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This looks like an example of a recent trend I'm seeing to get past the spam nanny here - namely the requirement for new users to have their first post approved. A sophisticated approach for a new spammer is to copy an already approved post by someone else so it will also be approved as their first post, then begin spamming under an approved userid. I am following this user.

Yup - I get the idea that you are having a laugh - just copy and paste someone else’s question! Well, here ya go - a copy and paste reply! Hope this helps/makes sense.

Perform a Factory Reset. If that doesn't work, re-install the FW. Don't forget to do a backup before either operation. If neither works, contact support.

Just because you have a YT Channel doesn't mean that you know what you're doing. You can't actually HEAR a computer. You can't actually HEAR Helix Native or, for that matter Helix or any other modeler OR your "REAL" amplifier. The "chunkiness" of a "real" amp is largely a property of the amp's cabinet and speaker. Route your MOTU's output through the RETURN of a real guitar amp and speaker and it will suddenly be chunkier. EQ the crap out of the signal you send to your 3" studio monitors and it will sound exactly like your 3" studio monitors. Helix Native sounds just like Helix. Both sound like the playback system which provides the actual SOUND to your ears. My 6" Rokit studio monitors sound very different than my HR FRFR112 or my Catalyst100 or my Powercab PC212+. Death metal palm mutes sound very different when you play through a Fender Twin vs a Dual Rectifier and 4x12 cab. Finally - "TONE" is subjective. "Chunky" is a perception. 65db bedroom levels thru studio monitors will NEVER be as chunky as 105db thru the aforementioned Dual Rectifier and 4x12. Google "Fletcher-Munson". Have fun looking for a playback system that appeals to YOUR ears in YOUR playing environment! ;-)

The "ideal" setting is MAX***. At MAX (full clockwise) it is UNITY GAIN. That means 0db. Counterclockwise it attenuates the signal. The effect loop of most modern amps is either -10db (for STOMPBOXES) by default or there's a switch to allow for +4db (for RACK FX). If you're getting a huge volume jump when you switch amp channels (or switch from the amp's pre to a Helix amp) you can assign whatever switch you're using (or SNAPSHOTS) to send that message to also adjust the OUTPUT BLOCK LEVEL or the levels at the FX LOOP BLOCK. ***IIRC, the BIG KNOB adjusts the output level in the digital realm, it is NOT an analog control. That means that there is a possibility that it COULD affect TONE as a result of some complicated electronic mumbo-jumbo involving bits. There's an explanation I read on some high-end stereo site if you search for it. In reality, most humans can't hear it. Many people are quite happy using it as an easily reachable volume control. My thoughts are that at a real-world gig, if you're using a cable (vs wireless), the possibility of dragging the cable over the knob and thus changing the setting and pissing off the FOH tech or just causing your solo to disappear suddenly or blow everybody's head off is not worth the convenience of using the BIG KNOB. I disable it completely, which leaves it at MAX (UNITY/0db). At home I use it for a volume control.

No Rack model has been announced. Never say never but I doubt it. Yes, some sort of Helix Stadium Edit will be available.

The first problem I see with this is that you're re-amping a track that was recorded off of your guitar amp's speaker. That's NOT actually a DI Track. You COULD use the HXS to add POST effects, such as would be done in a studio, but you're MUCH better off using some of the many plugins available to you either IN LOGIC or on the aftermarket. Your problem is that both your VOLT and HXS have very minimal I/O and you don't own HELIX NATIVE. If you bought your HXS NEW you might consider using your discount to buy NATIVE, which would allow you to do the re-amping completely within LOGIC and not have the hassle of re-amping through the HXS itself. But if you can't do that: I assume that you're using a MAC. Create an AGREGATE DEVICE: Create an Aggregate Device to combine multiple audio devices - Apple Support I am NOT a MAC person, but my understanding is that this will allow you to use all of the available I/O of both your VOLT and HXS at the same time. You should now be able to figure out the necessary routing to accomplish recording your mic'd amp (BLANK HXS preset with LEFT MAIN OUT>Volt Input 1) alongside a true DI track (HXS RIGHT MAIN OUT>Volt Input 2) and monitor the recorded project mix through the VOLT while re-amping the DI Track through the HXS. Hopefully, someone else who is actually a MAC person will chime in here to verify this method or have a better solution. Good Luck!

