Rewolf48

I think it is because linked to the HD500X the speakers are stereo and when unplugged they go into linked mono because you haven't got the reverse connection from L2M back to L2T to make it stereo. As in - it is supposed to work this way. If you want it work how you expect then you could try an L6Link loopback (connect L6 Link out from each speaker to the input of the other one) and then the 1/4" outputs from the HD500X to each speaker or 1/4 inch to phono into the phone stereo connectors. Haven't tried this though - I just put my JTV through my HD500 for acoustic and electric

I have a bug - I am not sure if it has been notified before but I didn't see it in a quick search of this thread. Firmware is Helix = 2.12, JTV 69 = 2.21 I have a patch with acoustic and electric snapshots swapping guitars with each snapshot, and I also have a variax magnetics feed that I use to add a distorted electric under the acoustics. The acoustics (6 and 12 string) have the tone knob set in the shapshot to about 2.5, the jazzbox snapshot to 9 and the rest to 10. The pickup selector is locked on the acoustic snapshots so that I can set the magnetic pickups without changing acoustic model. When I swap between snapshots that are not locking the pickup selector (or pickup selector and tone) there is no problem - the tone position changes exactly as expected. When I swap from the acoustic snapshots (tone is set to 2.5) to anything else (tone set much higher) the tone on the model doesn't change meaning that I start with the tone rolled right down to 2.5 when the snapshot says set it to 9 or 10. This is rather important as there is a significant change to the expected sound! The fault definitely relates to the locking setting, because when I unlock the controls the Tone setting changes correctly and when I set it back to locking the pickup selector the Tone setting doesn't change again. Has this one been reported before? *** Update After more playing around trying to balance levels between the snapshots I discovered that it happens all the time when trying to go back to 10, but that it isn't a problem if the tone setting is "Don't Force". *** Update 15/02/17 Line 6 support have confirmed that this is a known bug - lets hope it gets fixed when we get Workbench HD over Helix in the next Firmware

In Helix there will be none - because Helix Editor truncates them down to 2048 samples at 48k which is 42.7 ms and you can reduce that down to 21.4 ms by picking the 1024 sample. In a DAW the 200ms version will use less CPU than the 500ms version, but the 500ms version will have more reverb detail from the cab/room

There are many VST hosts out there for very little money - see this article from Sound On Sound: http://www.soundonsound.com/sound-advice/q-there-simple-way-play-vst-instrument-without-daw It recommends this free one - the only problem that I can see is that the VST3 64bit version doesn't come without on-screen keyboard. http://www.hermannseib.com/english/savihost.htm I personally have an older version of Bloxpander than I sometimes use for synth duties: http://www.eareckon.com/en/products/bloxpander-vst-host-for-live-performance.html

Did you read the SOS Review on the first link? As also explained in the same review with respect to a direct box: All this device is doing is providing a variable Impedance circuit outside of the Helix and it is little different to this recommendation for interfaces to use with Helix Native from somebody who has definitely played with it a bit; Helix native is obviously missing the variable impedance circuit that the hardware version has: https://www.thegearpage.net/board/index.php?posts/23445268/

That is not the issue. A passive electric guitar creates a signal through the pickups and then after the built in volume and tone circuits it goes down an Resistive Capacitive circuit to your target device. The resistive capacitive circuit is called a "Guitar Lead" and it is resistive reducing the signal level and to a lesser extent introducing noise (which is why nobody uses a 300' lead) and capacitive because you have two wires in very close proximity and a capacitor can pass a high frequency signal across it - which means that the longer the cable the duller the sound. Both of these effects are dependent on what is completing the circuit - the guitar circuit itself and and the impedance of the device being plugged into. You change the impedance at the guitar level with the tone knob but you get a similar effect at the other end of the cable too. A high impedance input reduces the effect of the cable and to a degree the guitar controls and results in a bright sound, a low impedance enhances the effect and gives a duller sound. This is a gross simplification, but the impedance at the other end of the cable can dramatically impact on the warmth of the guitar sound, and that is why the Helix allows you to change it - but only on the Guitar input. To get the same effect on the other inputs including FX return (or on your AD/DA Converters for your PC when running Helix Native) you would need an impedance adaptor before the target device.

Loads of impedance devices around such as this one which only has two options: http://www.soundonsound.com/reviews/motu-zboxdi-impedance-corrector Or the one that everybody made so much fuss of about 5 years ago - the radial dragster: http://magazine.dv247.com/2010/05/04/radial-dragster-review/ He would do best with two leads and just turning down the guitar not being used as the active acoustic should be fed into the Aux input with the high impedance. You could easily make your own if you are that way inclined.

