ricstudioc

Are we talking about a click coming from the audio outs, or some sort of mechanical sound?

Did I see you at one of my shows? :-)

Sorry, no immediate solution but - Glanced at the manual, apparently in the Global/Footswitch menu you have an option to change the Tap function to Bypass. I'd assume that would stop the blinking, and probably set the light to one of two states- lit/unlit. This would at least let you determine if one state or the other is causing the noise, or switching between the two. While we're waiting for a solution to be offered, this seems at least a usable diagnostic. Best I got - there are some great folks 'round here, I'm sure the answer is out there.

Also take a look at phantom power settings at the mixer, it's fairly well documented that the Helix xlr's don't always play nice with phantom. Not sure how simply swapping cables would rectify it, but hey - I'm answering a question without seeing the issue. An "educated theory".

Well, most FX on Helix have mono/stereo versions, so simply using them takes care of that issue ref left/right, but - I'm not seeing here where you'd be getting a band mix from FOH into your in ears - if the rest of the band is also running direct this could be an issue. A while back a former band asked me to rejoin them on a series of tribute type shows, since my original departure the band had gone to in ears, which I had never used. While I was fine with the idea (and the band FOH guy is really really good) I still had concerns about my gtr mix in my headset. My solution - picked up an inexpensive small format mixer (Harbinger?) for about $50 - the size of a paperback book, but had an XLR input on one channel. I send the FOH stereo from the XLR's, but I told the sound guy to send me a band reference mix only, without my guitar included. (From the stage box, hence the XLR) I then took a 1/4" out from the Helix and brought it into one of the other channels, and fed that mixer into my in ears. Problem solved - I have a solid ref mix from the band and still maintain control over my guitar level.

Purely subjective, what do YOU consider "improved" tone? Personally - if you're already running dual 15", i don't know what you hope to achieve by adding another (or god forbid an 18"). If you play live at all a soundman would just start cutting everything below, say 100hz or so to clean up the mix. I do sound for a number of locals, and I sure would. I've been running dual 10" FRFRs since day one and get plenty of thump. Perhaps some time with your EQ?

Just a thought - wouldn't an FX return (I assume that's what you're using on the amp) expect to see a "line" level? i.e. coming back from some sort of processor? And anyway, line is just plain hotter than instrument.

Actually, not completely. (And let me clear up some terminology, I was a bit sloppy - the Floor has an actual, dedicated Aux in. Both the Floor and LT have Send/Returns for routing to external devices, those Returns can be used as Aux ins as well. So when I mention an aux in on the LT I was actually referring to using a Return for that purpose.) The Guitar In on the Floor/LT is designed to see an electric guitars magnetic pickups, and as such is (can be) very aware of impedance, and how that impedance interacts with the pickups, as well as downstream effects of that. Additionally it has a noise gate and variable pad in case the pickups are "hot" and need some taming. So far as I recall (corrections, anyone?) the Aux In/Returns have none of those niceties. They're a fixed impedance, the Returns have a level/pan control - and that's about it. Here's the thing - typically piezo pickups aren't impedance sensitive like magnetics, there's a whole different principle at work with them. So the Aux/Return pathway is perfectly viable for such use. At various times I've used the Aux In for piezos, keyboards, drum pads, all manner of things. None of which really care much about impedance. So you have options. Worth noting - I'm a Variax user, but since my shows required use of a wireless system I never used the fancy VDI inputs, or all the magic that a Helix can do when so connected. But I did switch to acoustic via the Variax, as such: I had presets where, say, the top three "paths" were dedicated to the electric guitar (kitchen sink stuff), and the final path dedicated to the acoustic sounds (little compression, EQ, verb). I set it up to where one switch took me between those paths - switch to acoustic, hit the switch and off we go. I'm not aware of the switching options on your PRS, most of my peizo equpped electrics (even with dual outputs) had the option to send everything down the one main cable, with a switch on the guitar choosing Elec/Acous/Both. So if you have that option, and would rather not have two cables hanging from your guitar, there's a way to do it. Hope this helps.

With all respect, Silverhead's overthinking this, if you simply have one output for the mags and one for the piezo. The LT will do it, but you'd have to bring the piezo in thru one of the 2 aux returns. The Floor actually has an Aux input for just such cases., leaving its Aux's free for external FX. If you absolutely, positively know that you're never going to want to use outboard pedals or fx, the LT should do just fine. If you want to maintain some future flexibility regarding external boxes, go with the Floor. My full kitchen sink rig used all 4 sends/returns to incorporate a bunch of EHX "9" series processors - your needs may not ever reach that need.

I'm in the Phoenix area - my first summer with the JTV's was educational, batteries would just prematurely... stop... in outdoor shows where the ambient could be 115f or so. Thank heavens the JTV's keep functioning as a reg guitar - got me thru a few shows while I figured it out. Turns out there are thermal safeties in those batteries, and the ambient plus sun beating on the guitar was enough to trip them even showing a good charge. I finally started keeping spares in a cooler, could typically get a set out of one before swapping out. Fortunately those kinds of gigs were an exception. If this is happening on indoor gigs, haven't a clue - can't imagine indoor temps in those ranges.

