Leaderboard

Hi, attached is an xls. spreadsheet reflecting the latest update. You can sort the models etc. Let me know if there are any errors or omissions. Enjoy Bboy19 Helix 3.60 Amp Cabs Effects List xls.xls.zip

Global EQ is intended to be used to adjust for the acoustics of specific rooms, not as a cure-all for deficiencies in preset design. You get to the gig, your presets sound "off" in that room, you use Global EQ as an across-the-board fix. It's a "last line of defense" sort of thing. Of course, there's no right or wrong in the digital wonderland, so you can use it any way you like, but it applies to EVERY preset and specific configurations cannot be saved. At home I use it to adjust for the Fletcher-Munson effect - at low volumes (<80-90db) I boost the bass and treble sightly, maybe cut the mids a bit. When I know that the neighbors aren't home and I get to crank the volume I turn OFF the Global EQ.

So, made an update to my Cheat Sheet with the nice stuff from the 3.60 update. If anyone is interested in a quick sheet and/or a DSP-calculator for the Helix and Stomp models. There are two different downloads – One in pdf-format, which is more of a collection of information from different sources. The other download is an MS Excel document including the information in the pdf-sheet (in the second tab) together with a DSP calculator (in the first tab). The info in the first tab is used to test ideas and to see if a configuration is allowed in a preset, including error handling (design check) and DSP information. The information in the second tab allows you to print the pdf format document in your format of choice (default is the same as the pdf-download). Some notes The DSP values comes from Ben Vesco’s site, except the ones from 3.60. Those are mine that I tested out myself using Ben’s method. I did correlate some of the DSP values on TGP and we came more or less to the same result, so it has to be true :-). Will check the values when Ben makes an update. The Dark Dove Fuzz – I checked the schematic and the spec (manual) of the fuzz and it’s stated to be 130k in impedance. On TGP I got the info that the Helix model is 1M (was measured). I tried the Fuzz and have the same problem with this on as I have with the other fuzz's, and it doesn’t sound anything like the demos I’ve heard. Probably me doing something wrong (run wireless and have two buffered Boss pedal between the guitar and my Helix, so no pic-up load available…), will do some more testing. Line6 Helix-Model Summary, 3,60a.pdf – https://www.dropbox.com/s/y1vsz6hoxe94xgo/Line6%20Helix-Model%20Summary%2C%203%2C60a.pdf?dl=0 Line6 Helix-Model and DSP Summary, 3,60a.xlsm – https://www.dropbox.com/s/qyqe6q4s4vuthi8/Line6%20Helix-Model%20and%20DSP%20Summary%2C%203%2C60a.xlsm?dl=0 Hope you find it useful. //Per

Use Snapshots. Read the manual for details about what they are and how to use them.

Here's your first stop in getting a good tone and understanding the amp settings. Jason Sadites has long been the goto reference guy for dialing in presets and understanding how to use different amps and effects on the Helix. When it comes to a Strat sound slightly overdriven or clean my new favorite model is the Elsmley. Here's Jason's overview of the Elmsley which should help you get started. He literally has HUNDREDS of videos that can get you up to speed on anything Helix related.