Hi, just a to inform all of the amazing job from Line 6 Support (Chris P) that solved the problem that i had with the leds without charging anything, since i had the board replaced before i guess. Really impressed! Thanks Line 6!

Question 1 - When I bought my Cat I spent over a month comparing it side by side with a Katana Artist and my Helix with my PC212+. I knew that I liked it when I bought it and had already gone through the same process/experience as you. Still, I liked it even better after a while using it. That MAY be a result of speaker break-in, or it may just be a continuation of the learning process plus acclimatization of my ears to its sound. Psychoacoustics is a real thing. Question 2 - TBH, I bought the amp as an amplified speaker for my Helix that would be more portable than my PC212+ and could serve as a standalone backup to my Helix or simple grab'n'go for jams. Also, there's some days that the PC212+ just doesn't sound right. Psychoacoustics again. That said, over time I've come to appreciate that I can plug in, twist some knobs and find the exact sound that I didn't know I was looking for that day. Simple, old-school fun with amp and guitar, but 12 amps in one! My needs are pretty simple when it comes to effects, having grown up in the days of amps with built-in reverb tanks and tremolo (vibrato?) being all the effects we had. While I love being able to get wild and crazy with my Helix, sometimes simple is better. Play more, twiddle less. I don't play in a cover/tribute band. I've never been about trying to sound exactly like anyone other than myself. It's fun when I stumble upon the sound of some song that I really like, but I don't spend much time looking for it. In 5 minutes I'm bored and I've found some other sound I like and I'm off on that. Finally, there's an old saying - "Jack of all trades, master of none". If you want to sound like EVH you get a 5153, not a Fender Twin. Conversely, if you play surf music you don't get an Engl Fireball. The Catalyst is none of those, but it'll quickly get the essence of any genre, and that's all that matters to me. If I need more, I plug my Helix/HXS into the return. Tweaker Heaven!

Why not use the stereo cab block with the two cabs panned hard left and right?

You'll never get an answer. Line 6 doesn't give a damn about its users.

So now that there is an editor, and cabability for more preset tweaking, do you think L6 will add a Customtone section for the Pod Express for preset sharing?

Deactivate Global Settings > MIDI/Tempo > MIDI PC Tx to prevent your Stomp from automatically sending MIDI PC (program change) messages when you change patches - because otherwise the sent program number is always the patch number. Instead use Command Center's Instant Command to send a BankPC command via MIDI.

You'll know when they say "Here it is"... L6 has been rolling that way since day one.

The Peavey switches channels using a relay. The relay is engaged when connected to a voltage. Peavey uses a negative supply voltage to do that. I don't own a Helix and haven't seen the circuit board but AFAIK Helix uses a transistor based open collector circuit to switch. I would be very surprised if this isn't done with an NPN transistor. Unfortunately to switch negative voltages you'd need a PNP transistor.

The ring contact is for switching the FX loop in your Marshall.

Thanks for the advice.

I thought that looked familiar.

Thanks for your suggestion. This is so useful for me.

Here we go again - https://blog.line6.com/2023/09/15/eric-klein-at-least-half-of-your-modelers-sound-is-determined-by-your-playback-system/ Plus there was this from a while back - Hope this helps/makes sense.

