Leaderboard

Yikes... If he's on the right firmware, Im pretty sure it's a corrupted database, so I'd reset the unit again, restore original presets from 3.6, reset globals and rebuild all presets at next boot. At that point Id try to re import that preset. I would also avoid to restore any previous backup for this test. Sometimes just the reset isnt enough and you also need to wipe out every single bit from the unit database.

That would be worth checking out, but I created a very simple preset using the same amp/cab block on my Helix. The OP has loaded that and encountered the same problem, which seems to only happen with the open back cab models - the Open Cast and Open Cream. Both of these are new cabs which were added in the v.3.6 firmware. Very strange.

LOL, good to know that I can still receive a useful follow-up to a comment I made five years ago. Thanks! :-)

Ah! You beat me to it! ;-)

Page 41 of the manual;

Is that cab working if you build your own presets? I assume it is, so instead going crazy trying to debug, why wouldnt you just copy the settings used by Jason for that cab, remove it, add it again from the cab list, and then apply those settings? At least this is what I would try in a similar situation.

Hi, Josh, That is the weirdest thing - all the other cabs work fine apart from the Open Cast. That really is digital voodoo. Anyhow, here are the full set of Reset Options for your HX Stomp XL from the Line 6 Knowledge Base on here. HX Stomp XL Hold these button combinations while powering up the HX Stomp XL: 1. FS ^, C & D: clears all presets/IRs 2. FS ^+C: resets presets and IRs 3. FS C+D: factory restore (globals, presets, IRs) 4. Page >: Update mode. This update mode is helpful if the update is interrupted, and the HX Stomp will not boot properly. You will see a blank screen (no visual feedback on the display). 5. Upper & Lower Knobs: Rebuild presets. Wait for "Will Rebuild Presets..." to appear and let go. (This site is always worth looking at:- https://helixhelp.com/tips-and-guides/universal/reset-options#hx-stomphx-stomp-xl) My best guess in this situation would be to go for option 5, Rebuild Presets. This should have been invoked automatically after the Firmware Update finished and your unit reboots. It’s one of those things that is necessary to upgrade all your presets to the latest format. You should also see the “Rebuilding Presets” on screen when you power up after loading any older version presets downloaded from any third party or places such as CustomTone. If this doesn’t resolve this, I suggest you contact Customer Support, because this is such an odd thing. Hope this helps/makes sense. EDIT: I just realised that there is a Factory Preset in the Stomp XL that uses the Grammatico GSG, located here: 10D [039] DIR:Gram GSG It may be worth checking if that preset uses the same cab block and if the same issue arises. Plus: have you tried creating a preset that uses that amp, but with a separate open back cab block? Keep us posted

Alas, we have breathed new life into this dead thread. And with that said, the thread is no longer dead! More importantly, turning down the gain on your lead tone helps you guitar cut through the mix. That was true 7 years ago, and it is still true today and it will probably be true 7 years from today. Better late than never in sharing helpful advice wouldn you say?

Hi, Here's the preset that I'm having trouble with. Here's the sequence that I used to reproduce the issue: Load the preset and connect bass to Return 1 and speaker/amp to Multi out Disconnect USB Play bass and note audio output Tune bass Play for another minute or so. Let it site without playing bass for a while. I did something else for about 15 or 20 minutes. Play bass and note no output for Path 1. I can see the input block on Path 1 go green to indicate activity, but no audio and no green on the output block. Also, in my original description, I forgot that I also have a Preamp block between the Volume block and the IR. You'll notice it in the preset. The IR that I'm using is an Ampeg 810 cab. I forget where I got the IR, so I didn't want to post it here in case I purchased it. After the output stopped, I reconnected the USB. Using HX Edit, I deactivated/bypassed the Amp+Cab block and output resumed. I activated it again and output stopped. Hope you can recreate it. Thanks for the help! --jack Jack Anthem 6_23.hlx

Just downloaded, and it's the same exact weird behavior... No sound, then i change the cab OR turn off the cab, and it works... I've tried it in several preset locations, etc, and cannot understand what's going on???

You all are so helpful!!! Jason’s been trying to help and we’re both stumped. I’ve now got HX edit on 3.61 and my stomp is showing 3.60 Even when I do a full factory reset, and use JNC’s GSG preset with the open back cab, it doesn’t work. The other one works though. It’s like the silicone/ memory for JUST those two cabs is busted. the screenshot is from the date I reached out to Jason and sent him that photo. is there another reset process other than holding down C + D while powering up? I’ll try the preset you shared. Thanks so much. Genuinely grateful for all the assistance. josh

Same here re: buying stuff, but the yellow guitar pick has featured in a few posts, mainly due to some issue with the Marketplace and licensing of the preset or IRs in the pack. This might be likely to be something to do with the Mac. As far as I can tell he must be on OS Monterey at the very least, going by the icons in his taskbar. Strange to note that even though he posted this problem yesterday, the screen shot is actually dated the afternoon of the 4th of May. (May the Fourth be with you!) It could also be that although he says he updated and reset, but didn’t mention if the box went through the “Rebuilding Presets”. Possibly that could explain the glitch with only that particular cab.

They used to. They do not anymore. Check out the POD XT manual. It has many of the amps and effects Helix has and has a bunch of descriptions of what they are. Otherwise you could go to Helix Help. That's the best place i'm aware of for descriptions of things. This is a website separate from Line 6 so Google Helix Help

Yes. There are at least two different keys/scales that are used and you can use snapshots to change them. At least one person has done it. Here's one person's take on what scales to use The "Smart Harmony" comes in (activated with FS2) on the last solo segment with variable scale and key (via the exp-2). The harmony starts at 1:11 with a "B minor harmonic" scale 4 the first 2 chords (Bm+F#), then at 1:31 shifts 2 "A major" 4 the next 2 chords (A, E) and at 1:35 returns back 2 "B minor harmonic" 4 the rest of the chord progression. I don't know what interval they used. And there's this. Not sure hoe much info is there. https://www.thegearpage.net/board/index.php?threads/re-created-the-entire-hotel-california-solo-all-instruments-using-line-6-helix.2147900/ and this Also if you go to Customtone to the Helix section and type hotel into the search. There's several patches there that purport to do this as well.