The main purpose for Global EQ is to adjust/correct your existing pre-dialed in sound for various problematic scenarios. Let me explain: You set up your sound for live use: you have all your effects, amp/cab, and everything sounds great when you play with your band. During that dialing-in phase, you apply whatever EQ you need inside the signal chain, this would be your 10-band EQ block. Or you may adjust the amp block to your liking, the possibilities are endless. Anyway, you've achieved your perfect sound and you call it done -- locked and sealed. Then one day you show up to play a gig and there is a speaker cab that has some unruly parasitic frequency. Maybe the speaker is torn, who knows. No matter what you do, you have certain notes resonate, and the whole stage rattles. This is when you use Global EQ. GE allows you to keep your presets intact and apply EQ on top of it to notch out certain bad frequencies. If you're using an FRFR GE will give you the tone controls that FRFR does not have. In a perfect scenario, GE should be set to not affect the mix that you sent to Front of the House, but only your monitoring situation (wedge monitor, powered speaker, FRFR, amp/cab). So back to our hypothetical situation, you go and notch out the problematic frequencies, but only for your stage volume because GE applies only to 1/4" out but not XLR out. Front of the House will receive your perfect sound that you have spent all this time perfecting -- your XLR outs that do not have GE. Global EQ settings may vary from one venue to another, so there's no such thing as a perfect Global EQ.... In a perfect world, you won't need to use it at all. I'm a guitarist, and I do not touch GE 90% of the time -- it's bypassed. I use a power amp + 12" speaker; and it sounds good to me. My power amp does not have any tone controls. Sometimes the stage is weird, too boomy or something, and then I EQ out the bottom, while leaving everything else as before. Also sometimes the sound guy I work with complains that my stage volume bleeds into the audience and he doesn't like the sound I have on stage -- Global EQ to the rescue! If I'm playing a big stage then that is no longer a problem, that's when I tend to set my monitor mix to my liking. If the stage is deep, nobody really cares what sound it is, as long as I'm happy. So to answer your question, Global EQ should be off at all times unless the stage/amp/cab you are playing through are giving you a problematic sound and you have no way of fixing it with your on-stage equipment. You have a power to apply "master EQ" on top of everything for 1) personal monitor mix 2) FOH mix 3) both. But in reality you should only use it for the personal monitor mix, unless your presets are badly adjusted. That's the main purpose of Global EQ, but feel free not to listen to me :)

Further thoughts for you.... Firstly, Customtone is an unmoderated site. Any one can post any preset with any name and description. That doesn't mean it will sound like whatever mental image that may conjure up in your mind. In fact, most Customtone presets do not initially sound as you might imagine at first listen. That's because your equipment in your environment is almost certainly different from the person's who posted the preset. Factors like the specific guitar, string guage, playing style, and most importantly the monitoring equipment (guitar amp, PA speakers, studio monitors, headphones) will be different. The sum of these have a huge impact on what you hear. In most cases a Customtone preset provides, at best, a good starting point for tweaking. Secondly, you want to try matching settings in a preset designed for a non-Helix device in a Helix device. Again, that will at best provide a starting point. In this case the reason is that Helix family devices use different modeling technology than previous devices. The very same 'based on' amp model with exactly the same parameter settings in the older device will sound different (sometimes vastly different) on the Helix device. The same is true for all FX models. Don't expect good results initially. My advice? Forget about trying to transfer settings from older Customtone presets to Helix. Spend that time (and there will be lots of it) learning how to build your own Helix presets.

It's worth noting that it was never easy to get a great guitar sound, even with physical amps in a big studio. Room sound, mic choice, mic placement, parts of the cab that vibrated, the effects that were added during the mix, even issues like different speakers in a cab sounding different all complicated matters. So, it's not surprising that dialing in a sound you love on an amp sim is a little complicated. But the good news: You can save it as a preset!!! :)

Quite honestly from some of you responses and your history I'm not sure you really know what you're looking for, so you just audition and audition thinking you'll hit your "Ah Ha" setting but you end up burning yourself out. The fact is, most of the stock amps these days are pretty good and only really need minor tweeks to get you something useable. You might try just finding a song that has the tone similar to what you're looking for and listen to it closely. How much drive it has, is it mids heavy or highs heavier and just select an amp and cab and try to simulate it. You may not get it exact, but you may tweek it over time to get it better once you're playing it for real. What you're going through is not unusual. When I first got my Helix 7 years ago I spent a WHOLE lot more time meticulously adjusting it until I realized my audience really won't care or notice that much. Now I can pretty much create a fresh, scratch preset in about 10 or 15 minutes. I may adjust a few things over the next couple of days with it, but it won't take much. So don't worry and don't get so obsessed.

No. But you will need to use the Line 6 Updater for the update in case you want to do it offline. So, what you needed would be: - The actual update flash file - Line 6 Updater You can then tell the Updater to perform an offline update without even logging in. You will only need the appropriate version of HX Edit later on (to - well - edit, to re-load your preferences and presets). No, not in case he downloaded the firmware flash file already.

So... yes... I just gave up on my Helix. I tried a lot to make it work for me and my setup but I always got back to the old tested and thru G-Major 2 for delays and specially harmonies. Not Helix fault as its an incredible product, with lots and lots of flexibility but my entire fault to not be able to get the most out of it. I couldn't go before saying THANK YOU to all. I specially have to mention @theElevators, @codamedia, @PierM, @rd2rk which always reply to my doubts with videos, opinions, etc. But, of course, to all this extraordinary community, one of the best! I will keep an eye on the evolution of the Helix and one day.. one knows... maybe I'm ready for such an amazing piece of gear. I just realized that I'd spent lots and lots of hours to get the same sound as I had, instead of concentrating in improving my playing :) As I said, not blaming the unit but my poor lack of skills to master it. Enjoy playing and see you around!!

