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TABLE OF CONTENTS MANY of the questions asked here are NOT covered in the manual. Yours is covered in the first couple of sections. We're happy to help with those questions that are not covered, but we're not going to re-type the manual for you to explain the absolute basics of use!

For the tone & just overall 'amp' sound, the cab & mic are crucial, and wrapping your head around the different combinations of cab/mic isn't easy at all, given the vast number of mics, cabs, placement options, etc. So I always recommend The best IR in the world, really sounds great with pretty much any genre, simplifies a lot the entire tone-finding process. setting the Sag setting of the amp tends to make things tighter; less muddy. Always at 0 for me. Proper use of EQ For the impedance issue, if you don't have a pod go with the impedance issue then you don't have an impedance issue and adding buffer pedal shouldn't make a significant change. But that said; Which particular amp(s)? Not all models nor all amps are created equal. https://www.youtube.com/watch?v=Bz9tO4-kAG4 L6 really models the amps electronic components. And even 2 amps of the same brand/model can sound different, not to mention tubes... The blind tests I've seen of real gear vs L6 Helix/Go/etc., pretty much demonstrate that it's on par; really hard to differentiate. It's really all about your ability to tweak the tone. And not everybody likes the same amps/tones either. A lot of the amps you've mentioned are favorites in the lineup, and for me they're just plain meh.. Don't think it's particularly related to the amp/model, maybe more about your own playing style, your guitar, preferences, tweaking ability, tone-preference, etc., So as there's a ridiculous 100+ amps in the thing, just find a dozen amps that work for you, and forget about the rest. That would be my advice. But, it's definitely fun to explore amps and their history, and learning how people use them and how to make them work; plenty of tutorial videos and tweaking PGO tones, so I'd definitely start off with that too! Oh and don't be afraid to use the L6 amps either. Revisited them recently and they're pretty awesome. Definitely nothing wrong using them over 'real' amps; they're just that; improved versions or tweaks of existing amps; amps that could exist, or maybe couldn't due to electronic vs DSP, but honestly they sound great, I'd get rid of all Marshalls in PGO instead of them in a heartbeat! Not 'worse' in any way.

Definitely not normal and you've covered the basic troubleshooting steps. Open a support ticket. If it's still in warranty or a known issue you may luck out.

You don’t mention what Helix device you have, but here’s a quote from the Helix Rack manual. ”MIDI Bank/Program Changes Helix responds to traditional MIDI CC, and Program change messages from an exter- nal MIDI device (or from MIDI software via USB) and will recall setlists, presets, and/ or snapshots accordingly.” Consult the MIDI section of the manual for your device.

Which Helix Native meter are you referring to... there are two which help in getting the gain staging accurate within the plugin. Adjust the level controls as needed to get the right values on the meters, don't just set them to 0 and hope for the best. I like to set my input level on Native around -18/-20... hard hits would push it to about -12. Set like this I find Native reacts similar to my LT with the same preset. Next, gain stage the plugin as you add/remove blocks) until the output meter is very similar. I'm not familiar with Main Stage so I don't know what your meter options are... but I can say that "Dbfs" will be very different from any "K metering" when referring to numbers only. I honestly don't care about getting a match in numbers here... I just make sure I'm not peaking anything. You are not mentioning what you use for an interface. If you have the option, set the input you use to "Instrument" or "High Impedance". That will load down your pickup in a more familiar way than LINE or a Mic Pre will.

Based on what I can see of your right hand in the video, this behaviour is normal depending on your Global Settings-> Footswitches assignments. If you have FS3 set to the default Tap/Tuner assignment, and you also have the Stomp Select set to the default Touch, then when the side of your hand touches FS3 as you rotate the knobs, it activates the Tempo or Tuner display. Read the manual description to discover your options and experiment to decide what settings work best for you. To test this, make sure your right hand does not touch FS3 as you rotate the knobs. The symptom and your annoyance should disappear.

You are correct. Your license is yours, not attached to the device. The device allowed a discounted price which is now not available to the new owner.

