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The only adjustments I've ever made have been to take advantage of new models or features. For instance I adjusted many presets when the new cab engine was introduced. I’ve never noticed any changes to the sound of existing presets, although I know that in some cases changes were made to specific models. With almost every new firmware release I hear reports from some people that they ‘feel like’ it sounds different for better or worse. I don’t believe I’ve ever seen a verifiable case.

I would be happy to have a phone or video call with you. If you give me contact information I will follow up to arrange the details.

I don’t think you’re missing anything. Helix Native is the same DSP algorithms as Helix devices, ported to a Windows/Mac OS. That’s why Helix owners qualify for a discount. They’ve already paid for the DSP. There is no such plug-in for Helix Stadium, at least not yet. If a new plugin with the same algorithms as Stadium is ever released I expect Stadium owners will get a discount.

Back up all of your presets. Perform a complete Factory Reset. Restore your presets. If that doesn't fix it, reinstall the Firmware. Restore your presets. If that doesn't fix it, contact support.

I have sent Helix for a repair of an LED light. It was returned to me within 2 weeks. But I did have to escalate it due to other reasons. If the Helix is 2 weeks old, then it's a problem, and you should return in for a refund. Otherwise, if everything is structurally sound, then all is needed is lithium grease and tightening a few screws. I've greased my pedal 5 years ago and not a peep to this day. All it takes is taking the back off, and adding a generous amount of grease. I didn't have to disassemble anything, but I did have to tighten the screws of the "claw" that attaches to the actual pedal mechanism. On my Helix, those screws were loose, so the pedal started getting crooked, and was scraping against the side and also was getting loosened from that. Some people say lithium grease is bad for plastic.. in my case no issues.

I tried setting CC#32 to 0, and it changed to the Factory Banks (as I expected). and still went to Preset 001.

Soo validating to hear!! I too have felt the high gain captures sub par. I haven’t heard or seen this too much on the web. But the captures do not sound nearly as satisfying as in the QC. and Xone I totally have experienced the capture “improving” the amp somewhat on the QC. Particularly for high gain, tight rhythm tones, sometimes the QC doesn’t nail the amp perfectly but the result is somehow MORE inspiring to play. Haven’t experience that with Proxy. I really hope Proxy is a work in progress and improvements will be made.

I have a lot of experience with the live sound mix and my OG Helix. If you want to "cut" through the mix, there are several ingredients and lack thereof to achieve that. So number one: reverb sounds good at home, sounds good when you record your guitar directly, but live it buries you and make your playing unintelligible. If you have any type of hall reverb, it should be lowered to a minimum, or removed. Concert spaces have natural reverb, so you really do not need any, except for special effects, or for that drippy reverb sound that surf music requires. Instead of reverb, I use subtle ping-pong delay that bounces a few times left/right, but does not cover up the initial attach of the note/chord. There are also "ducking" reverbs that let the note ring out, before applying. Also for regular reverb, the "pre-delay" parameter is very useful to be able to hear the initial attack of the note, without which it becomes a mess. For live concerts, there's a separate independent mix done on purpose--to represent what it sounds like in the venue, by adding all the reverb, etc back to the sound. And I stress, it's an independent mix from the actual FOH sound mix. If a concert is broadcast on TV, there are 2 sound mixers working independently of each other. So while reverb sounds good and can make your playing sound smoother and better, for live use it's not to be overused. I've listened to board mixes of my live concerts where I played and the guitar doesn't necessarily sound great direct. But that's the whole point--your guitar's sound needs to work for the venue's acoustics, not to sound great as a concert recording. I've also reviewed concert footage that people have posted from their phones, and confirm that that it sounded great with plenty of ambiance. Number two: for solos my approach that has worked for me is always boosting the 2K frequency with an equalizer in my chain. Turning up the volume does not work due to limiters, and whatever else the sound system has. When I needed to really cut through the horns and all that stuff, I boosted it by 10 db for the solo snapshot. Nowadays I go from 2 to about 6 db. Some songs need a deafeningly-loud solo, some don't. So I play by ear. Also depends on the pickups that I use. Single coils already sound pretty glassy, so further EQ-ing is going to sound extremely piercing if overdone. You should not have too much of that 2K frequency, as it is known to be headache-inducing. And when boosting this frequency you will definitely be heard. In my old band I didn't constantly noodle all over the place, I had a few concise solos and that's when it was used. Also I've used it for clean lead lines as well, think "Day Tripper" by the Beatles. That's all 2K, but it's not constantly hitting you over the head, I'd never strum chords with that sound....

