gunpointmetal

Yeah. Boss GT units had that feature for years. Put the gate wherever and assign its trigger to "input". That would be a cool feature, even if it means just doing a whole new gate with an input-sensing option.

You can do an amp/cab combo block on the "big" Helix too, but most people like the flexibility of separating them. I was looking at the Stomp as a backup for the Helix, but the block limit and not-so-instantaneous patch switching are kind of a put-off. I like the design of the HeadRush stuff, but I don't like using "updated" amp modeling from a decade ago.

I'm not sure how they'd port them, because for them to work with the Stomp they would have to be 6 blocks or less.

So you want to display the snapshots in a patch you AREN'T playing through to select a certain snapshot to "open" the patch? If that's the case no, you can't currently do that. You can save that preset on the snapshot you want to start off with, though, then when you select that patch it's on that Snapshot.

Are they "grayed out" in the list? Some FX take up more DSP than others and you might not be able to add all the models to an already full patch.

There is a still a "noticeable" patch lag between presets, about the same as the HD500. Mine doesn't automatically start playing audio when bluetooth is connected anymore, so they must have fixed that on the app, and I've never had drop out issues, but I'm never more than 10' from the floor unit when I'm editing tones anyways. The only thing I think they need to fix is the fixed block placement for the compressor block. A compressor after a high-gain amp is fine for recording, not so much for live use, though.

Yes, kind of. Use the bass octave first, multi-band comp with the low end heavily compressed and boosted towards the high end, then whatever bass amp/cab model you want. It will work in a mix if it's not the featured instrument, but you're not gonna wanna record any RHCP or Primus covers with it or anything. The octave FX work better on guitars in standard tuning than anything lower, but you have to be very clean with the playing to avoid warbles and glitches.

are you passing audio from the input when you scroll? I hear dropouts/pops if I'm playing while scrolling through various FX.

There were never "user definable presets" for blocks. Ever. That would be a sweet feature, though.

So you have the L/R outputs of your interface going into the Helix inserts to use some FX on the microphone? Just wanna make sure I understand your signal chain. Is this for a live performance or for tracking? If it's for tracking, I would just use FX in your DAW after you record a dry microphone signal. If it's for live use ditch the interface, hook your microphone into the Helix directly, and set up a channel for the FX you need.

I wouldn't lend my personal device out in that manner. I got a FirehawkFX for my backup. Yeah, its a tonal compromise, and a switching compromise, but its a lot closer than trying to use some random amp or carry around a whole separate rig just in case.

When I installed it, it created a "Line 6" folder in the "Documents Folder".

If you're doing IEM just for you and your guitar, you're gonna have a bad time, most likely. In order to avoid being isolated from the rest of the group you'll need earphones that let in some room sound, which means you'll have to run them louder to get the guitar mix you want, kind of negating a large reason for IEMs in the first place. If you insist on trying it, I'd get a small mixer and run two stage mics along with your guitar signal and balance your signal with the rest of the band in the IEMs. Otherwise, maybe talk with your bandmates and see if they would ALL be interested in better monitoring and go the XR18 route, then you can run six individual monitor mixes to IEMs OR floor monitors depending on what everyone wants, and everyone can dial in their individual mixes with a smartphone. That's how we've been doing it for the last few years and it has made our lives SO much easier. We stick one OH condenser on the drum kit for a little room sound, then everyone goes into the mixer. It helps with us that everyone is running direct to FOH so we don't need a split snake, but it's really nice sound checking and not having to point up/down at the sound guy trying to dial in monitors, just slide a fader on my phone.

IF you have to switch presets in between songs just get a cheap looper pedal that allows you to store loop and put it after the output of the helix. Prerecord your transition loops, put em on the looper pedal, and then do whatever you need to with the helix.

The only time I've ever heard one of those things have a positive impact on a guitar tone was someone running into the front of an old Line 6 Spider head. Every other time it sounded like it was basically a mid-scoop button set to varying degrees. They sound great on bass, though.

Playing metal with FRFR for the last 4-5 years I can say that it's rarely (actually never, that I've experienced) a problem. My "FOH" Helix patches sound good enough through a shared backline (at least as good as me bringing my head and hooking it up to an unknown cab with very little set-up time, anyways) and usually, I'll just set my monitor on top of the backline cab and use have my sound on stage, anyways. That's one of the nice things about having that portable and easy-to-set-up rigs. I'm not getting in anyone's way bypassing the backline and taking the XLR out of the mic'ed cab and plugging it into my Helix never really causes an issue for anyone. The sound guy is gonna have to EQ that channel for whatever head/rig is being plugged into the backline cab for each band anyways (unless that person isn't a very good soundguy, and then it matters even less).

The ID260 has a stereo 1/4" MP3/Line input that bypasses the front end completely. Get yourself a stereo to dual-mono cable or adapter, and connect the stereo 1/4" outputs from the helix the MP3/Line input. Make sure the volume is down on the helix when you power on because I'm guessing the Helix "Big Knob" will become your master volume control, then try to build some tones. I would start with "full" (not pre) amp models and no cabs and go from there. There is a possiblity since the ID260 is a sort of modeling amp that it has more full-range speakers and you might need a cab model in there to get it to sound normal.

Was it ticking in time with the light?

Always plug your headphones/monitors into the Helix when you're recording via USB.

I'm pretty sure L6 is done supporting this device as far as features go. Maybe a bug fix here or there, but I wouldn't hold my breath waiting on new software or new firmware. Too bad, too. A couple of a tweaks and a PC editor and this thing would be most excellent instead of pretty good.

The old Boss GT-5 had analog distortions. I can't think of any modern multi-FX that do that, though.

Which is fine if you're doing most things. Unless you want to have a second gate in the chain, or a second EQ, then you have to give up one of those to do it. If you could move the comp block to in front of the amp/drive blocks (where literally every guitar player with a compressor pedal puts their compressor in a "real" amp rig) then I won't need to compromise on the other parts of the rig I have set up already. I'm just not seeing the benefit/need for fixed-location blocks in a single-processor system like this. You're already limited to what you can use, why limit WHERE they can be used. Seems like an easy fix from a software perspective, but it also seems like the FireHawk FX is completely done with its development and I'd be surprised if they even update the app anymore to maintain compatibility when iOS finally breaks it.

The physical Helix screen or the Edit screen?

It's not gonna work. You should probably just send it to me and I'll take care of it. In seriousness, though, when you play through studio monitors or an FRFR rig you have to keep in mind that you're modeling what is basically an entire recording chain, so the "feel" you get is comparable to recording with your amp in another room, mic'ed up, and played back through the monitors in the control room. In that situation you're interaction between the amp and guitar are also limited, and I feel the signal chains reflect that feel/lack of it. Some people will just never connect with playing guitar that way, as the visceral interaction of a guitar speaker in the room is part of how they play and is necessary for proper enjoyment. Before you give up on the modeling (which many feel is excellent) try running it into the return of a regular amp or a power amp/cab and see how it "feels". Maybe the whole "studio tone in a box" thing doesn't work for you and your enjoyment. But if there is one thing I know, whether its Helix, Axe FX, Kemper, or even cheaper/older modelers...if it doesn't SOUND good, its rarely, if ever, the gear's fault.

Use the Global EQ to tweak for a room i.e. boomy/shrill/boxy. Do any patch-necessary EQ on each patch.