Wow, lots of really good comments here. Thanks. Just following up. So it sounds like there may have been slight differences and it was ALL in my head..... however, the bottom line is I am very very happy with what I have now. I absolutely love it. Just for background if anyone is interested, I play mainly my tele and can go from very clean to dirty clean to crunchy to more hairy overdrive (not metal but more warm bluesy full overdriven state). I used to use the Zed amp as a base and then have 3 stomps (one to up the amp drive and adjust volume, the Minataur(sp?), and either the Temo or the Compul drive. with the latest update, I started using the Clarity as a starting point. It is really clean and has a ton of headroom and stays clean. I then use combinations of stacking the Prize Drive, the Teemah! and the Horizon Drive to get the different levels of overdrive I need. it is great! at least for me! I also use snapshots to switch between modulation effects: Chorus, Trem, 145 Rotary, Script Mod Phase, and no modulation. I have those 5 snaps assigned to one footswitch so I can roll through each of those and turn on the one I need. I also have a snapshot that I use for spacey sounds which turns on the chorus, delay, and another reverb. I used the command center to assign that to a foot switch that rotated between the spacy and the clean. Unchecking the snapshot option on the drives and amp lets me keep my tone the same no matter the other snapshots. I am sure there are improvements, but this works great for me now and gives me a ton of options. Clar PzTH DD C .hlx

You realize that this is an 8-year-old thread and the person you're replying to hasn't been back in 7 years? I'm thinking their problem was solved, and they never got around to reporting back. FWIW - after they replaced some boards on mine 6 years ago, the digital I/O (AES and SPDIF) have worked fine. I see you're a new member so WELCOME and BEWARE of ZOMBIE THREADS! They'll eat your brain! ;-)

The 8i6 has S/PDIF. Assuming that when you say Heilx you mean the FLOOR model, not the LT, this is how I do it with my 18i20. NOTE - the 18i20 uses different USB #s - 9/10 (7/8 on the 8i6); 11/12 (5/6 on the 8i6): With the 8i6 set as the ASIO Device in your DAW. Guitar>Helix>Helix FX (OD/MODS etc)>Path 1 Output Block=DIGITAL Helix SPDIF OUT>8i6 SPDIF INPUT DAW Track Input USB 7/8 (SPDIF)>Plugins>DAW Track Output 5/6 (SPDIF) 8i6 SPDIF Output>Helix SPDIF IN>Helix Path 2 Input=DIGITAL>Helix FX (Delay/Reverb etc)>Path 2 Output Block Helix MAIN Outs In Focusrite Control you want the SPDIF Outputs (not MUTED) set to "SOFTWARE (DAW) PLAYBACK 5/6". All other Inputs MUTED. Whichever 8i6 Outputs your speakers are connected to should be set to whichever 8i6 Inputs your Helix MAIN Outs are connected to. In my case I connect the Helix XLRs to the 18i20 Inputs 1/2 from where I can use Focusrite Control to route to the 8i6 Outputs 1/2 (Studio Monitors). 3/4 (Powercab), 5/6 (FRFR112). This configuration provides minimal latency as the signal chain is DIGITAL from Helix to Scarlett to DAW to Scarlett to Helix with the only AD/DA conversions at the Helix Input and Output - the path from the Helix Main Outs through the Scarlett to the speakers is analog. To RECORD the final Helix Output setup another track to take its INPUT from whichever 8i6 Inputs the Helix Main Outs are connected to - in my case Inputs 1/2. If you have an LT you can still do this, but unless you use the LT as your ASIO Device you'll be adding conversions.

I don’t understand what you’re getting at. Perhaps it’s just terminology. Is ‘Sunset’ the name of a preset, an FX block, or something else? You talk about turning a preset on and off. That’s confusing. At all times there is exactly one preset that is active (don’t think of it as being ‘on’). The active preset is replaced by a different preset (not ‘turned off’) when you activate/select a different preset. You can turn FX blocks within a preset on and off. You don’t turn presets on and off; you activate/select them. There is always exactly one preset active at all times.