Hi, I don't think there's a midi command to simulate this FS3 function but... It may be fastidious but you can try Tthe following solution. (can work only if you play with a sequenced song with a Tempo track). Assuming your stomp receving midi clock and tempo track from logic: 1> Save your preset with (even done manually the LFO Timed to your song). The preset will be (normally) saved with the good parameters 2> Go to your logic (or any MAO soft) projet and insert a CC command to select your preset (even if you're already on it, it will reload the preset) on the 1rst Bar at the beginning of your song (with or without latency compensation if necessary) I'm not 100% sure but it should work Regards

I also have the Xvive U2. It sucks but does not have the problem you're describing. It is VERY sensitive to positioning in relation to anything else electronic that might be in the same room (or building or county). Also temperature, humidity, barometric pressure, phase of the moon... It doesn't work any better or worse when connected to my Helix than direct to the amp. I would look around for anything that might possibly be interfering with its signal (fish tank?). FWIW - I have another 2.4 unit, as well as a cheap UHF (excessive compression) and a 5.8. The 5.8 is the least troublesome and was the cheapest wireless on Amazon ($30 vs $150 for the Xvive 5.8). Go figure! The common problem with all of them is battery life. When fully charged they work OK but as soon as they get a bit discharged they start to have dropouts. I HATE grabbing my guitar in a fit of inspiration and having it ruined by dropouts!!! I'd rather trip on cables. Someday when I hit the lottery I'll buy a PRO system, but until then I'll stay wired.

Variax is a discontinued product and it speaks volumes about Line6 as a company that they are continuing to support it at all. Each additional product SKU is a very expensive effort. They are providing a solution that meets several objectives whether you care about them or not. (I don't care about Variax, but I care about AES and digital outs). I would turn this question around. Why would they support a separate SKU for a very small audience?

No you don’t need to update, however you may find some useful features depending on your current firmware. Check the release notes for firmware releases since the version you currently have installed and decide whether you want to. I don’t know why you wouldn’t though. The update procedure is pretty robust and well documented. There’s lots of help here if something unexpected happens. The likelihood that you will end up being unsuccessful is small.

This is a user forum. Open a support ticket and ask customer support.

If all you're doing is playing through headphones then the only setting that matters is "Guitar In Pad". If the signal from your guitar is too hot, turn it ON. If you're using external FX in the Loops then you probably want the SEND/RETURN you're using set to INSTRUMENT for Stompboxes and LINE for Rack Gear if there's no -10db/+4db switch on the device. -10db= stompbox/INSTRUMENT.

I've been working on a Linux editor for the Line 6 Catalyst amps and a setup tool for the FCB1010 MIDI Foot Controller. Both apps feature a text-based, menu-driven interface that’s user-friendly and accessible from any device, whether connected locally or remotely. You can connect a Raspberry Pi or similar microcomputer to your rig and easily modify settings from anywhere over Wi-Fi or the internet. **Catalyst Editor**: The app currently supports MIDI CCs (in manual), and I'm looking for the official SysEx data for the Catalyst. If anyone has access to this data, please share it to save me from reverse engineering! **FCB1010 App**: I’ve also included Catalyst SysEx presets in the dumps folder, so you can make the FCB1010 work seamlessly with the Catalyst amp. Any app that can send SysEx data will work; you don't need mine. **Check them out:** Both have binaries built for x64 Linux included if you don't want to compile source code - **Catalyst Editor (Work in Progress)**: GitHub - catalyst-editor - **FCB1010 App** (with Catalyst SysEx presets): GitHub - fcbtool I'm considering after I'm finished developing a web-based GUI version in the future to ensure it’s accessible on any device with a browser. Your feedback and suggestions are welcome! --- Let me know if you need further changes!

You can go from input to path A to path B to output, which gives you double processing power, which means double as much FX blocks.

Force/ Don't Force,... Force is when the Helix determines the Model (and the tuning) of the Variax by what is already in the Helix preset default setting or, a custom setting that is created by the user ahead of time. Don't Force, is when the Variax Model is determined by the Variax setting independently, and not determined by Helix. The Variax decides what it will play.