It's been a long time since I did this but as I remember the secret was to use snapshots to change the Key and Scale parameters during the lead so they harmonized correctly over the chord pattern.

I have been working on understanding the Pod Go files and the Helix files so I could determine how to convert between them. I have completed the first draft of the format document that explains the file formats and shows how we could convert between them. The document can be found here: For me, the next steps are: Verification of the information, by creating files and verifying against Helix (I only have the Pod Go). Creating a conversion document that shows how to convert for each item. Creating a converter. The convertor would simply "dumb down" a Helix file for Pod Go, and beef up a Pod Go file for Helix. Is this something anyone is interested in? It was a lot of fun, but a lot of work. I would like to know how much interest there is before I go further. (Side note: it looks like steps 4 and 5 could be using Rocksmith to create a presets from your favorite Rocksmith songs.) Thanks for your time. I would love to hear your thoughts.

I'm sure they'll check in with you before they make any decisions about what kind of amp they're going to model specifically for you for free......

technically speaking, your initial statement might hold true for perception, figures in real life taking us somewhere else nonetheless. two equal [full-range] speakers playing "together", each producing the same sound pressure level, spaced apart as in a stereo setting, introduce a sum of 3dB (it's called "non-coherent sum", and – for sake of simplicity – this applies to the range of mid- to high- frequencies). two PowerCab 112 playing together at same level will then yield 3dB on top of 125, hence 128dB SPL – please note that applying double power to the same transducer (provided it can survive it) yields +3dB SPL, i.e. if any speaker producing 130dB SPL when receiving 250W of power is then supplied with 500W, it shall produce 133dB SPL (if it can stand it) – and, not incidentally, the same rule applies in reverse, too (halving the power results in -3dB SPL). actually, the 131dB SPL of a PowerCab 212 in full swing compared to the 125dB SPL of a PowerCab 112 is a whole world of difference, as if (provided it had only one of the same loudspeaker internally – and it does NOT, on both accounts) it was being applied FOUR TIMES the power (like 1.000W instead of 250W, which might not go on for a long time anyway, in practical terms). inside one PowerCab 212+, though, are two 12" speakers, and surely not of the same type and with the same specs as the one fitted in the PowerCab 112. most likely, each of these two 12" has about 3dB more sensitivity than the one fitted in the PowerCab 122 (meaning: louder at equal power). two speakers playing concurrently, each with +3dB sensitivity over the term of comparison, produce +6dB SPL, a most impressive difference (in terms of engineering effort and production financials), equals to four times the applied power. in order to properly gauge the different sonic performance of the PowerCab 212 in real life, then, consider that in the low-end spectrum region (again, shorthand for sake of brevity – defining it in words would require far more ink that what's being used here) doubling a sound source with an equal one of same SPL yields +6dB (at a distance between sources that's significantly smaller than the frequency of equivalent wavelength)... bottom line is, in terms of listening experience, that one PowerCab 212 will play about 6dB louder than one PowerCab 112, but with a further boost of +6dB in the lower range of its frequency response. your statement about audience in the front seats willing to step back is indeed spot-on, absolutely correct both in principle and in practice – but the difference between 125 and 131 in terms of dB SPL, and in this case with double number of sources (thus with resulting double radiating surface, which is at least significant at the lower end of spectrum) is indeed a HUGE difference, quite the opposite of a "not too far off from" quantity – and it surely provides for a totally different sonic reward to the listener (be it the player, or the audience member). in order to correctly evaluate the impact of sound pressure level over the listening area, then, never forget that (at least in terms of direct acoustic energy, and for a point-source, spherical-like sound emission, like what we're dealing with, here) the inverse square law dictates how at every doubling of distance from a sound source, sound pressure level drops 6dB – so if a source is 131dB SPL measured at 1m, a listener at 2m will be exposed to 125dB, one at 4m to 119, as that at 8m will measure a sound pressure level of 113 dB SPL in his or her place; concurrently, this also explains why the famed Wall of Sound (system) by Grateful Dead is best kept in the annuals of early rock'n'roll electroacoustics exercises. if i could afford the premium in cost, weight, and overall estate, i would indeed choose a PowerCab 212 over a 112. any day, any week – and i would, again, even over two PowerCab112 – though spreading two of these some 3 or 4 meters apart, and being exactly in the middle of them when playing, is indeed much more fun (for stereo image, and perception of air being moved about) than sitting in front of a 212 – which will always play louder, more focused, deeper, and tighter (and which, shall you ever need to, will have to be miked with two mikes, if ever the need to go at it old school will happen). hope i'll find a buyer for my Fender George Benson Twin Reverb... and too bad if, over a PowerCab 212, this means i will have made a saving of only 2kg – for better or worse, even before the pandemic, i do my own noise mostly at home! :-)

Ha ha, I'm not about to frag the dozens of hours spent hunched over my guitar A/B comparing the difference between treble = 3.2 vs treble = 3.6, either. But how dare you suggest that carrying on a philosophical debate over minutia elements of individual preset building preference having very little to no impact on anyone's actual enjoyment of their Helix isn't sensible? I must now retire to my bedchambers for the remainder of the night lest my dyspepsia become inflamed over this careless assault on Victorian manners. Good day, sir!