Nice! Yeah one thing with Go is that you basically have to go through the manual... So many options, definitely won't be able to fiddle your way exploring every option... Gets even worse once you get to effects with 26 different parameters, many of which really aren't very intuitive, as the manual doesn't go in depth for many of the options and settings... descriptions of amps, cabs, models, etc., vs 'real' counterparts: https://helixhelp.com/models/ Added effects details (settings, etc.) https://line6.com/software/index.html?hardware=All&name=POD Go Edit&os=All&submit_form=set Then, there's all the million tricks and subtleties; things you wouldn't think/know on your own; so can be learned via guides, tutorials, tweaking videos/articles, etc., sigh ... That's all time spent not playing or practicing guitar though. LOL Not exactly sure what gain there would be to increasing cab volume? But on volume topic; the channel volume of the amp is basically the 'pure' volume, while the Master volume simulates how a real amp reacts to increased volume; gain/saturation. Ex; Gain 3, Ch. vol 10, Master 1, would result in low gain/distortion. While Gain 3, Ch vol 1, Master 10, would simulate a real amp pushed to max volume; so your '3' of gain would be much different with both. (tube saturation and all) Same goes with your chain; boosting volume before hitting the amp block, vs boosting volume after hitting the cab block will result in quite different gain/distortion characteristics/feel. Even for EQ. Ex; you can use the EQ as a boost, increasing volume, and again, placing it before or after the amp block will affect the distortion characteristics of the amp.

Solved this with some fiddling, based on @grdGo33's recommendations and others': Some amp models seem to be set at a medium (~5.0) gain with low channel volume, which doesn't sound great out of the box for those amps. I reduced the gain and increased the volume, which immediately improved the quality in relation to the other amps. I saw a post suggesting increasing the volume on the cab block (something I've never thought of doing), and that likewise made a huge difference. Like, 2-6 dB. I also mucked around with mic placement and other cab settings, which helped me fine tune the tones I've been looking for. This might be commonplace for people more experienced with amp modeling than I am, but I didn't realize how big of a difference these settings can make. Comps and EQ also help, but my main issues were with the amp and cab settings themselves. Thanks again for the suggestions!

Thank you so much for your thorough reply! Thanks--I will look into this! I've had trouble getting any Marshalls or Matchless's to sound like I want them to. Some of the Fenders are quite OK, and I definitely like the Cartographer, PRS's, and Soldanos. The Friedmans/Placaters sound more like a Marshall amp than the Marshalls do, which I just can't wrap my head around. I'll follow your advice! I do like the Line 6 Epic one. I guess I've just been trying to dial in the same sounds (using similar amps/cabs) that I've found elsewhere, and having trouble with all the fiddling required on the POD Go to get similar results.

Read The Manual https://line6.com/data/6/0a020a41edfe64823e79e9cdc/application/pdf/Helix LT 3.0 Owner's Manual - English .pdf

This is true if the footswitch gets it's power from the device/cable... Some third party footswitches (eg: The FS-6) use a battery for the LED's

That depends on your personal usage and requirements. I use Helix Native along with my Helix Rack and find the benefits are: - I can record both a wet and dry track simultaneously in my DAW (Cakewalk by Bandlab and/or Reaper). - I can use the Native plugin to reamp the dry track rather than using the Helix Rack hardware. My guitar tone can change repeatedly and continuously during the recording project development. I never need to replay a guitar part for tonal reasons (technical playing skill, now that’s different….). - I have the same familiar user interface in both Native and HX Edit. Anything I can do in Edit I can do in Native, subject to hardware restrictions (e.g. no FX Loop). Also, in Native I can remove the DSP limitations of a Helix device, and am limited only by my PC resources. - I can swap compatible presets between Helix Rack and Helix Native, meaning I immediately and easily have the same tones that are on the recording when I play live. - Helix Native is a very powerful plugin FX processor for lots of things other than guitar (vocals, synths, drums, …).

It's useful when asking for help to provide details such as computer OS and DAW.

Try uninstalling and reinstalling the driver?

I think what makes this feel odd to you is that the idea of a preset is confined to Helix Native, not to the DAW or the project, and that's consistent behavior across ALL Helix products. In fact it's pretty much consistent with the vast majority of plugins. This simply mirrors the behavior across all Helix products and allows Helix Native to behave consistently with all other Helix units and be a part of the Helix eco system. But the fact is this behavior is consistent with most plugins used in the DAW world, it's just handled differently. Most plugins provide for users to create their own presets outside of the manufacturers presets and they're referenced by the name the user gives it. If you change the behaviors but not the name, those behaviors will change for all projects that use that named preset. This is because plugins have no inherent knowledge regarding what DAW projects they're used in. If you create a new preset under a new name that will only be used in each DAW project that uses that new renamed preset.