I'm sure others with experience in w/d/w will chime in, I'm a humble mono or stereo guy, but - I had to check on the Laney, sure enough a powered 4x12 - so speaker emulation on that side of things is covered (by an actual speaker). First thing I'd try: Helix in > boosts/drives/wahs and other mono stuff into > amp head of choice > right here insert a send to the Laney > cab/IR of choice > stereo processors > L/R out to small 1x12's. Make sense?

Hard to get specific, there are tons of variables here. I used an XVive U4 for the last couple years with my prior band and they worked a treat. So, you're getting a cue mix back from the board, the other instruments sound fine but not your guitar? That, to me, eliminates the XVive and the earbuds you're using. So - what's the make/model of the mixer? The band I mentioned used an X32, each one of it's cue mixes could easily have extensive EQ inserted, as well as(if I recall correctly) sends to that cue mix. So you might want to have a sit down with your FOH guy, see if there's an answer there if the mixer is comprehensive enough.

Unless I've missed something, only the Helix Floor/Rack/Lt offer Variax inputs. Of those the Floor/Rack offer more inputs/loops, and the LT doesn't have the scribble strips - other than that they're pretty much identical. Edit - oooops, missed the POD's mentioned above - but don't think they're still avail...?

Was in a very prog band in the 70's, Genesis/Yes/Kansas/Crimson etc - the Tubes were high on our list. I had this whole spiel memorized and would rattle it off easily (often under the influence of various and sundry pharmaceuticals). We went all around to stores and begged/bought/stole (?) as much POP displays as we could get our hands on (Point Of Purchase). So during the rap there'd be giant cardboard soup cans, cassette boxes, beer bottles - any product, you name it - getting thrown around stage. Good times! (Wish the Helix had been around then...)

So..... models of the Danelectro Tuna Melt trem, BLT Slap Back, Pastrami Overdrive, PB&J Delay? Ah hell - now I'm hungry.

From the moment I got Helix, I felt that L6 was missing a bet by not making their own expression pedal in the same format as the one built in. Same heavy construction, same treadle, same angle - heck even put magnetic pads on the sides so it would lock into place. Given the number of threads early on about compatible pedals it seemed like a no-brainer to me. Esthetically pleasing, placeable on the left or right - just seems like L6 missed a "plus sell" on this - I would have bought a couple.

Congratulations! And Merry Christmas, eh? Oh I believe it - I've been sorta retired from playing (at least playing well, neurological problems) for a while and have barely scratched into Helix for a bit. I'd bet Data can weigh in on the setlist thing. And you're quite welcome - I've found the Helix community to be extraordinarily helpful. Glad you got it sorted.

Hmmm. Sorry Joe, I'm about out of ideas here. To be clear, you downloaded Helix_Floor_v3.70.0_0xd2be32d64.hxf? (Assuming yes). Other than that I'm coming up short. DataCommando - thoughts? At least you're up and running on 3.6, yes? Nothing wrong with that, hold tight until this gets figured out.

An excellent idea. Hopefully you see this after a nights sleep. Do check back, let us know how it's going.

Personally, for the last several updates I've used the Line6 Updater, never have problems that way. If you go to downloads and enter Helix, then Firmware, then Windows 10 (I guess - don't know if that matters) it should take you to a screen where you can download the installer. Runs around 42 meg, very compact. Then run Updater and choose to update from local file. Works for me. Native has never seemed to have problems. Good luck.

As noted above the 4 send/return loops are one solution - I'm a big fan of EHXs "9" series of boxes, a full size build might include the Mel, C9, String - and I always run a POG. So there is that. To your specific asks - the Poly Sustain (heck, all the Poly effects) are DSP beasts, eating up the lion's share of one of the two processors. (And a mighty big lion, at that.) Now, if you're currently using the Stomp for full amp/cab/fx modeling, and have presets that work for you now - well that's one DSP line, so you'd have another full line available in the Floor. So certainly possible. There are 4 sends on the Floor, and various ways to split the signal path, so getting an octave box to send to its own discrete output wouldn't be a big deal. It all depends on the routing within a particular preset. As flexible as it is, there are still some practical limits to how much Floor can do, as with any gadget. Until you start dropping boxes on the lines it's hard to tell you exactly what's possible.

Why not simply volume fade (EXP pedal or guitar knob) into a delay/reverb? Here's a track I played on/produced for a local artist - no synths, all the pads are just what I mentioned.

My first thought is that your IR of the studio is just that - an IR of the studio environment. No real guarantee that it will translate well in a variety of live settings, you'd probably find yourself tweaking with an EQ anyway. Me - I'd probably jot down the settings from your studio EQ, use them as default for the Para and adjust as shown needed at sound check.

Can"t speak to the EGO, but I've regularly run Synth9, String9, Mel9, C9, Keys9 - there's always a POG on my board. Works a treat. Routing wise I put the sends first after the input (w/a compressor before to even out the signal), bring the returns in after amp/cab/gtr fx but before delay/verb to get some wet on'em. In some configs I put return levels on a foot pedal for fine level control/fades. Go for it, you'll be fine. Edit - Oh, I missed where you have an FX. Never mind - anybody else?

Chuckle - well, I suppose that's a legit way of putting it.