You're actually using a HX Stomp? Press VIEW so that you see what Mode you're in. If you only see SNAPSHOTS then press the PAGE> button until you get to the MODE you want. If the unit is really stuck, then perform a Factory Reset by booting while holding FS 2+3. You DO have a BACKUP, right? (computers 101) If not try doing one with HX Edit. If that doesn't work...

Yeah, well that says it all really. The Helix is not, and cannot be all things to all men, but it is extremely good at what it does, plus it has some basic MIDI functions but that's it. If you want a fancy looper or MIDI player then you're looking in the wrong place - what you are speculating about just isn't going to happen. This is in the same category of "why is there no onboard drum machine in Helix?" - it's not what it was designed for and there are far too many options already available. Line 6 don't need to reinvent the wheel. "...this could be a game changer and money saver for a number of us." - Yeah, right! Guess you're going to be stuck with the laptop and synth option, so put your hand in your pocket and buy another solution.

This has essentially been mentioned before but, I set up the Volume knob to control only the 1/4" ouputs. You do this in global settings. I send those outputs to anything I may want on stage to monitor myself if needed, and I can control the level from the Helix. This then means the XLR's are setup to not be controlled by the Volume knob. This results in the output of the XLR's to be the same as if the Volume knob were to be turned all the way up. That is unity gain. That's what you want. I actually create my patches at home with the XLR's set to line level out for my mixer which is set to receive a line level signal into the XLR inputs. It's an acutual analog mixer and I set the patches up to about -10dB. That's what I was told to do by the main sound guy I work with. YMMV. Sonce the Volume knob isn't controlling anything, I adjust the ouput level with the amps Ch Vol or even the Gain or Level controls in a compressor if I'm using one at the end of my patch. Then, when I plug into a mixer at a gig, I switch it to mic level. This is what the FOH mixer XLR inputs I normally plug into are set to receive. You may run into a mixer whose XLR's are set to receive line leve. If the sound guy says you signal is low and the XLR's are set to mic level, that could be the issue. So start with the Helix XLR's outputs set to mic level. It's just safer that way. You won't accidentally send an extremely hot signal to the mixer. One other thing to watch out for is to make sure the mixer itself is NOT set for phantom power on the XLR input. The Helix does not play well with phantom. As far as I know, this has not resulted in any damage to the Helix, so if it does happen don't panic. The main thing is if you sound crappy or weird, I would definitely make sure the XLR input is not set to phantom power. When it happened to me, it was very obvious the sound was bad, it wasn't subtle. One other thing that has happened to me is that neither the mic or line levels for the XLR's was not working so I changed the XLR's so that they were controlled by the Volume knob. i could then adjust accordingly. Just warning so if you come across a "professional" sound guy who isn't happy with your levels, this is a good quick fix. Hope this all helps in some way.

Personally I don't worry about the volume knob. In global in/outs I disable the volume knob and I set the output of my XLR to Mic level. This presents a consistent signal level to the mixing board which can then be gain staged appropriately with all other inputs. This also removes the possibility of the volume knob on the Helix getting changed by accident. What this also means is you need to develop a method of keeping your presets at a consistent level so changing presets doesn't dramatically affect the level going into the mixer. In my case I have the mixing board we use so I can use the signal level meter to help me when dialing in a preset. You also have a built in signal meter in your Helix so that if you select the output block of your preset you can get a reasonable idea of how hot your signal is and can adjust it using the output level on the output block, or adjusting your amp model's channel volume which doesn't affect your tone. This becomes pretty important since all the Helix amp models are based on the actual circuits in the real amp so their setting will vary considerably as far as output levels. Going direct into your Headrush speaker is only going to allow you to set your level by ear. It takes a while to get a feel for how to adjust your levels so they're consistent but it has an advantage of making it easy at gig time when everything needs to be gain staged at sound check. As an added note you should also make sure you set the gain knob on your speaker to 50% or 12 0'clock as well as that is basically unity level for the speaker's amp. You should also check that you have the Headrush set for Mic level input rather than Line level input which is the default setting were you to have it connected to a mixing board. This is actually a fairly broad subject with lots of different ways to do it. Mine is just one way to do it but it's worked for me since 2015 when I first started using my Helix. I might suggest you invest in Craig Anderton's "Big Book of Helix Tips & Tricks" available as an online download from Sweetwater. It's a one time investment but it constantly gets updated and you can download all updates for free and it has all the nitty gritty details about how to best use you Helix in all sorts of areas.