Hi, This has been an ongoing issue for quite sometime now, but it recently came back to the top of the list of problems with "amp sims", that will also include Helix Native. To save me from lots of typing, you may want to get some insight from a few videos on YouTube. Here ya go:- This is what started the ball rolling. Even more info. Even more info. Hope this helps/makes sense.

There is a Global Setting that lets you specify what you want the big Volume knob to control - XLR, 1/4”, etc.

Attach a preset where this is happening.

My AKG K240's sound fine. My Sony MDR-V6's sound harsh. Both are "Studio" headphones, so... Play around with different speaker and mic combinations and, oh yeah, those round knob thingies on the amp panel... FWIW - there's no such thing as "FRFR" (full-range/flat response). It's a marketing gimic. There's only what sounds good to YOU.

From the manual, USB AUDIO section: Recording a Dry DI Track For this example, we’ll record guitar into two DAW tracks simultaneously, with one capturing the Helix-processed tone and the other the unprocessed DI guitar. 1. In the Helix Global Settings>Ins/Outs>Page 3 screen, set Re-amp Src (USB 7) to “Guitar” (as shown above). 2. Dial in your desired Helix tone, while keeping the Helix Input and Output blocks both set to the default “Multi” setting. 3. Create two new audio tracks in your DAW software project: Create one mono track to record the dry DI guitar, and set the track’s input to Helix USB 7. Continued...

Hi, Yep - You seem to have misunderstood how “true spillover” is implemented. In order to take advantage of it, you have to sacrifice one entire DSP, which means you loose all of Path 2. I would suggest you check out page 21 of the Helix 3.0 Owner’s Manual. https://line6.com/data/6/0a020a3f041b611d61cac763b/application/pdf/Helix 3.0 Owner's Manual - English .pdf Most folks use Snapshots to achieve similar results without the potential loss of 16 blocks in the second path. Hope this helps/makes sense. Happy trails.

I found it helpful when evaluating all of the factory presets to get an idea of what artist/song they were taking inspiration from in trying to duplicate the sound. Most are obvious from the preset names, but some aren't. If was wrong about any or you have any ideas about ones that I didn't figure out, feel free to add to the list. This are the Version 1 preset numbering. PRESET ARTIST SONG 01A US Deluxe Nrm 01B AC30 Fawn Brt 01C Brit Plexi Brt 01D Cali Rectifire 02A US Double Arm 02B Essex A30 02C Cartographer 02D Revv Gen Red 03A Archetype JS 03B Divided Duo 03C Brit J45 Brit 04D Archetype Lead 04A Matchstick Ch1 04B Matchstick Ch2 04C Matchstick Jump 04D PV Panama Van Halen (Peavey) Panama 05A Placater Clean 05B A30 Fawn Nrm 05C Line 6 Litigator 05D Placater Dirty 06A Jazz Rivet 120 06B Fullerton Nrm 06C Brit 2204 06D Voltage Queen 07A Cali IV Rhythm 1 07B Essex A15 07C Cali IV Rhythm 2 07D Cali IV Lead 08A WhoWatt 100 08B Tweed Blues Nrm 08C Interstate ZedJS 08D German Ubersonic 09A Cali Texas Ch1 09B Derailed Ingrid 09C Cali Texas Ch2 09D Line 6 Factory 10A Mail Order Twin 10B Tweed Blues Brt 10C Mandarin 80 10D Line 6 Elektrik 11A Solo Lead Clean 11B Grammatico Brt 11C Solo Lead Crunch 11D Solo Lead OD 12A BAS:Agua 51 12B BAS:Ampeg B-15 12C BAS:SVT Nrm 12D BAS:SVT Brt 13A BAS:Cougar 800 13B BAS:Cali Bass 13C BAS:Woody Blue 13D BAS:Cali400 Ch1 14A CrushDestroy 14B Guns N Sons BBF Guns ’n Roses 14C Chris Buck 14D TheWorldisMad DK 15A FLUFF’D UNDER 15B New Romantic 15C Super Crank JKS 15D CHAOSBREAKER 16A VURNTWAHBbLE 16B Crossroads JS Cream Crossroads 16C Deaf Leopard JS Def Leppard 16D Fullerton Brt JS 17A Gene’sTrickBagJS 17B Vasoline JS Stone Temple Pilots Vasoline 17C Mayer’ish JS John Mayer 17D Robben’ish JS Robben Ford 18A Watt Angel PH 18B Dental Plac PH 18C Full Pan PH 18D Open Chordus PH 19A Supr9 Groove PH 19B DLX Seven PH 19C British Bug PH 19D Bambi Fuzz PH 20A Uber Widedrop PH 20B Vicars War PH 20C Trademark 20D Streets w/o Name U2 Where the Streets Have No Name 21A A Quid For Nutin’ Dire Straits Money For Nothing 21B Another Thing 21C Run Pink Floyd Run Like Hell 21D Cold Shot Stevie Ray Vaughan Cold Shot 22A Boulevard Green Day Boulevard of Broken Dreams 22B Troopah Iron Maiden The Trooper 22C Shining Star Earth, Wind and Fire Shining Star (Also OJays - Money) 22D Fish w/ Teeth Heart Barracuda 23A Straightedge 23B Ridin’ Lightning 23C Every Breath The Police Every Breath You Take 23D Message Botella The Police Message in a Bottle 24A Go This Way Aerosmith Walk This Way 24B Guy In a Box Alice in Chains Man in the Box 24C Come as U Were Nirvana Come As You Are 24D Bloody Sunday U2 Bloody Sunday 25A Tie Yo Mama Queen Tie Your Mother Down 25B Monkey Wrench Foo Fighters Monkey Wrench 25C Bit Like Heaven 25D Waterlung Jethro Tull Aqualung 26A Hangar 9x2 Megadeth Hangar 18 26B Cowboys Pantera Cowboys From Hell 26C Sultans Dire Straits Sultans of Swing 26D Right Next Door Robert Cray Right Next Door 27A Lights Journey Lights 27B Manic D Jimi Hendrix Manic Depression 27C Nothing Clean 27D Breaker o’Hearts Pat Benetar Heart Breaker 28A Real Thing U2 Even Better than the Real Thing 28B Dreamy Lead 28C Funky Meercat 28D Next County Over 29A Rockadilly 29B Filter Native 29C Hull Breach 29D Trem Moods 30A Infinite Space 30B Outpost Theta 30C Wave Rider 30D New Preset 31A New Preset 31B New Preset 31C New Preset 31D New Preset 31A New Preset 31B New Preset 31C New Preset 31D New Preset 32A New Preset 32B New Preset 32C New Preset 32D New Preset