I think Line 6 needs to take a HUGE look at the Capture process of the Quad Cortex. It's the best. Hands down. Instead, they seem to have copied the Kemper process which is OK. It's not great. Sure, Kemper started Profiling/Capturing, but the Quad Cortex sets the standard. It makes Captures quickly, and sometimes the Captures even sound better than the real amp. Right now, Proxy will not capture Hi-Gain amps effectively, rendering it useluess. Time to get humble and see that you're late to the Capture party, and you need to study the best: Neural Quad Cortex

@RJKole Thanks for the update. I did note that the information @datacommando shared with the link concerning the 3.00 update had issues with DSP with the upgraded poly blocks and compatibility with new presets once you brought in your 2.92 backup. It was an implied, though not well stated, reason many of us rebuilt our patches during the initial 3.00 upgrade. Then 3.01 addressed the bug for the audio corruption based upon certain specific block order. It would be interesting since you say you are back at 2.92 to, remove all current poly blocks then upgrade only to 3.00, follow the procedure as you state you do. After that upgrade to 3.01 and let the firmware do the rebuild which should address the audio corruption following the recommended upgrade procedures as you do. 3.15 talks about the cc remapping that tanked some of us. We learned that hard way that while we could skip firmware updates we had to read all the warnings prior to that and accept the outcome. So I suggest before you do anything, and it is just a suggestion, you read the link @datacommando shared specifically for the warnings with each firmware update starting at 3.00 and determine your best path to get to 3.8x This is just my humble feedback. jpd jpd

I did submit a feature request via product feedback. I also went ahead and programmed my MC8 Pro for the time being. It has 8 buttons, so I programmed in Stomp A, Stomp B, Combo, Presets, Snapshots, 2 specific presets, and tuner. That is on bank 1 of the MC8, bank 2 could just be 8 specific presets, for example. This has some overlap with FC6 on the Helix Stadium. One thing that is nice with the separate midi switcher is you can stay in Stomp A or Combo mode and switch to specific presets without exiting the mode on the Helix footswitches. One button switching between any modes is very convenient.

Thanks for reporting back. Overall I’ve found AI to be helpful but it’s given me lots of inaccurate info too.

Aside from a few bugs that were known (for example the glitch delay behaving differently), all your presets should be exactly the same before/after each update. I have 100's of presets and none of them sounded any different. The only big change was the "oversampling" update introduced in firmware version 3.10. I guess it technically is a sound difference, since it is an improvement to the overall sound--but not that you need to go and re-adjust anything. It just sounded marginally better :) The only thing that could have changed is global settings. But if you follow the firmware update procedure, you should always back up your Helix, upgrade, then reset to factory settings, and then restore from the backup.

FTFY. You heard wrong.

Global Settings -> MIDI -> Send MIDI PC Again, the manual….. use it!

I use both. Same identical sound if you use the same settings. amp and cab = amp block + cab block. I figured out that I can run a compressor between the amp and cab, and I do that sometimes. So that's the only time I will use 2 separate blocks, when I need to put something in the middle. The compressor to me is not suitable for every situation. But sometimes it really makes fast playing a lot easier, for all the shreddy solos, or really fast aggressive palm muting. It also makes clean solos sound like they are supposed to--compressed, bold, not whimpy. When placing the compressor there, I always turn down the ripple of my amp, otherwise there's a low frequency hum that appears. However at the same time the compressor adds a certain amount of "harshness" and depending on the signal chain can even make my preset develop certain artifacts, such as pops. So I use this trick sparingly.

I would also like the display to show the Foot Pedal position. Probably is a focus mode at some point. (Hopefully).

Thanks man!

The art of "Gain Staging". Generally speaking, when you add gain (level) sufficient to push an amp or effect circuit past it's "clean headroom" level, the circuit "compresses" - the output volume lowers. Different overdrive/distortion circuits work differently with different amps/effects depending upon the amp/effect circuit's available "clean headroom" in relation to the pedal's output. If you like the sound of a certain overdrive into a certain amp but want a volume boost when you kick in the overdrive, place a GAIN block AFTER the amp and tie the pedal and GAIN block to a single FS. You can also use the amp's CHANNEL VOLUME the same way. Be aware that the added volume boost after the amp will affect every effect downstream of the boost. You may need to place the boost farther down the signal chain to avoid that. The art of "Gain Staging". IOW - it's not a bug, it's just the way things work. Not every pedal sounds good with every amp.

Sorry for the misinformation. Hope you get things sorted out.

It works! I was just able to connect and open it on both of my workstations.

Even on the Helix Floor, the scribble strips are hard to see in direct sunlight. That's why I have always preferred the virtual scribble strips of the Helix LT when playing outdoors. On a dark stage the Helix Floor is king. It could be a very simple software update to also include virtual scribble strips on the Stadium XL. (I don't own the Stadium)

ZenBalancer, of course :

Definitely will

Best practice. -Battery won't drain as fast. -Less chance of having 1/4" TRS and VDI audio plugged in at the same time,... which is a no-no that pulls current that can damage jack and sometimes other circuits.