@theElevators- you type faster than me!

I hear ya. FWIW, I ditched guitar amps completely in 1968 (to be fair, tubes had really cratered in quality anyway) and switched to keyboard amps. They were the best you could in terms for FRFR at the time. My stage setup was two 100W RMI amps. Amazingly enough, they could even fill arenas. My goal was to get the sound I wanted before hitting an input jack. As a result, the sound was the same whether playing live or in the studio. That made life a lot easier, especially when I started gigging with DJs in Europe in the 2000s - I could just patch right into the PA system, and all I needed was an AdrenaLinn, POD, and Vocoder (fed by drums). I could fit it all in a carry-on bag for a transatlantic flight. Does it sound like an amp in a room? To me, no. To the audience, yes. And they're the ones buying the tickets :)

That is my guitar playing life in a nutshell and as a "part time" sound tech/engineer I can easily relate to what you are saying. I learned from some masters back in the early 80's how to "turn down my amp" and start listening to my guitar how the audience hears it. Before the days of modeling I've always kept my amp quiet and monitored through my monitor wedge and side fills. I began dabbling with amp sims and modeling since the original sans amp in the 90's then the 100% move came with the Helix, and I've never skipped a beat in the transition. I find it interesting... The modelling forms are often full of users searching for the "amp in the room". Solution: Dumb down the modeler and play through a speaker of choice in a pine box. Or buy an amp! The tube amp forms are often full of users searching for their "favorite recorded tones". Solution: Add Mic(s), Position(s), pre-amps, compression, and varying degrees of post effects! Or buy a modeler!

IMO/IME. If you're using the return of a TUBE amp and a guitar cab/speaker, that's where you MIGHT want to use a Helix preamp, especially if you'll be playing at high/performance volume. That's where the specific characteristics of different power tube types come into their own, at volume. The best sounding pre-amp will be one designed for use with that type of power amp and speaker. EXAMPLE - EL84 and open back cab with 112/212 Alnico Blue/silver = VOX. EL34 and closed back 212/412 cab with GB25 = Marshall. Those are not ABSOLUTES. YMMV. If it sounds good TO YOU, it IS good! Catalyst "preamps" are the equivalent of Helix full amp models, not Helix preamps. The power amp, speaker and cab are designed to sound good with 6 different types of modeled amps , not any particular amp. Modeled cabs/IRs sound best and were created to be used with FRFR systems. When I said above that the Catalyst power amp/cab/speaker was designed to be used with 6 different amp models, that to me means that the combination is flatter and more wide-range than, for instance, a Fender Deluxe. I have tried different Helix amps/cabs/IRs through my Cat and some sounded good, some not so much. Again, YMMV. If it sounds good TO YOU, it IS good! Personally, I have limited patience with "tweaking". I generally just use a Helix full amp model into the Cat's return. Works for me!

Amp blocks because the Catalyst has a neutral class D power amp. Preamps are more for coloring (tube) power amps. That's just a general rule of thumb though - there are preamps that are designed for flat or flat-ish power amps.

I think this is really the core of the problem that frustrates a lot of people. I've never had any problem getting the tone I want through whatever amp and cab/ir models I use because I'm trying to match the sound I hear from either recorded or live performances (which are pretty much the same) not the stage sound which only the band hears. That's relatively easy especially now since the release of 3.6. Because of that it's much easier to get a good mix with all of the instruments for both the audience as well as through the stage monitors on a very consistent basis regardless of the style of music. It certainly doesn't disappoint the audience because that's the sound they've always been used to hearing.