Here’s my understanding: What you’ve described will ensure that the Helix processing does not make any tuning changes using that preset. As you mentioned the overall Variax setting should be per preset. That means the tuning you hear is the signal received at the Helix input. Since you’re using a Variax the selected model could already be in an alternate tuning defined in Workbench HD. Or the guitar itself may already be in an alternate tuning.

This mistaken belief indicates that you are doing something wrong (or the delay is in the Mothership), and your description is insufficient to perform any analysis of the problem. The only delay between sounds that occurs with the XL (or any Helix product) is when changing PRESETS, not Snapshots. The Mothership manual seems to indicate that you need to count the milliseconds of LED ON/OFF time to know what programming mode you're in #!?!?. The editor seems to serve no purpose other than loading cab simulations. I've no wonder that you're having problems getting it to work. All I can do is to tell you how to get the XL to send PC messages using Snapshots. First, DL this: MIDIView - Free MIDI Monitor tool for Win & Mac In your XL's Global Settings>MIDI/Tempo be sure that the MIDI Base Channel (default Channel 1) matches the Mothership MIDI Channel - probably Ch 1, but the manual doesn't specify. Check that USB MIDI is ON (for MIDIVIEW) and MIDI PC Tx is OFF (prevents XL from sending the default PC# when switching XL presets). Don't worry about Snapshot CC Send as the Mothership only responds to PC messages, but considering the minimalist manual, you might want to leave that at the default of OFF just to be safe. For each XL Preset - 1) In Command Center, on Snapshot 1 (SS1), set Instant Command 1 (IC1 - the first lightning bolt) to the Mothership (MS) PC# you wish to load when that XL Preset loads. The other settings can be left at their defaults. SAVE THE PRESET! 2) Switch to SS2. Repeat step 1, entering the MS Preset you wish to load for that SS. SAVE THE PRESET! 3) Repeat for SS 3 and 4, SAVE after setting each! 4) Return to SS1 and SAVE! This ensures that SS1 loads with the Preset. Use MIDIVIEW to verify that each SS is sending the correct PC#. If it doesn't work, contact Tsakalis to get help configuring the Mothership. Good Luck with that! Attached is an example preset. I created it with my HX Stomp, so there's only 3 Snapshots. Calmandweird.hlx

Uninstall/reinstall drivers. Optimize the computer for audio - google it! Try a new usb cable. Make sure that phantom power is off. If you're connecting to the interface by wireless, use a cable. If you're using a desktop pc, try a backside usb port. If you're using a laptop, try a port on the opposite side of the laptop. Try disconnecting any other usb devices. Unplug the laptop and run on batteries. Borrow a friend's traditionally powered (not bus powered) interface. Make sure that you're at least 10-15 feet from microwaves, routers, cell phones or other wireless devices. Use a wall circuit that does not have fluorescents, rheostats, microwaves a/c or other motorized appliances. Make sure that you're connected to an emi/rfi filtered surge strip. If all else fails you can try voodoo...

Hopefully, it at least means a Win 11 driver update for Variax. It's so annoying not to be able to tweak things.

Has anyone ever had lasting success with Spider V Remote. I started from scratch, removed all drivers and software related to Line 6. Reinsgalled all and it worked for about 10 min. Turned off amp and software. When all was fired up again...all went poop. I can load it and it recognizes the amp but as soon as I start to adjust settings...it freezes and the app shuts down. Any success stories?

If you already own any version of the Helix book, you can download version 1.4 for free from your Sweetwater account. Here's what's new compared to version 1.3: 534 pages (45 more pages than v1.3) In-depth analysis of v3.70’s nine new Cabs In-depth analysis of v3.70’s ten new Amps Complete parameter descriptions for the new effects (Prize Drive, Regal Bass DI, Feedbacker, Dynamic Bloom, and Nonlinear) 27 new presets featuring the new models in the v3.70 update I'm particularly proud of the new presets. Even if you don't read the book, just import the presets and have fun :) All except for three of them work with HX Stomp. I also did something a little different this time. I described the preset creation process for the new presets, and why particular blocks and parameter values were used. Also, many of these are oriented toward lead sounds. I felt the book needed more of those. And of course, I'm always interested in your feedback for when I start work on v1.5!