Yes. My view is that you should use official Line 6 battery and charger and avoid any power mismatch problems. If you do use a battery make sure you use either the battery or the VDI connection at any given time, not both simultaneously.

I was going to wait for Apple's announcement on new Mac Studios in June, but now I'm aware the Pod Studio is never going to work on Tahoe, I've had to change my plans. So, I'm thinking of an M4 Studio & keeping it on Sequoia. Can I assume it will run Line 6 Central 1.04 which will enable me to authorise my Pod Farm models on the new Mac? Anything else to watch out for?

Yeah that seems to address the one issue I have actually with full backups on the stadium.

I still have this bundle file here: --> PODxt301.l6b It's most likely the bundle of all the factory presets I saved as a backup; I don't think it contains any patches made by me or customizations. Try it and see if it's what you're looking for.

That's really disappointing! Thanks for reporting back, anyway. Much appreciated.

I'm not hearing this. Delays between Snapshots are working as expected on my Stadium Floor, also running the latest firmware. Try this: Using only the device (shut down the app), select Factory preset 1B Double Double. Activate Snapshot 4 (Lead) which has a very noticeable delay. Strike a note, then activate Snapshot 3. The delay carries over as expected on my device. Perhaps you're hearing something more specific rather than general behaviour. Can you attach a preset where this is happening?

I'd like to help you, but I can't help if you ignore my questions. Have you used a MIDI Monitor to verify that your MIDI Controller (Unity6) it is actually sending what you think it is sending?

Both sound the same. AMP+CAB is convenient (one block only, can be saved and named as Favorite). Two blocks provide options (dual cabs, cab split to FOH etc).

This is a great rock tone here. At the end I show the blocks

Sure, the first and powerful point to start with is the global EQ for your specific output on which it sounds muffled.

I've got a dozen outdoor gigs on the schedule already and I'm concerned that the scribble strips will be impossible to see. The Helix Floor has LCDs which are highly visible in direct sunlight, but the Stadium's OLEDs wash out. Making a sunshade is on my list of things to do next week.

The Euclidean Delay is made for a sequence of equally leveled repeats. Read the description of what Steps, Fill and Rotate do - once you get what it does you can create any repeating pattern. It can serve as the base in a parallel path that you can modulate with what you need.

I can’t recommend either one over the other because both are excellent choices. In terms of “good amp simulation, realistic tone generation, ease of editing, and consistent performance.” they are very similar. Both are based on the same amp/FX modeling technology; both can be edited using the device itself or similar computer programs; both can be used as an audio interface for recording purposes. The POD Go has a wireless option. In those areas I suggest you explore each in further detail by reading their manuals to get a feel for whether you might prefer one or the other based on any operational details like available amps/FX and routing (e.g. parallel path processing). There is one design difference that I think you should explore. They differ in their approach to DSP management. The Stomp uses dynamic DSP while the POD Go uses a blend of fixed and dynamic DSP allocation. In practical terms the Stomp offers more flexibility in FX selection, routing, and placement in the signal chain, while the POD Go is arguably easier to use at the cost of having fewer FX options and no parallel path processing. DSP management may be the deciding factor for you; make sure you understand this difference in practical terms before purchasing. Again, the manuals will help especially the ‘Flex blocks’ aspect of the POD Go.

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"

Well, I "fixed" my issue by using another router. I forgot my partner still had the old one we stopped using when she upgraded to fibre internet last year. Her Linksys EA7500 works perfectly - no drops after 3 hours. My ASUS RT-AC68U was...dodgy.

It works for me with an adapter using the AX88179 chipset. Specifically, it's this one: UGREEN LAN Adapter 1000 Mbps USB Ethernet Adapter USB-A to RJ45

None of the manufacturer's recommendations fixed the problem. Considering that it appears to be a connection problem with Line 6's servers, I tried something simple: I disabled "Date Time via Wifi" and setting the time/date manually, and boom! It fixed everything instantly! Incorrect time zone prevents connection to Line 6 servers.