THIS... If wasted time took up physical space, then Customtone would be the world's biggest landfill. It's a nice idea that is entirely unworkable in the real world, as the list of variables that contribute to one's tone is of Biblical length, and when the only common denominator is a bunch of 1's and 0's of Helix code, tonal continuity from one person to the next is essentially impossible. You'll grow old and die before you find anything in there that you don't have to tweak extensively to your liking...might as well just do it yourself from the jump, and save yourself the aggravation.

Like most of the other here, I agree that the majority of the sound is in the cab, amp, and mic. For me, after that comes EQ (before the amp, after the cab, or both) for shaping the sound further. Here's a brief excerpt from my Helix book you might find useful. It's the procedure I use when getting to know the new amps and cabs that Line 6 drops into our laps from time to time :) Dealing with Option Overload Helix offers so many options, it’s easy to be tempted into thinking you’re just a few tweaks away from getting an even better sound. But avoid becoming too distracted. Given Helix’s sheer number of amps, miking options, cabinets, effects, and more, the possible combinations are at least in the hundreds of thousands, if not millions. This is especially true because as you try different cab and virtual miking options, the results may not be consistent—a perfect mic choice for one amp might not be the best choice for a different amp. If you’re prone to option overload, try the following steps to narrow down your choices. This procedure is just one possible strategy: 1. Pick an Amp+Cab that sounds close to what you want. 2. Try out different cabs, and choose the one that sounds best. 3. Next, try different Mics, then choose your favorite. 4. Edit the cab’s Distance and Position (and with Legacy Cabs, Early Reflections) for the best sound. 5. Now, run through the amp options to see if one sounds better. Avoid the temptation to experiment further—if you have a good sound, start playing! Although musicians have specific opinions about sound and tone, the average listener does not. People want to hear music…so give the people what they want. They’re interested in the notes you play, whether they enhance the song, and if the tone is pleasing. P.S. You didn't mention if you're doing front panel editing, or editing with HX Edit. If you're tweaking via the front panel, you'll find HX Edit makes life infinitely easier!

I develop HX Stomp presets in Native, and rd2rk's advice is spot on. If you ever want to emulate how different input impedances affect your guitar, I wrote up a simple DIY project that lets you do that.

The effect's designed input impedance loads your guitar's pickups in such a way as to contribute to the sound of the effect. If, for instance, your first active effect (using just HXS) is an Arbitrator fuzz, that has (ITRW) a low impedance input. HXS knows that and sets its input impedance to mimic the RW effect. If you're doing the same thing in Native your pickups will remain loaded at whatever impedance your AI's input is at (check its specs). Typically, modern AIs imitate plugging directly into an amp. Most amps have an input impedance of 1M. If you're using an Arbitrator (input impedance 10k) and your pickups are loaded at 1M it's not going to sound "authentic", and your tweaks will not translate to the HXS. Of course, if you only use FX with input impedance of 1M then this doesn't matter.

In the lower left corner of the Native UI is a little gear icon. Click it, go to the HW Compatibility tab and select HX Stomp. Instead of using your regular AI, set your host to use the HXS as your ASIO device, then plug your guitar into the HXS. Then you can set the Input impedance on the HXS to match whatever your first active effect is in Native. This is automatic when using FX on the HXS itself, but Native has no way to switch the impedance circuit. Of course, you need to know what impedance the effect is designed with, so here's the latest (AFAIK) list of those (attached). Or, if the effect isn't listed, you can just try different impedances until you find one that sounds best with your guitar. Helix 2.90 Amp Cabs Effects Impedance List.xlsx

Use whatever twirls your beenie... if you want to be a tube amp and stomp box purist, and go back to dragging 200 lbs of gear to a gig...then have at it. There will always be those who can't get past the lack of the "amp in the room" component. So be it... And yes, obsessively tweaking your sound(s) is an easy rabbit hole to fall into... but it's also easy to climb back out. Just stop doing it. Dial in the sounds you actuality need for whatever it is that you do, then hit "save" and walk away. If you wouldn't sit and fiddle with an analog rig for 37 hours straight trying to get everything "just right", then there's no need to do it with a modeler...ANY modeler. All the knobs are pretty much the same... the only difference is whether or not everything is crammed into the same box. Yes there's a learning curve at the beginning...but you only have to suffer through that once. Any time wasted after that is on you.