Hi, I have an HX one and I recently upgraded to the new 3.71 firmware and my pedal started crashing. When I rotate thru the modulation effects and I get to an effect called 122 Rotary, it makes a weird noise and freezes and only a power cycle brings it back. I tried everything including factory reset, but it keeps crashing. It seems that some other effects are also working weird, but I can't really tell. Any ideas what could this be? Thanks! LEo.

The software is already written, it just needs to be ported. Apple's OS is a close relative to Linux so it can't be all that major of an undertaking. Yes, it's nontrivial or I would be able to do it myself, but it's not that big of an ask. Microsoft and Apple are getting more intrusive every update, and I want to move entirely to FOSS.

I have the same problem than you but for all modulation effects, every time i try to get to the modulations category, the pedal crashes. I didn't found the solution yet, i gess we just have to wait for the next update :(

Need help with this. When I run through in ears the sound is not the same as through FRFR. Lose touch and sustain. Should I set up a new set of patches for when using in ears and send through AMP OUT? Any other global settings to be aware of that could cause isses?

Hey guys! Been a huge Mule/Haynes fan for years. I wanted to create something that could be used for their full catalog as all the presets I have sampled have just been well... not that great. I'd love your thoughts on this. Let me know what you love and hate! I was a little torn between the Solo Lead Crunch and the Solo Lead OD, ended up settling on the OD with the gain on 2.5. Despite Mule's in your face attitude, Warren plays very low gain in most cases. The sweet spot here is between 7-8.5 on the guitar volume and you can crank it to 10 when you really want it. I can't express how important this is for some tasty Warren tones. Also note, Warren mostly uses the bridge position for rhythm and the neck position for most of his lead stuff. Made this with an SG with Bare Knuckle Mule (PAF style) pickups. Pedal list and function: Low Cut: exactly what it says. He doesn't use it much, but it stays on his board for certain uses. Auto Wah: As we all know, we don't have a great option for this. I tried the mutant as well but this is about as close as I can get for those "Mighty High" sounds. Still wasn't able to really dial it in. Best on around 8 guitar vol. It responds better when you crank up the vol but doesn't sound great with the extra gain. Delay: Well... delay. Nothing fancy. Warren uses a simple analog. Octave: Nothing crazy here either. Just an octave down with enough mix to come through. Rotosphere: Did I few things here which turned out pretty well I think. Tried out the Sadites trick of running two with slightly different speeds on the horn and woofer. I also linked the cab in with the switch to disable the cab when the Roto is activated and added a Low/High shelf since the only cuts were in the cab itself. I added an EQ after the Roto to tame some of the undesirable harshness that comes without it. This also responds and sounds much better/accurate at lower guitar volumes as well. Around 3-5. High&Mighty: Just a high gain Minotaur with the tone rolled way back for some of the more heavy tones like you'd find on High and Mighty. I love the Minotaur for this since it really keeps our definition and doesn't get over-saturated. Klon: Low gain Minotaur just for some tone shaping and tightness. Just Enough: This is something I've been adding to most of my presets. 10-Band EQ with the gain cranked and some eq shaping that acts as a natural overdrive. I've loved this set-up on everything. Especially Fender model amps in a more Country rig. I usually pair it with a volume cut after the cab but didn't feel it was needed here. Feel free to throw it in some of your own presets! Wah: I haven't found a wah on the Helix that I've been a fan of. But the Throaty seems close enough to a Bad Horsie type wah. Reverb: A little plate to fall into the mix. If you're really going for a Warren tone, use very sparingly. But I personally prefer a wetter verb. Cab: Greenback 25 w/57 Mule.hlx

