vmoncebaiz

I agree, once the bug is fixed it will still be nice workaround, but I would love to see the ability to just assign the snapshots to any FS in Stomp mode. Honestly though, I've been completely satisfied just sitting in Snapshots mode this week. I thought it would be harder to give up the individual stomp mode than it is.

I don't use the looper for anything performance based so thats not an issue for me. I can see how it might be for others though - I never even add it to presets. I have to add it in when I do feel like practicing with it.

I also just double checked with Digital Igloo, and apparently the Ext amp control states are recalled for each preset which is even better than I thought this would work. For instance Snapshot 1 is clean channel 1 w/ no FX, Snapshot 2 is clean channel 1 w/ FX Snapshot 3 is Gain channel 2 w/ no FX Snapshot 4 is gain channel 2 w/FX Going from 1 to 3 or 4 will change channels on the amp. Going from 1 to 2 or from 3 to 4 will ignore the ext amp control

I second the 121, 57, and 7. I use bigger low cuts on the 121, and high cuts on them all, down to ~7k For high gain stuff i like the RE30. Another guy here on the forum mentioned using the 112 for high gain sounds, and it actually works really well. I particularly like them both blended with a duplicate cab and second mic, usually a 57.

I've only gotten to mess around with non-variax piezos a small amount with Helix So far I prefer the tube-pre block to most of the acoustic IRs i've found. There are a couple of the IRs that do sound very good though, especially if you roll off high end and low end as mentioned above. I recommend using the return inputs over the Aux input. It feels better and sounds better to me. Then you can set up separate signal paths or insert the return anywhere in your first path if you want to save on DSP and use the same post effects or whatever. You can also set Snapshots or Footswitches to bypass the amp and cab for use with the piezo, if you prefer to use a singal signal path.

I think you just need to go through each snapshot and press the ext amp switch FS for the ones you want it to change with. You might also have to go into the Menu> Global Settings > Preferences. Make sure "snapshot edits" is on discard, so if you turn effects on/off manually or use the EXT amp FS manually, it won't get saved in that state in the snapshot.

That's a pretty sick workaround. I prefer 10 stomp mode myself. So now having the option to assign a stomp to midi switch itself to snapshots is awesome. I'm going to spend/waste a lot of time playing around with that. Thank you!

If you want the s/pdif to be the digital out, you'll have to set that for each preset. If you record over USB using Helix as your interface, the DI from the guitar and mic inputs will default to USB 7/8 I don't think it is. You'd have to use a load box for the amp, and then take the pre amp only from it's FX send. But then, Helix doesn't offer power-amp-only models either. You could try a load box from Two Notes Engenerring (expensive) or something like Mesa's Cab Clone (not expensive, but sounds better for live than for recording) and send that signal into Helix for use with EQs, cabs and IRs if you want to try those, and post FX. Sort of a similar situation: a friend of mine runs a live amp with a mic that he sends into Helix. He wanted to use the cabinet models to color his physical cab sound and to be able to basically use his physical amp and run it direct to PA. He had better sounds with using EQs (global and separate blocks) rather than using the Cab modeling.

I know most people recommend running Helix at very high levels to get better signal to noise ratios, but I like having room to adjust it either way if I need to. And like you mentioned, running into a physical amp has other considerations like how much you'd like to push the signal into the amps front end. I've never noticed signal to noise ratio issues unless Helix was below 20% and it was on a noisy system. So I tend to keep Helix between 11-1 o'clock with no issues. That way, if I want to be a real live guitar player, I can turn up quite a bit. It's whatever works best for you and your set up.

I was getting over using IRs. Not the sound of them, just the infinite number of options they presented. I was spending more time comparing them all than I was playing guitar. So at some point I just stuck with the 3-4 IRs, and the 2-3 HX cabs that I liked. (I use Global high and Low cuts and then some additional EQ depending on the IR or cab) Then I was lucky/dammed to be in the room with Pete Thorn while he was demoing some of his sounds on Helix. My god! The sound he got with some IRs and small EQ cuts on them were incredible. It wasn't even my style of tone, but just some of the healthiest guitar tones I've ever heard, amp or processor. Anyway the hunt is back on and I'm dropping some more money to check out the Ownhammer 2x12 Bogner cab IR he was using. Nice to have options, but I'm going to miss playing my guitars for the next month.

I keep an unused paintbrush on the shelf behind mine. Cat hair and pollen make a mess of it in the summer.

I'm not exactly sure how you have it set up. Send 1 is going to the Firehawk monitor in? And the XLRs are going where? Generally, I've just run XLR left and right into the monitor in of the Firehawk1500. It will give you some stereo imaging from a single source, and plenty of volume. Unless there is something specific you are trying to set up, I think most people run it like that. Let me know if there is something else you are looking to make happen.

