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  1. Thanks for the reply. I understand the SYN-5050 is the power amp. I'm asking how to get the full signal (amp models or Synergy modules) + the post-amp effects, to come out the speakers as well as the stereo DI outs in the SYN-2. I certainly could have phrased that better. Sorry
  2. Does anyone have thoughts on this ? I’m wiring up my new “hybrid” rig, but I’m stuck at the final stage. By looking at the attached digram can anyone tell me what source I should use to feed the 5050 power amp with? I’d like to send the DI outputs of the SYN-2 to FOH and have them contain the full signal chain. But that means the HX Stomp main outs have to get routed back to the SYN-2 somehow. Am I doing this backwards? Many thanks.
  3. You guys are killing me. So funny. I feel the exact same way; "Shut up and do your job". But... This isn't the hill I'm going to die on. MGW - That was an omission. I do run my rig in stereo. Sorry for not including that. Thanks to all for the input. I'm going to check into this right now. I'll figure it out and report back here, in case some other hapless soul encounters their own Larry The Ludite. Thanks all...
  4. Hello all - I typically run both my electric and acoustic guitars into my HX Stomp, then into a FR/FR monitor onstage. Both elec and acoustic guitars end up on the same pair of channels at FOH & monitor mixes. This weekend I've got a gig with a sound man that insists he gets my electric and acoustic on different channels. He doesn't care if my elec is stereo (I don't really either) but when I switch to acoustic it needs to be a different line than my HX. If I went into my acoustic patches and inserted an FX send or "Split Y" block would there be a way to automate this? Electric patches go out Stomp's main outs and Acoustic patches go out the FX Send (only, no signal in the main outs on acoustic patches)? Does this make sense? Many thanks.
  5. Ah, so block by block. That actually makes sense. Thank you very much.
  6. is there an article or link anyone can share with me that outlines this process? I understand I'll be limited to 6 blocks in HX, which is fine. I just don't want to completely recreate the 40+ patches I've got in my floor unit. Do both units have to be connected (via USB) at the same time? Thanks for any help!
  7. I use a G70 w 3 transmitters. The system is new and the verdict isn't in yet. I load all 3 transmitters with brand new batteries (Druacell or Energizer) that I've checked with a voltmeter. When I start soundcheck, the G70 shows them all to have about 8h10m of life. At the end of a gig they all show about 5+ hours left. That makes sense. I turn them all off and stow them. Next gig, I take them out and they all still show 5+ hours. I do sound check (about 30 minutes), look down and they're all showing less than one hour and a couple of the transmitters are flashing red. So I have to replace all 6 batteries and start the process all over again. This happens consistently. Thoughts? I'm not looking for suggestions for better batteries to try, I'm trying to resolve the issue of getting inaccurate info (or inconsistent performance) from the wireless system. Thanks!
  8. Thank you so much. I swear I read the manual front to back, but... clearly not! I will try this as soon as I get my Helix floor unit back in my studio (as it seems HX Edit won't even launch without the hardware connected). Drag and drop... wow. That is pretty cool. Thanks again!
  9. Is there a way to do this? I've made a lot of presets in Helix Native that I'd like to just port over to my floor unit and try out at a gig. Many thanks!
  10. Thanks all for the quick replies. What I'm trying to do is have a couple basic elec patches, an acoustic patch and about 20-30 custom "per song" patches. I should have been more clear. Because I sing lead and play all the guitar parts (elec and acoustic) I really like the idea of "create the set and just step through the songs in the order they'll be played". At our last gig our sound guy said "your acoustic is a bit to bright", but because I have to have a different preset for every acoustic song, I've got about 12 of them. So now I've got to edit / save 12 presets. Same can happen with some of the electric presets. @codamedia - I think you've got the right answer; ditch the set lists all together, write the preset number next to the song title on the actual set list (piece of paper) and just deal with it. Until L6 addresses this, it's the best solution. Thanks all!
  11. (I've looked all over but can't find an answer to this) Is there a way to use the same patch in multiple spots in a set list? I.E. I've got one preset for my acoustic guitar, one that handles my basic rock sounds for my elec, and a couple that are song specific. What I want in my set list is (for instance): Song 1: Preset 1 - Basic rock setting Song 2: Preset 2 - Acoustic guitar setting Song 3: Preset 1 - Basic rock preset Song 4: Preset 3 - Specific preset for this song Song 5: Preset 2 Acoustic guitar preset etc... Then I just advance through the set with the up / down buttons. So if I decide to tweak my acoustic sound, for instance, I don't have to manually perform the same tweaks on a bunch of different copies of the same sound. Same for Elec, etc. All I can see is a way to re-order a set list. I must be missing something. Thoughts? Thanks!
  12. Thank you (all) for such quick and helpful replies. I was literally sitting on the stage changing my output configuration right up until doors opened, but I got it all working properly and all is right in the world. Thanks again!
  13. I've spent days searching forums, (re) reading the manual and working on my Helix... can't figure this out. How can I get an identical output from the XLRs and from the ¼" outs, without using a "null block" (bypassed FX block who's only function is to allow the creation of another output path)? I've finally gone FR/FR for onstage cabs, so I just want the same sound to come out the XLRs as is coming out the ¼". Not only would this allow cleaner cable runs with our stage layout, but it allows me to use the big volume knob on the Helix to control my stage volume while not affecting the FOH signal. Am I missing a simple solution? Many thanks!
  14. This is a tribute band, so some are concerned about the aesthetic and hence want "real amps on stage". Sad, but that's "show biz" I guess. We're all on in-ears and have considered the "amp-less / monitor-less stage" approach. My problem with that is the disconnect that happens when someone gets close enough to the stage that they're not hearing the mains anyone then... Poof. Everything but the drums are gone. Side-fills would be solution there, but that's a reworking of our gear, rider, etc. Prob the right direction, but not going to happen immediately. So, perhaps one of the FRFR cabs that look like an older guitar cab are the final answer. Matrix FR212, etc.
  15. Great advice, all. Thank you very much. Yes, it seems like (at least the option of) a "global cab sim" at the XLRs would be valuable to many people. Amps on stage / sims going to house. That's how I ran my old rack rig, built around a Marshall JMP-1. The cab-sim outs didn't even respond to the master volume knob on the front. That knob only controlled the non-cab-sim outs that went to my stage amp / speakers. I understand this work-around diminishes some of the hard work Line 6 put into modeling the cabs, speakers, power section, sag, etc but FOH would still benefit and sound great. I don't need the same sound at the ¼" outs as I do the XLRs. At least not all the time. Thanks again for the quick replies! Best to all.
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