This is Vol.3 my original ambient/drone patches for HX Stomp (Firmware 3.6). Last time I did such a Patch collection for HX it happened back in... 2021! Since I still get messages from people asking for more, I thought now is a good moment. These are 4 new patches I've developed and fine tuned during 2023. All devoted to ambient and drones soundscapes, with a twist: these are intended to use be used with small/compact travel-friendly setups, where HX is the main effect unit (with my AMT SS20 preamp and 3-4 other pedals in front of it). Each patch has 3 different Snapshots available. On all patches, while in Stomp Mode press&hold of Footswitch 1-2-3 will recall the Snapshot 1-2-3 accordingly. Expression port is set so that Tip is assigned to FS4 (tap tempo/tuner) and Ring to EXP2 (I use a DIY aux switch and an AMT EX50, which has also a TS port). You can download these patches here (as well as those from Vol.1&2): https://www.dropbox.com/sh/r0disfvi47smw6l/AACwvUEhbceqHcJvYJTNcRMua?dl=0 Have fun!

In your account, go to Order History. Select the book and View Invoice. Embedded in there is the activation code. Click on it, or copy/paste it into a browser.

Yes, you can do that. The Input block of a preset includes the Variax settings. Assign the Variax Model parameter to the Snapshots controller just like you would any other FX parameter you control using snapshots. Once assigned the Variax model changes when you change the snapshot.

The following might help you to better understand how modern MFX units and Pod Go in particular, work. Similar to all modern MFX units the Pod Go gives you a huge choice of amp and fx models, but there is a finite amount of processing power ( DSP) available. Even Helix (whilst more powerful than Pod Go & can do a lot more) still has DSP limits. Although Pod Go uses Helix modelling, it is not a Helix. In Helix units like Helix floor, Helix LT, Helix stomp, Helix Stomp XL and even Helix FX, you have complete choice of what amps, cabs, & effects you can select - there are no 'compulsory' amps or fx you have to have. Pod Go is different. It is designed with a number of fixed blocks such as EQ, wah, volume pedal, noise gate, and fx loop. These use up very little processing power and whilst you can change the type of EQ or wah etc, you can't change these into anything else e.g. a reverb or distortion and you can't save processing power by turning them off. Think of all these fixed blocks as using up DSP power equivalent to a tennis ball, and all the other fx and amps as being a football. You can't put a football inside a tennis ball and hence you can't turn a wah into a distortion pedal or a reverb. Next is the amp block that you can't remove. Each amp model uses up different amounts of DSP and full amps use up more DSP than their preamp version, because full amps have more parameters which take up more DSP. If you choose jumped amp models these will use up more DSP ie they are like a beach ball, whereas other amps might be a football and pre-amps will be smaller footballs. Turning off the amp model doesn't save the amount of DSP - its a fixed block so Pod Go will reserve the DSP for the amp you have selected even if you turn it off. If you didn't need an amp model you could reduce the DSP being used by the amp by selecting the pre-amp model that uses up the lowest amount of DSP processing power. See the link from @grdGo33 Finally, you have up to 4 'user' fx blocks that you can choose and you are free to select any of the effects you want ....but again each fx uses up different amounts of DSP and using the same balls analogy these can vary from say a half size football to a beach ball. Now, all of your balls (amp and fx) have to fit into a box. That box is the total DSP processing power limit you have available. Think of the box as being able to hold say 5 normal size footballs (1 amp and 4 fx) but only if you fill it with average size football's. If you choose 2 beach balls you might only have enough space in the box left for 2 more normal size football's or 3 smaller size footballs. And if you chose 3 beach balls you might only have room left for a smaller football. If you wanted to get a bigger football into the box there would be no room...but if you changed one of your beach balls for a football, you'd now have room for the extra football you wanted in the box. In Pod Go, effects like Spring Reverb and Horizon distortion, and jumped amp models use up a lot of DSP (ie these are big beach balls). So if you select several of these 'beachballs' you'll only be able to get lower DSP hungry effect options ie smaller football's, into the box and sometimes there might even be no room left at all. In Pod Go some options will be greyed out to tell you that you don't have enough processing power left to have these (too many beach balls hogging up the room). But if you change one or more of your choices to something else and change a beach ball for a football e.g. replace spring reverb with hall or room reverb, or a jumped amp model to a non-jumped version, or Horizon drive to a tubescreamer or other distortion, then you'll free up DSP. It would be so much easier if Line 6 MFX units showed you the DSP cost of your selection as a percentage eg Spring Reverb 33%, Brit Plexi Jump 41%, Horizon Drive 25% etc so you'd know the DSP cost - even Helix users have asked for this. Unfortunately Line 6 don't provide users with DSP information - Pod Go has no DSP percentage indicator next to each amp/fx model or even an overall DSP meter so there is no way to see the DSP cost of your selections. If it wasn't for the excellent work done by Benvesco we'd have no info on this. But manufacturers like Zoom in the G6 and G11, and Mooer e.g. in the GE300 have a different philosophy and they do provide DSP info to help their customers. It's purely an ideological issue and a conscious decision by Line 6 not to show DSP usage...and it's something where I think Line 6 are just plain 100 per cent wrong and is why we regularly get posts like yours because Line 6 is not helping its (esp new) customers to understand about DSP and how Pod Go works. (I've written several posts here on this topic including one with a shopping analogy, so look at past posts and have a read). Anyway, hope this helps you.