All AMPLIFi presets WILL load into Firehawk. Once a tone is tweaked and saved in the Firehawk Remote app, it is no longer able to go back to AMPLIFi. Presets created or tweaked in the Firehawk app will have the "FH" badge next to them, and they will not show up when searching with the AMPLIFi app. You'll want to save your tones to your account in addition to, or instead of saving them directly directly to the device. That way all of your AMPLIFi tones should be available to you by logging into your account on either AMPLIFi or Firehawk remote editing app. In order for others to search for your tones you have to "publish to the LIne 6 cloud"

If you can pull it off that would be sick. I've had so much fun with sustainers, especially with a floyd rose involved. Just wanted to give you a heads up as someone who's installed sustainers in other guitars. Sustainer electronics are susceptible to crosstalk, which just means you'll have to work out a way to keep it away from other electronics in the cavity if possible. There are a lot of extra electronics anyway with the Variax thing going on inside. You might need to route even more room out of the body to make it work. Just something to be aware of. Good luck and definitely post back if you go through with it.

Patch sharing in general can be very tricky. The guitar, pickups, speakers, string guage, and the player all change the way the end result sounds. Not to mention the player's ears, perceptions, and preferences. Even with a sound clip posted, they way some one plays will react differently to the patch - especially on more dynamic processors like Helix. I think you'd still be left dissapointed. There is a rating system on customer tone, but again it still deals with all the variables listed above. I think using other peoples patches work best when you find a person that has similar gear and tastes as you do, but I always think it's worth tweaking. I started looking at presets as starting points and opened up to the idea that 9/10 times you can make a better sounding preset for your style and needs if you're down to tweak. The most usefull thing I've found with other peoples patches is copying specific effect blocks and pasting them into my own patches, for instance getting the exact timing for an Edge or Gilmour type of delay.

At the moment, I'm split halfway between using all 8 snapshots with bank up/down, or using the 10 FS all stomp mode. I think snapshots is going to win out once I rebuild all of my sounds in there. The adjustable parameter control is awesome there. I was doing a bit parameter control with stomps, like having a FS adjust all the amp parameters to mimic multi-channel amps. But the level of control in snapshots kills that, plus that frees up more stomps for bypassing effect blocks. For whatever reason, I still build presets in 10 stomp mode first, then I go into the snapshot edits after. I think its easier to get my blocks where I want them as a good starting point then adjust everything as needed in snapshots. I don't think I could get along with the 4 snaps and 4 stomps - I get a weird claustrophobic feeling just looking at the scribble strips that way

I started to number my IRs manually just to save time in the future. I know that's not any less of a hassle up front, but its already worth it after 2 updates where I reset everything. What program was that? I might give it a try. I didn't even think something like that existed.

The TB516G is NOT compatible with the G30/G50/G90 series. The G70/G75 use a different radio, so the transmitters between the 2 generations are not interchangeable. I agree that the TA4 connectors are hard to repair, so I went with Mogami cable and if there's ever a problem Mogami will swap it out with a new one. Most dealers don't stock the Mogami versions so I have a back up I can use while the Mogami is being replaced. I also use Levy's "MM4" to hold the belt pack which lets me put the jack on either side I prefer. https://www.amazon.com/Levys-Leathers-MM4-Wireless-Receiver/dp/B00074B67A

If you add a small patch cable from Send 1 to Return 1 on the Helix you can then do the following. Place the Send 1 Block just before your cab. Set the input of Path 2 on the bottom to be Return 1. Set Path 1 Output to be XLR, and set Path 2's output to be 1/4 inch. Now anything on the top path will go through the cabinet model to XLRs. You can add post reverb and delay after the Send 1 Block Anything before the Send 1 block and anything you place on the bottom path will go to 1/4 out (separate delay and verb for stage volume FX is you want them), presumably to your power amp on stage. Add a volume pedal on the lower path to control only the stage volume with the expression pedal. If your patch gets more complicated like musiclover7 mentioned you can still use the send and return blocks to patch around things instead of assigning path 2's input to be a return. They can also be used as separate output blocks themselves that can be placed anywhere in your chain. Most of the time people will agree its easier to run either full FR/FR to the front of house, or do the Helix plus power amp (or full amp). But if mixing it together works best for you do it. Most people might also reccomend using pre-amp only models to the power amp. I however like the full amp models to a physical power amp better. Try both and stick with what you like (although using a pre model to power amp and a full model to cab to front of house does add more things to tweak and balance) Whatever floats boats ya know.