I've had timeouts restoring back-ups before, generaly straight after updating firmware, and thorugh the same cable and USB port that had just worked for the update. The solution has been pulling the cable out of the PC, shutting down the Helix, restarting the PC, starting the Helix. It seems like an intermittent USB driver thing. One other instance involved a corrupt preset, determined by bringing each set-list in one at a time, working out which one and forcing a skip - complete PITA.

So yes, many parameters, so try to reduce the degrees of freedom (available choices). Suggest pick an amp you know in real life and likewise a cab. Ideally somehting you know you like mic'd up and with which microphones. Then change settings for each compnenent to extremes so you hear what they do and how they interact, then make incremental changes from stock to get closer to what you want to hear. Its painstaking and boring, but helps you quickly learn what works for you and what doesn't and becomes applicable across other blocks. And take breaks, because, yes, ear fatigue is very real.

On the L6 website. It's called Customtone. Thousands of presets to try until you get ear fatigue. You'll soon discover what most of us have, They all suck. Good Luck!

I know I said I wasn't going to read the manual, but I couldn't help myself. The video confirmed what I thought I saw about MIDI assignments. In addition to using PC (program Change) messages to call the songs, you'd also need to assign switches to turn the pages (Previous/Next);Scroll (Up/Down) and dozens of other actions depending on your needs. That would need to be done in CommandCenter, and each assignment is one less FS you'd have available in Stomp Mode for bypassing FX and calling Snapshots without switching to Snapshot or Preset Mode, plus it would have to be done in EVERY Preset. Seems to me that if you really need this sort of thing you should probably have a separate controller. Not that it can't be done, but looks like a big PITA to me. But then, I play R'n'R - we don't need no steenking sheet music! :-) Might be different if you're doing orchestral/theatre gigs.

Here's where I would start: Guitar>Pedals>HK Input>HK SEND>HXS Input>Split A/B>PATH A>Mixer Block Path A HARD PANNED LEFT>Left Output>HK RETURN >PATH B>wet fx>Mixer Block Path B HARD PANNED RIGHT>Right Output>Joyo RETURN Assign your Exp Pedal to the "Route To" parameter of the Split A/B. Since you already have one pre-amp (the HK) feeding both amps through the HXS, sending the wet signal to the Joyo's Return prevents the Joyo's pre-amp from further coloring the signal. However, you may find that you prefer that. Also, the Joyo's Channel Levels (Volume knobs) are probably placed before the FX Loop. That means that the wet signal will be hitting a wide open power amp. Although you can control the amount of signal that reaches it using a GAIN Block in Path B, you may find it easier to use the Joyo's Volume Knob if the coloration added to the signal by the Joyo's pre-amp is acceptable. You'll have to experiment. I'm not sure if there would be a phase issue, and if the amps and HXS are on the same circuit/power strip there shouldn't be a grounding issue, but you do what you gotta do. I've attached a demo preset. pureaddict.hlx

A Helix Rack with wheels?

To add that the "only" unit that's 100% compatible is the Floor IF you have any presets depending on inputs that the LT doesn't have (for instance the "Mic" input). If its Guitar In, Send1/Return1, etc, yes you can use the LT as it's more portable and lighter.

The documented installation instructions leaves all current setlists and presets intact. Even if you perform the recommended factory reset following the firmware update, the subsequent Restore from Backup step overwrites any new or modified factory presets unless you deselect them. Since there are new factory presets in v3.6. here they are for convenience. FACTORY 1.hls FACTORY 2.hls TEMPLATES.hls

Likely a bug at this point. I suggest everyone experiencing this open a support ticket.

1) Both the JTV and the Standard Variax guitars use the same modeling technology. In fact. the Variax Standard was introduced after the JTV series so as a model it is more recent. However, both remain in production so there's no telling when each actually came off the production line without tracing serial numbers. But as mentioned - it doesn't really matter as far as the modeling is concerned. This also answers your unnumbered 4th question. There are differences in the physical guitar - manufacturing and mag pickups - but the modeling sounds the same. 2) Variax guitars are still in production, meaning parts and servicing are still available. Of course like any electronic device in any industry, it will eventually fail. At worst you'll still have a guitar with regular pickups. 3) Only you can answer that. How much do you really want a Shuriken? Is it worth the wait, to you? What about customs/duty costs?

Modelers made with outdoor use intents should actually be white. In direct sunlight, it makes a world of a difference.