I tested my Helix Floor vs my HX Stomp. Identical presets - just the Whowatt+Cab at default settings. With the Input Pad on the Floor OFF and the HXS Input at Instrument Level, 1/4" Outputs of both set to LINE. Guitar connected to ABY Box via G10. 1/4" outs from each to Channels 1 and 2 of my Scarlett 18i20. All identical cables. Ableton LIVE 12 with IK TR5 db/LUFS meter on both Channels. The difference? <>1db. The Floor was <>1db louder. Until I swapped the cables 1-2/2-1. Then the HXS was 1db louder. I got identical results with the Outputs set to Instrument. IDK if it's the cables (Identical GC Live Wires) or the ABY Box (GC Live Wires), but either way, <>1db is NOT a big difference. I'd call it statistically insignificant. Beats me why you guys are getting radical differences. I suppose you could speculate that the LT/HXSXL pairing is different than the Floor/HXS pairing, but I doubt it.

Anytime! Always happy to share what I've figured out or learned from others. Just remember to keep it simple. Get your foundation amp tone and volume settled and move on from there. As I said, think about where you want to go. And remember as well, a button in stomp mode can be so much more than an on/off control. Well.....when you get to that point.

Thanks you everyone - I'll try your suggestions

Here is how you can test for defective MAIN INs on the unit: Plug into input R and listen if it is still dull (add a +3dB gain block if you want to match the level of input L). If it is not dull but input L is then it's defective. If both are dull: Set Global Settings -> INs/OUTs -> Send/Return to Inst and Return Type to Return. Set the input block to Input Return L/R by turning the lower knob clockwise one step. Plug your guitar into Return L and test for dullness. If it is not dull but Inputs L/R are (and Input Z is at 1MOhm) both Inputs are defective. Report back.

No...I said that I liked the sound of the sample video. That was not the sound I was getting from my amp. Not even close. I contacted tech support and was able to reload that preset. Now it works perfectly. I think that preset must have been corrupted during the update process...Or something. Thanks again for great tech support from Line 6!