I had Claude (Anthropic's LLM) look at the manual and it pulled out these shortcuts: POD Express Bass - Key Combination Shortcuts Amp Parameter Editing Hold ALT + Turn COMP knob → Adjust amp GAIN Hold ALT + Turn SYNTH knob → Adjust amp MID Hold ALT + Turn DIST knob → Adjust amp BASS Hold ALT + Turn MOD DELAY knob → Adjust amp TREBLE Hold ALT + Turn AMP encoder → Adjust amp CH VOL (Channel Volume) Master Volume & Hi-Mid/Additional Parameters Hold ALT + Hold TAP + Turn DIST knob → Adjust Master Volume Hold ALT + Hold TAP + Turn MOD DELAY knob → Adjust Hi-Mid parameter For Grit amp: Adjusts Midrange Frequency (220 Hz, 800 Hz, or 3000 Hz) For Vintage amp: Adjusts Bright switch (On/Off) For Studio amp: Adjusts Midrange Frequency (150 Hz to 1000 Hz) Cab Selection Hold ALT + Hold TAP + Turn AMP encoder → Select/change Cab model Noise Gate Parameters Hold ALT + Hold TAP + Turn COMP knob → Adjust Gate Threshold Hold ALT + Hold TAP + Turn SYNTH knob → Adjust Gate Decay Preset Functions Press & Hold AMP encoder → Enter Save mode Press & Hold ON + TAP switches → Enter Preset Mode (scroll through presets) Press & Hold both switches (while in Preset Mode) → Exit Preset Mode Global Settings Hold ALT + Press AMP encoder → Enter Global Settings Press ALT (while in Global Settings) → Toggle between Settings pages 1 and 2 Other Functions Hold TAP switch (1 second) → Enter Tuner mode Hold ALT button (3 seconds) → Check remaining battery life Hold ON + TAP (while powering on) → Factory Reset I don't think I know the difference between Master Volume (Alt-Tap-Dist), Channel Volume, and the thumb wheel on the size.

because it is 32bit and android no longer supports 32 bit apps - sigh. Line6 would have to compile it as 64 bit. Maybe they could release the source to github or something so we could try?

Sorry for the late reply--I didn't receive a notification about your message! I think it may have been user error, resolved by very kind and patient Line 6 support. IIRC, I had confused "Effects On/Off" (Teal) with "Modulation On/Off" (Blue) in the Global Settings, hence the issue. Maybe try revisiting those in the POD Express Black and see if you've had the same issue!

If the LED ring is showing red I assume that means you are in FX / edit mode. The red LED is meant to tell you which amp model you are using, not which preset you have loaded. I've just noticed that your post is a couple of months old and you've probably solved this issue, but posting anyway in case anyone else has a similar problem.

I have an amplifi TT that I cannot longer use because it says the android app was made for an older version. WTF? Not upgrading anymore? It is dead forever??? Line6... you have lost a customer forever!

I use it quite well in my Stone Temple Pilots band for full songs (Sour Girl) and for parts (Interstate Love Song, Creep). It took a few breakthroughs to get it to sound right. I can share the blocks of what I have saved if that could help, rather than a full preset. I believe my current 'acoustic path' in my presets where I need it consists of this: Gain Block > Compressor > Acoustic Sim > EQ > IR (I use 2 Acoustic IR's here, one more bright and one more wooly and mix the levels) The trick for me (I have the signature Hetfield EMG's installed) is the gain block. I found that, similar to the poly blocks, too hot of an input will trigger the poly/sim block to be fed too much information. Not that it cant keep up, but rather that too much 'noise' was coming through. By reducing the signal level by about 4-6db, it let me get more of the acoustic attack only coming through and not as much unwanted noise that wasnt needed for the part I was trying to play. You could use the input pad instead, if you arent already, however I prefer having the number of reduction there in front of me, and I had space in the preset, as well as making it snapshot assignable for songs where I split between an electric sound as well. Also the compressor, I feel is important to set right. Too much and you miss the dynamics of the strumming an acoustic. Its a flat wall of sound and sounds like an effect. If you get it just right where it needs to be it helps maintain a consistent signal, without crushing the dynamics. I played with putting this before and after the acoustic sim, and felt it was better before. As far as making any tweaks to make 2 guitar sound closer overall, I would start with whatever acoustic sound gets you where you want on your main axe, then add the EQ or tweak the gain block to help match that one with the 2nd guitar. I'm at work, if I remember later I can share the blocks I use.

I spent some 15 hours to produce a preset list for Pod GO bank by bank ;-) Each Preset with all 10 "models" activated models are in bold, deactivated normal fonts I found useful to have the Amps real names under the preset name. Feel free to complement further information oder modify. Line6: I d accept a Helix as a payment ;-) .... or a crate of beer ;-) ;-) Line6 Pod Go Presets.xlsx

Hi everyone. I'm still using the old GuitarPort hardware coupled with the PodFarm2 software package. I'm wanting to upgrade my hardware to whatever the current replacement is for GuitarPort but it's not clear as to what that is. Or, if there even is one. The original GuitarPort basically 'became' your computer's sound card. I really don't want that to be the case with whatever I replace it with. I now have two computers, one with the GuitarPort hooked up. I want to get rid of the need for the 2nd computer since it just takes up room on the desktop for the sole purpose of running the GuitarPort. Does Line 6 offer a similar hardware device as the GuitarPort that works as an amp modeler and acts more as an audio interface for the guitar instead of a replacement for the soundcard?