mind that modelers are a sort of "virtual reality" and that ITRW guitar cabs are a form of coloration added to the signal chain. Once you're no longer using a real guitar cab it becomes simply a matter of adding color to your sound. An IR is a simulation of what a specific cabinet in a specific room with a specific mic sounds like. You can put it anywhere in the signal chain that sounds best to you. It's not real. To clarify, I was talking about the PC112+. The XLR Out takes the Input signal and speaker emulation (pre volume knob), adds a virtual SM57 mic, and sends it out the XLR. Changing the stage level on the PC112+ has no effect on the XLR out. Considering that the physical speaker is out of the loop, it sounds VERY similar through the PA. The FRFR112 just takes whatever signal level is going to the speaker and sends it to FOH at that level. The FOH guy will hate you if you change the level on him! There's two schools of thought on this. One is that "Gear is for the musician, not the audience". If you like the way you sound on stage, you'll play better, and the audience experience will thus be enhanced. Let the FOH guy worry about what it sounds like out front. The other school is that you're a paid performer and it's ALL about the audience. It doesn't really matter if you sound like crap through your stage monitors, as long as the audience gets the intended sound. I think the answer is both. The problem is "dialing in the presets at home". Home is NEVER the same as the venue, and every venue is different. If you're going old school, you're dialing in your amp at the venue, and the FOH guy takes care of the audience. I expect that, even with great modelers, there's always going to be some dialing in at the venue. How practical that is will depend largely on how many and how different the sounds you use are, and how produced your show is. Do you have TIME to dial in the specific sounds for every song? If not, then you need to dial in the sounds at home, at gig levels, through FRFR (PA) speakers, as DD said. One nice thing about having a PC112+ is that I can have a sound I like on stage, and use an FRFR (PA Speaker) with a separate signal path and XLR out direct from the Helix, dialed in to accomodate the audience using a PA speaker. Best of both worlds. This is what I was getting at when I talked about how much air a 1-12 can push. A 50 watt amp through a 4-12 cab is WAY louder sounding than that same amp through a 1-12. A mic'd 1-12 cab can sound great on stage and benefit FOH house sound by not killing the fans at the edge of the stage or forcing on stage volume wars like a 4-12 can, but there's always bleed into the mic from other sounds on stage. A PC112+ is, again, best of both worlds. "The best of times, the worst of times". So much to think about, so many options. So few opportunities to play for a live audience. Death to the evil virus!

The great thing about Helix is that you have many different options. I have 2 HR FRFR112, DT25, and Powercab+ (PC+112) for playing/practicing/experimenting at home. I get great results in pretty much any combination I dream up. I'm blown away by the wet-dry-wet setup using the FRFR112 and Powercab+. Absolutely amazing when doing ambient stuff. But on stage, I have only used in-ears. I just don't feel like lugging around more stuff now. But there are legitimate reasons for wanting a back line or floor monitors etc. For me, the most important reason would be that the guitar interacts with the sound of amplification nearby. , especially a loud tube amp. For some reason, that interaction inspires players beyond just playing their practiced parts. Everyone is different of course. The nice thing about the PC+ is that you can plug into the back and send it directly to FOH. It's nice to be able to put IR's on the PC+ or use the speak emulations directly. It offloads some load from the Helix. You could do the same from the FRFR112 I suppose, but there is no reason to do so because you have both XLR outputs (to go directly to FOH) and 1/4 outputs to go to your FRFR112's. And if you setup your Helix up to have the volume button control only the 1/4 outs (like i do), then you can control the FRFR112 volume from the helix using the master volume and not change the input gain on the FOB board. Enjoy your gear!