Those isn't an answer, but I purchased six Shure WL93 Lavalier mics and they work flawlessly. Clear as ever, no buzz. They are very high end and write expensive but we'll worth the price. The buzz could be bad wiring or connections.

Maybe I can save someone from having to do a factory reset. I had this same problem today and figured out that the issue was that in Global Settings, I had to Return Type set to Aux instead of Return like it should have been. I forgot that Aux and Return share the same input and I had set it to Aux at some point to send external audio through. Changing Return Type to Return immediately fixed the problem.

Hi there. I just got the Helix yesterday. Many other units and keyboards have a way to lock all the presets and controls for live performance. When the unit is "locked" for live performance, the musican cannot accidentally adjust any parameters in the heat of the battle. Boss MS-3 has this lock feature if you press and hold the "save" button for 3 seconds: all knobs and mini buttons become unresponsive, until you unlock the unit. Does something like this exist in a Helix? PS: yes I am quite clumsy, and have to play a complicated set that has frequent sound changes, and the last thing I need is to accidentally start editing my patch during an important solo while people are holding up their cell phones .... or something :) Many thanks in advance, d.

We are going in circles lol. There is no way to turn it off. The capacitance is always enabled. And that menu always pops up when touching the tap tempo/tuner button. For such a serious and global setting, I still don't understand why it's so exposed. I never want to change how my delays operate during a gig.

You can touch the tap tempo button and the tap tempo/per snapshot/per preset setting pops up. As a matter of fact, I own 2 Helixes, and during regular rehearsals, I constantly see the tap tempo setting flash, probably due to static electricity or whatnot on the floor. So it's not having to press the menu button. My question is -- why? why do you want to give users an ability to tweak this stuff on the fly? Why can't you disable the capacitance of the switches? Lock that stuff up.

Just wanted to update in case someone searches for this in the future... Had some time to undo all the screws and take out the board today. While nothing looked to be broken, I did end up getting half of the Tap Tempo LED and the missing color on half of switch 11 working while probing with a sharp chopstick. I didn't really want to risk trying to heat those tiny solder points, and they really are head of a pin tiny, so I left it at that and reassembled. Tapped the switch with more force that I ever would in the real world for about 10 minutes and everything remained working, so, while not fully restored, I'm happy with the result of a visual tempo indicator...