I don't understand the question really but this might be of use: https://helixhelp.com/release-notes/helix/3.15.0#global-midi-control-of-knobs-1-6-pagepage-and-preset-save

Thank you @burningyen for the instructions and @kam_23ca for sourcing the parts. Just replaced mine about 2 years after it snapped off; was hoping I could at least salvage the knob but couldn't dig out the broken pot shaft without damaging the knob.

Yes.

You can assign any parameter of any block to the expression pedal.

Hi Everyone! I do own a XD-V55 with THH12 mic from several years, but in the last month the mic started to need a loooot o gain to work; i need to pre-amp it by 30db to have a decent amount of dynamic range, and this big gain creates also a lot of feedbacks. Also, it sounds bad, with poor hi-ends. I made no changes to the mixer, it's always the same, and the issue is present also connecting the unit on other mixers, so i suppose that something is not working properly on the mic or on the trasmitter. Anyone have some ideas about what i could do? Change the mic model or removing the dynamic filter gives no improvement. Wi-fi channels are fine and change them gives no improvements too. Thanks to everyone!

I was trying to figure out how to do this on my iPad, since I don't have a MAC, and stumbled upon that by accident! If anybody's interested, on an iPad in Track View you drag the Track Header to the right to get those options.

I think the thing that is different with Native compared to other plug-ins is that Native allows you to export and import entire Setlists of Presets thus allowing you to remove all the presets that are currently being used by a DAW project. That is perhaps not standard among plugins and something that allows Native to be used live and be similar to other HX products. It seems the answer is, as you say, "create a new preset under a new name that will only be used in each DAW project that uses that new renamed preset." Also, to leave the current Setlists loaded and not import new ones unless you really need to. There are hundreds of Preset slots avaiailbe within the multiple setlists that can be loaded at one time with Native. I don't see myself having to load entirely new multiple setlists at any time soon. Thanks a lot for the taking the time to reply and help out man!

I can't speak to Logic Pro/MainStage amp sim as I don't use those products, but in the case of Helix, it's designed such that every component, amp or effect, is modeled after the real world behaviors of that actual device and how that device will influence the sound based on how it's used within a given signal chain. If, for example, you're not getting a lot of range in you dynamic response, that can be due to a number of factors such as how much you're overdriving the signal as distortion by definition reduces the dynamic response of the amp. But it could also be related to where you place the compressor in the signal chain (pre amp or post amp), and which compressor is used because they're all designed to behave differently. All of this is designed to allow you the maximum flexibility in defining the particular sound and behaviors you want for a given preset. It's likely the Mainstage amp sim is designed for a more simple and common usage without the flexibility and makes it easier to apply but not as versatile.

Hi, I'm not entirely sure what exactly is happening here. I downloaded your preset "Volume Pedal Test.hlx" and on the forum it is still listed as 0 downloads. When I try to load into HX Edit it asked if I want to overwrite the current preset, but nothing happens. It appears to be totally blank. To double check I used and on-line Helix Preset Viewer and again the .hlx file seems to be empty. Even stranger when I check the file info it come up with this:- "https://line6.com/support/topic/68369-helix-lt-expression-pedal-working-but-volume-not-changing/ https://line6.com/support/applications/core/interface/file/attachment.php?id=16503&key=86d2efe43e586ba17c694b993f70c0b9" Now it should not be showing as an "attachment.php" as that is something to do with the way the server works. Lots of times when people upload pictures and screenshots they also come up a .php files, probably because they were uploaded incorrectly. Did you use the inbuilt "Drag files here to attach, or choose files..." option in the comment box to upload the .hlx file? It seems something has got corrupted during the file transfer. I order to check your Helix file please try to upload again. Hope this helps/makes sense.

Here's another thing to consider - SOME USB powered AI's are noisy. I know that you don't want to hear this, but maybe it's time for some "tough love". You bought the cheapest AI on the market from a mfr that is known for crappy low end hardware. They don't even provide drivers! How many hours have you spent on this project? IDK about you, but the last job I worked before retiring was driving a truck for $25/hr. I'm almost up to two hours (the price of the unit) just trying to help you make it work. Just go out and get a Focusrite Scarlett Solo (3rd or 4th gen - <>$100) and be done with it. If you get it at GC or Amazon you can even return it if you decide you don't like it.