You are correct! After double checking that both the Stomp XL and HX Edit were up to date, I did a factory reset. I didn't bother reloading my backup because I hadn't created or uploaded anything important. After the reboot I created a preset with Poly Sustain and Tremolo. Worked right out of the gate with no sign of "operation" or "oper'n" ... may it rest in hell! I appreciate the help and advice. Thanks!

Must admit had planned to ditch the Mesa, but after finally getting it setup with 4CM, I'll be keeping it - awesome with Cali EQ in the loop from the Helix. My PC 212 was no match as my ears hear.

Ouch...enjoy it while it lasts!

It's not that mate, I've had an LT, 2 Pod's, and a floor. Fully expecting it to go bang shortly! Maybe I will plug HX Edit back in over USB to speed things up!

Hi, again, Damn that’s really annoying - leaving it parked up in the repair shop for all that time. Your point about it being “cold for a month” may well be correct as it was suggested by @PierM in an earlier reply, when he said “The randomness could just be related to broken semiconductors conductance at the joints and in the body, that make them working when cold and dying when hot.” Let the technicians have it and fix it! As for costs - well that’s definitely an unknown. All I can do is wish you good luck with this one.

Global Settings>Ins/Outs>Guitar In Pad = ON for high output pickups, but whatever sounds best with your guitar. 1/4" Outputs = Instrument, since you're going into an amp's guitar input. From the manual: Choose “Instrument” when connecting the Helix 1/4" outputs to stompboxes or the front of guitar amps; choose “Line” when connecting to mixers, studio monitors, or standalone recorders. When using a single amp or speaker, connect only the LEFT/MONO 1/4" jack. Global Settings>Preferences>Auto Impedance = First Enabled This ensures that your pickups are loaded appropriately for the first enabled effect, just like with a pedal board ITRW with true bypass FX. From the manual: Determines how the Guitar In’s impedance circuit behaves when the Input block > Guitar In-Z is set to “Auto.” When set to “First Block” (the default), the impedance circuit reflects the impedance of the first block on Path 1A, regardless of whether it’s enabled or bypassed. When set to “First Enabled,” the impedance circuit reflects the impedance of the first enabled block on Path 1A. Input Block of Path1A in EVERY preset - from the manual: Input > Multi and Input > Guitar blocks have an additional Guitar In-Z parameter. Helix has an impedance circuit on its Guitar Input that affects tone and feel by loading your guitar’s pickups as they would by an effect pedal or amplifier. A lower value will typically result in some high frequency attenuation, lower gain, and an overall “softer” feel. A higher value provides full frequency response, higher gain, and an overall “tighter” feel. The “Auto” option allows the impedance to reflect the impedance of the first block on Path 1A

I don’t think that I will be worried by filling the Helix to the brim any time soon. I had a look at the downloads page and this latest update of HX Edit is listed as 36MB. Trawling through other versions of the HX Edit, the package can vary from the mid twenties of megabytes right up to almost ninety. HX Edit is the big lump of software that lives on your computer and the summons the Line 6 Updater, which then installs the payload. The listings for the firmware are really small - from around 4MB up to a massive 34MB for the latest. In fact, the Cab Engine 3.5 update which we were told was huge, weighs in at 26MB. I imaging there is some rather slick compression used to create the bundle, then some more clever unpacking and compiling to squirt the stuff down the USB to the Helix, but all that matters is that the tank doesn’t overflow. As firmware doesn’t need an operating system, and communicates directly with the hardware, it generally lives in a dedicated chip embedded into the hardware when it is originally manufactured. ;-)

I agree, it has a little low gain. Use additional metal zone or other strong distortion.

Yah. I downloaded his DSP usage list some time back. It doesn't really confront me much though. I very rarely run out anymore after I stopped trying to build presets that do everything under the sun.

The Elmsley is fantastic IMHO, and I fall into the "I like the Grammatico" camp. The update went 100% smoothly here, but to be fair, I followed the documentation :) I guess it's time to start in on the next eBook update!

Well I finally got my first session with the new Grammatico and Elmsley amps....holy smokes...what versatile and useful amps!!! My biggest problem is going to be how I want to configure the Grammatico for different styles of music because it seems like it can handle almost anything. That's going to take some time just experimenting. But the Elmsley compensates for all the Grammatico complexity with the most flexible, easy to use configuration you could ever ask for. Both of these are home runs in my opinion.