Wouldn't fit with my style at all - a pause in movement and the Wah switches off? I can see that being an additional option perhaps in future but not one that I would use. Put it on ideascale if it sin't there already. I don't see that they messed anything up - this functionality wasn't designed exclusively for Wah but as an ability to switch in anything using an expression pedal - you can introduce any number of effects as the pedal is moved

I suggest that you ask on that forum - I am fairly sure Elantric is a member here as well, but if he is then his name is different and I can't remember what it is. It is worth joining it anyway because there is a lot of other information about variax and a patch exchange area which Line 6 haven't given us - so if you want a PRS bank, a bouzouki, a set of volume levelled standard guitars or loads of variations such as "super strat" then that is where you find them

A suggestion - If you put the delay into a parallel path then you have a level parameter on the merge block that might give you what you want, or you could add a Gain block to that path. Of course if you don't have a free parallel path available then it doesn't help you much.

This is where you want to start: http://www.vguitarforums.com/smf/index.php?topic=13484.0

The distance parameter simply selects a different IR within the Cab model - so there are already 12 x Microphones IRs for each "Cab". Adding 8 off-axis distance and 5 angle options would multiply the number of IRs by 40. I would say that if you can't achieve what you want with the available options including combining different mics and dual cabs then just find the IR that you prefer and use that - or even create one by merging IRs.

Helix Cabs have Early Reflections as a parameter if that is what you want - the only control is "Amount" which appears to control both level and time but it may provide what you need.

The Editor is going to be change so that Helix Native and the Editor look, sound and behave the same and swapping patches either direction between them is dead simple. To me that implies that they have to have done something about IR management in the next firmware release + editor otherwise the process of swapping patches between Native and Hardware is going to be a nightmare.

L3t is used by bass players and does guitar fine, and it connects digitally to Helix. See: http://line6.com/support/topic/410-l3t-as-a-bass-amp/

Really don't know about the cube - I use a microcube for quiet practice, but it is really not great, but it is a completely different product so you can ignore that. The common recommendation for a budget FRFR speaker if you need to play live is the Alto TS210 If you a not playing live then a decent HiFi will do the job if you can't get Studio Monitors

If you are using it as master effect (on everything) then you could also insert it between the outputs from the M20d and the Power Amplifiers. You should be able to remove dry Channel X from the mains - the monitor mix and main mix can be unlinked - they default to linked so all outputs change together when you use the main faders, but when unlinked the monitor send level is independent from the mains, so the main mixer (level to mains) fader can be set to the bottom for zero level to mains without muting the channel. Monitor outputs can go up to +20dBu which is probably a bit high for most inputs (double the professional studio Line level) - I would start on zero and slowly raise the monitor output watching the level indicators on the BBe (if it has them - I don't think the pedals do) or listening carefully for any distortion.

It could be synced in that the start and end points could be quantised to the clock - this would at least mean that the loop will not drift because you can't hit a pedal to the precise hundredth of a second. But I agree that there will be subsequent problems if the tempo was changed. So fine for syncing to single tempo electronic drum tracks, but useless for anything else.

JTV section is now bumped down to second on the Forum list for Variax Instruments (didn't that used to be guitars?)....

It is a free IR pack from Line 6 + 65 Amps - just enter your email address here to download: http://line6.com/allure/

But there is an announcement covering new developments for Helix (in the schedule for NAMM) and thanks to a little leak we know that some of it relate to IR's in Helix and 65Amps. from the thread on TheGearPage So today on "Lunch with Dan", Dan dropped the bomb that he's been working on impulse responses recently for the Helix. There will be preview package for this stuff at NAMM. If you're on this thread...You probably know who Dan Boul is... Or at least what a "65Amps" product is. Dude knows tone(s). Helix is going be improving a bit SOON.

As this doesn't appear to have crossed forums yet I should point out that there has been a small leak - and DI appears to have acknowledged it. https://www.thegearpage.net/board/index.php?threads/helix-full-on-competitor-to-kemper-axe-fx-or-no.1632348/page-6#post-23378788

Use the headphone output for this - I do it with a Roland Microcube for quiet band practice and it works well. Just get a 3/8 stereo lead and an adaptor for the 1/4 plug at the HD500 end

Without considering the amps or compressors I would start with three questions relating to it sounding better at home than on the stage: 1) What volume are you setting up the sounds with at home? This HAS to be the same volume as you play on stage. This is because of various effects including Fletcher-Munson curves which can effect the perceived sound. 2) What is your home room like? Is is a "lively" room where the sound from the speakers is being reverberated around and therefore you are hearing the sound thickened by reverb at home, but not on stage. You might trying adding a short reverb to your patch. 3) On stage you go through the PA - even though you are going direct and expect that the desk will be flat... is it? The soundman may well be applying low cut and cutting in the lower mids to reduce an overall muddy sound for the band as a whole - if you are getting this eq'd signal back in the monitors then what you hear in stage is not what you are feeding to the desk.

I've only had my helix 2 weeks but somehow I got as far as Matchless DC30 Channel 2 and haven't actually gone onto any of the others at all. With a gain control reducing the original signal level + KWB and Clon and my JTV 69 I have a huge range of sound that just feels "alive". I can go from Jazz Box warm and clean to spiky Tele rhythm, a glassy Strat sound and a really smooth Les Paul lead that sustains forever. I haven't even added any effects!