As codamedia points out, theoretically a fold back IS an FRFR speaker....but not always. In my experience if there's going to be a place where someone tries to save some money on their in house PA system it's likely going to be on the floor monitors and floor monitor system. In MANY cases they use non powered speakers driven by an amp which are just barely usable for voice, much less instruments. Even if the speakers are decent enough speakers, they sometimes don't have enough monitor channels to dedicate a monitor mix specifically for the guitar player, so you're stuck with the general mix of all voices and instruments mixed together. Because of these realities I just find it easier to just be prepared to take care of myself. Wattage isn't really a good way to measure loudness since wattage can be measured in a number of ways. The best spec in this regard for a more objective comparison would be SPL.

This is just personal preference. Some like the "amp in the room" sound and a PowerCab might be best for this as @rd2rk is outlining. Others may want an FRFR such as the Headrush (or many other options) so they hear their sound similar to the FOH, but still separate so they have better control of what they hear. Then there are users like myself.... give me the FOH and Monitor (fold back) any day, every day. Even when I used to use amps they were kept fairly quiet, were miced up, and fed back to me through my monitor. My preference (#3) does have a caveat attached though. It only works well when the gear meets a certain quality. The FOH and monitors need to meet a standard, and separate monitor mixes are a must. When requirements are not met, I have a Yorkville powered wedge/speaker to get me through those gigs.... in other words, I'm not against sliding back to option #2 when I have to. No right, no wrong... find what works for you and run with it.

To get back to your original question. There's no particular benefit in connecting to a powered speaker such as the Headrush and then out to the PA, but there are some particular disadvantages. One limitation in particular is that you really can't easily control your volume for your stage monitor separate from your output to the PA. What many of us do is send a 1/4" output at line level to the powered speaker and a XLR output at mic level to the mixing board with the XLR line disengaged from large Helix volume knob. This allows you to use the large Helix volume knob to control the volume of the stage speaker and send a full signal to the board which can be gain staged at the board to the appropriate level separate from whatever you do on stage. When it comes to Powercab versus a full range powered speaker, that's ultimately a matter of personal preference. I can't say I've ever been that interested in a Powercab setup because I started using my Yamaha DXR12 setup long before the Powercab came out. I think the Powercab is a nice option for those people that prefer more of an "amp in the room" kind of sound on stage. But that comes with the trade off of not having an accurate picture of what your sound is out front which is what's important to me personally....especially when I'm dialing in my presets at home. There are a couple of considerations to bear in mind when using a powered speaker however. First, if placed on the floor in a monitor position you can get an effect referred to as "bass coupling" which accentuates low end frequencies. On most higher end speakers you have DSP contouring options on the speaker that allow you to correct for this effect. The Headrush has no such option, so you would need to isolate it from the floor in some way or place it upright on a stand. The other consideration is that powered speakers are specifically designed to work differently from traditional cabinets in the way they project sound in order to have consistent tone across a wide area and to project better across long distances. That being the case they can sound pretty harsh close up, so when dialing in patches at home you need to give them a bit of space. For myself at home I have mine mounted vertically around chest height and I normally listen from about 6 feet away as well as off-axis to get a good feel for what the tone will ultimately be like for the audience. Likewise on stage I have my DXR12 mounted on a half height pole on the backline behind me. That allows the sound to disperse wider across the stage so it's easier for the band to blend with.

Yeah I've specifically named the presets as the type of blocks they are.....MODULATION, REVERB, DELAY, DRIVE, AMP etc. You get Limited on the AMP/CAB side pretty quickly DSP wise...so I try to name them further Clean Amp, Gritty Amp, Metal Amp. The only thing I don't like about this approach is that if I have a good hard rock sound and it includes a pre-EQ, boost pedal in front, and a post EQ after....remembering which block helped build which sound can be tedious without having a custom name attached to it or saved and able to import. That's why I created my Core Tones Presets. I then just copy that whole preset wherever I need it, or if I'm building a Song Specific preset that mixes two sounds, I'll copy/paste blocks as I need them, but those 'rigs' are prebuilt then for me to use elsewhere.