I use the Pod Go into a Fender 40-watt tube amp, and I break all the rules. I use the Line Out to get a "cleaner' sound instead of one tailored for amp users. I only use amp presets occasionally for distortion, typically a Bogner for a bluesy overdrive. I'm not a heavy metal guy, but I use other amp presets occasionally. As for volume, I spend hours at home trying to dial in a volume consistent with my other patches, then hours more after playing with the band redoing them. (Learn about the Fletcher-Munson curve) The only rule is to do what sounds good to your ears. (BTW, I loved my Korg AX-1000G. It was complicated to program but gave a great sound for its day.)

Default Preset Bank 3 Channel B. Preset NAME is ELMSLEY. AMP is CHIME Group 2. I changed the default Effect 2 REVERB to DELAY.

Yes the u shaped plastic trim on the top of mine has broken, and this is only from home use. I quite like the sound but the build quality seems flimsy. I'd be disappointed if I didn't get it for such a great price on sale.

Hi, You really should read the Helix Native 3.15 Pilot’s Guide, available by clicking on the question mark icon, in the lower left of the GUI window. On page 48 you will find this explanation:- Split Crossover: Splits the audio content so that treble frequencies are sent to Path A, and bass frequencies are sent to Path B (or the path routing is reversed when Reverse is On). Use the Frequency parameter to set the center frequency; Any signal above this frequency is sent to Path A, and any signal below this frequency is sent to Path B Split Dynamic: Similar to a crossover, except the audio content above the audio Threshold is sent to Path A, and the content below the audio Threshold is sent to Path B (or the path routing is reversed when Reverse is On). Attack determines how fast the signal routes to Path B once reaching the Threshold, and Release determines how fast the signal returns to Path A once falling below the Threshold. Typically, higher values result in a smoother transition. Oh, lucky you - I just did all that for you, but read it all the same - you never know what you might discover next. Hope this helps/makes sense

Hi All, so to save some stress and trouble - YES, YOU CAN ALWAYS LOOK UP SERIAL NUMBER ON THE DISPLAY OF THE HX STOMP. What you need to do is: -switch off your HX Stomp XL -press and hold encoder 3 (the third knob the right under the display) -switch on your HX Stomp XL -you should see the serialnumber displayed This is what I got from Line6 support and I just tested this solution as I was missing the serial number sticker as well. I assume this works the same for Effects and regular Stomp. Happy product registration and shopping for discounted Native plugin! :)

You can't have the tuner on as a preset in the Stomp, but couldn't you just create a preset in the ES-5 that recalls the tuner on the Stomp? I believe you can send up to 8 MIDI messages with a patch change on the ES-5, so you could just set up a preset on the ES-5 where it sends out CC#68, value 127 (the command to turn the tuner on on the Stomp).

Hey guys, So I was having the problem of installing gearbox on my new macbook pro 2012 on MacOS Sierra. Unfortunately I didn't find much of a solution here but I figured it out and I thought I'd share my solution. My Toneport GX now works with my mac and audio seems to work fine. Installing gearbox So if you run the master installer (.mpkg) you'll quickly see that you can't choose your hard drive because it's not OS X, but MacOS. Instead you can right click on the .mpkg file when you first open the installer and click on "Show Package Contents". Then go to Contents > Packages. Now you'll see the directory containing the individual packages. Be sure to click keep after running each package when it prompts you to move the .dmg to the trash. Install all of the packages except for the Driver Uninstaller. I don't know if the order you do this in matters but I just went for drivers, driver prefs, gearbox, plugins, line6 monkey then frameworks. You will likely have to keep security settings open to authorise running each individual package but it's a small inconvenience in the grand scheme of things. after you've installed the packages test to see if GearBox is working. Installing Drivers Go to the software download page and select your_device_name > Drivers > Mac OS X and download the driver. I didn't have any issues installing this one the typical way of just running the package. After installing the driver everything worked like a charm when I opened GearBox. Note The only shortcoming I noticed was that every time I open GearBox it gives me the first-time prompts even when I hit "Never show this again" and it opens up the documentation but I don't lose my custom tones or anything.

not the actual paper/overlay that came with the amp... but here's the preset's Line6-Spider_Amp_Presets.pdf