Is your unit by chance the Helix Rack? I have Rack, and didn't realize the reset procedures are different, so I was losing my mind when using the footswitches on Helix Control weren't actually resetting or rebuilding anything after an update. If you have the floorboard version then feel free to ignore me and I hope you find a fix/get helped soon. Helix Rack Since the rack doesn't have footswitches, you'll instead hold down a combination of the 6 encoders that are below the main LCD screen as you're booting up. ENC2 & ENC3 - reset globals ENC3 & ENC4 - restore stock presets and setlists ENC4 & ENC5 - restore stock presets, setlists, and IRs ENC5 & ENC6 - reset globals and restore presets, setlists, and IRs (entire factory restore) ENC1 & ENC3 - rebuild all presets ENC1 & ENC5 - clear all presets, setlists, and IRs ENC1 & ENC6 - will enter Update Mode (This feature is only available on firmware v1.06.5 and higher)

The amp model designer at Line 6 showed me this cool trick for padding. He used it at a trade show to have a forever looping mellow ambiance in our room when we put the guitar down. Use a delay pedal and assign the Feedback parameter to a footswitch or an expression pedal. Have the max value at 100% and trails ON. The pad time will be determined by the delay time. Using whatever control you set you, put the feedback to 100%, lay down the pad, and then turn the delay off. With trails set to ON, the pad will remain, but nothing else will be added back into it. Then you can freely switch amps and effects and play over it (provided its toward the end of your signal chain). When you want the pad to die down turn the feedback back to its minimum setting. Higher minimum settings will give you a more gradual fade out. It obviously works best with digital delays that don't color each repeat. Try this to see how it works. you can copy/paste the pad delay effect into other patches too. The one doing the pad part is the ping pong delay. http://line6.com/customtone/tone/1615879/ On a fun side note, try setting up the Time parameter to another controller to make glitchy time warp / DJ noises for the pad.

I tried a US Highway Series Strat neck, and was checking for someone asking about the tapper and width, and it fit. (Yes, the shape of the heel wasn't exact, but I've seen worse on some guitars from factory. It was a decent fit side to side) But I pointed out that the distance of the frets to the bridge would be a bigger issue if someone were to try the swap. I just wanted to make sure that folks knew that even if a neck fits perfectly in the heel they need to be aware of how the frets sit in relation to the bridge for it to work.

Another tid bit on this point is that sometimes I will avoid using a Variax specifically to avoid confusion. When I'm training a dealer on a specific Line 6 FX or modeling unit, I use whatever guitar is sitting at the store. That way there's no question as to weather the Variax is part of the sound. I think it's a good thing to show the products all work well independently from each other. Then when you start to use Variax along with other Line 6 products you can highlight the added functionality that comes with it. One of my favorite parts about working for Line 6 is that we might be the only company who can openly like other companies and their gear. It's part of what Line 6 does. I imagine the employee at Fender who secretly and shamefully plays his Les Pauls and Marshalls in his basement. Ha. Gear is fun and variety is the best part.

Be careful. I have and extra strat neck I checked it with the Variax Standard. It fit in the pocket just fine, it was the same number of frets and both guitars had the same scale length listed. The issue was that where the bridge and neck heel sat on each guitar was different, which would effectively alter the scale length and cause tuning problems across the finger board. The frets would be in the wrong locations after a neck swap, despite having the same specs (scale length and number of frets). You'll have to ensure that the position of the frets (or nut) from the bridge is the same on the new neck in order to maintain scale and be able to properly intonate. Not to say it can't be done, it's just with my neck specifically it would require a decent amount of woodworking on either the body or neck to seat it at the proper position.

I use the same monitors, and all Yamahas I've used before tend to be bright. I use the high end "-1" feature on the back of the monitors to help a bit. The other thing that makes a giant difference for me is using the global EQ to cut out extra high end and low end that we normally wouldn't hear from a guitar cab. Just like Resonator mentioned above, I low cut stuff below 80hz and high cut anywhere from 6kHz- 9khz. If you're more sensitive to high frequencies like I consider myself to be, I've been getting along with the 121 ribbon, 30 dynamic, 7 dynamic, 112 dynamic mics more than the others. I've played an awesome amount of nice traditional tube amps, and I'll never stop loving them. I switched to digital gear years ago (I've used Line6, Kemper and Axe Fx) for the convenience. Its not until recently that stopped really missing tube amps, but it is a different experience (4x12 cab vs monitors or PA speakers). But all of these new processors make it possible to get whatever sound you're looking for if you play around with them. And the video in the original post is using passive pickups. So it shouldn't be to hard to come by similar tones.