Create a preset specifically for saving "custom" blocks. If you have many, create specific storage presets - "OD', Dist","Reverb" etc. Coming in either 2.9 or 3.0, I forget, "FAVORITES", which will do what you're asking, but for now, above is the best you can do.

your talking about something I'd love that may come in the future, Global Blocks or ability to save them. Right now the only option is to create a blank preset somewhere and save the blocks into that preset. You'll then need to go to that preset to copy/paste into the new preset. This was why I created core tones in my 1st setlist slot. I have a blank preset, I have an acoustic/vocal template, I have several basic tones as templates and lots of useless presets that just include various blocks or things that I'll reference later so I don't need to create from the stock settings all the time.

G10 specification on the web is already changed to "6 hours of playing time on a single charge". ("Up to 8 hours of playing time per charge" in the attached manual ) It means 20% or more operating time reduction. Some players may see this spec. change as problem. But, personally I don't mind so much as amateur player. It depend on one's exception for G10. YAMAHA may provide some remedy for this gap, I think. As a reference estimation, life time of G10 may be extended. Generally, battery capacity decrease the more we use it. Firmware update must limit battery's full charge level lower than previous. Such change bring play time decrease, off course. But It also introduce slower degradation rate, fortunately. It may be good news for light user like me. (But it will be not good for all user) Anyway, YAMAHA would better think about supplying multiple choice according to user's situation.

This reminded me of another story, of a beginner guitarist who didn't have the ability to hear if his gear was clipping or not, and one day tried checking the meters, fixed some errors he had... And it sounded pretty good! ;-P Jokes aside, we all get it: developing ears is a must. But there's no crime on using technology while you are working on it. Being able to see if something is wrong can make a huge difference for many players, resulting in better music, which is good for everyone. Even more: you can improve your listening by realizing, with the meters, that you were making mistakes.

How about that tuner??? ;D

Wish I could say the same...it updated without issue and functions normally...however, the battery life went from 6 hours+ on a full charge to less than 3 hours now, literally overnight. I'm sure safety improvements make the lawyers happy, but if the price is cutting the device's usefulness in half, I'd rather have taken my chances with an overheating battery...I had no issues with more than a year of almost daily use. Normally I know when to leave well enough alone, but instead I went along with the recommendations instead of my gut. Last time I'll do that. Already opened a ticket...we shall see.

I'll post this because I hate it when people find solutions but never post what theirs was. I had, as far as i am aware, the exact same problem. What I did was i closed the license manager window and went to the "update line 6 monkey". I logged in and it said it was having trouble connecting to my device. so i used the button on the left side of the menu to connect to my device. It was having troubles finding devices and suggested I unplug and re-plug in the USB for my device (which I did) and tried again. After it detected all my devices, it managed to find the UX2 and i simply "ok'd" the selection. after that i went back to the license manager and it was able to see and authorize my product. I've yet to confirm that everything works, but i did get the authorization to complete after having your issue.

I propose putting the extra revenue into additional developers, extended warranties all around, free Helix backpacks for registered owners, and a renewed commitment to polyphonic processing. Who's with me? :-)

I'm surprised nobody has mentioned the Kalthallen Cabs. http://cabs.kalthallen.de/kalthallen_free.html There are a Ton of them . I also bought some OH's. I've tried them all but in the end I've gone back to the Line 6 cabs in the Helix. Honestly, With a Line 6 Cab and the Parametric EQ you can match any IR you want if you have a good enough ear. For those who don't have the ear for that or maybe you haven't developed that yet you can use the Voxengo Curve EQ http://www.voxengo.c...roduct/curveeq/) to "sample" the sound you want and then use the Parametric EQ in the Helix to Mimic that sound. My Go-To cab in the Helix is the Rhino 4x10. It's very Beefy like a 4x12 cab but it might be a little dark for some so you can use the Low Cut in the Cab settings and also if needed you can throw a Simple EQ right before or after the cab to brighten it up a bit to your taste. Give it a try. It's so so different from Any of the other cabs in the Helix!!

Just updated my ipad to ios 13.4 and still nothing... No sound, just a flashing red light for 30 sec from the sonic port...