gunpointmetal

They definitely both have their uses. I can't get the normal gate to do anything constructive if I put it in a high-gain patch without a hard gate following it somewhere. I really wish Line 6 would implement a gate the way Boss does (or at least used to, haven't used anything for an extended period since the GT-10), where you can essentially do the "X" pattern with a single gate like you can with the NS-2 so you can place the gate wherever in the chain, but set it so trigger off the input, or the input gate. That was a cool function because you could use a mild settings triggering off the input then have the gate right after the amp so you get the gate reacting to the input signal as far as opening/closing, but gating the high gain sound.

As long as the IR isn't being exported in the patch file so it can be uploaded to Custom Tone for sharing or sent out via some other method as a file containing a paid IR file, shouldn't be an issue.

Yeah, I wouldn't just pass my source code out to the open-source community for such a tiny number of users. Outside of server applications Linux is hobby for most of its users who find some joy in having to fix problems, lol.

Well now that I understand what you're talking about, I'm all for it as long as it doesn't require software to fill up space on the physical unit that could be used for more FX and amp models, lol.

Ok, I think maybe I misunderstood what you meant by sharing patches/IRs. Basically what you're saying is to have presets acknowledge the IR on a individual file data level instead of which slot it would be stored in? So patches that have "EVH_V30_SM57_EDGE.wav" as the cab IR would find that particular file instead of looking to load the IR from a given slot no matter where in the memory it is located? That does make some sense, then.

No, I don't think they did either, but I also don't think it's that bad. And the legal issues regarding the IR's would need be considered, even if MOST users would never share their paid IRs anyways. Is there supposed to then be a filter on Custom Tone that somehow knows to strip an IR from a preset if that information were to be included with the preset when you export it for storage? The Kontakt example is just as problematic though, because if you're using a paid sample pack, you shouldn't be sending those samples to whoever needs to open a patch, either. There's also the possibility that the internal storage system on the Helix just doesn't have the ability to manage data like that.

The "Noise Gate" in the dynamics FX section is more of a suppressor than an actual gate, similar the Boss NS-2. If you're battling noisy environments or for high-gain staccato use, the input gate with a hard gate a little later in the chain (my preference is after any dirt/compressors and before any amp models).

It's a little relevant because Line 6 doesn't offer a place for users to exchange paid IR's like they do with presets. I could maybe see them allowing it for FREE impulse responses available through the Line 6 Shop, but for other situations, I'm sure Ownhammer, ML Soundlabs, RedwireZ, etc don't want their IRs getting spread around for free with user presets on Custom Tone. I think that some of this is a good idea, especially about the logical management, but you can't just go giving away free versions of stuff that would otherwise require you to pay for it.

I don't know, I just clicked "Export" in the IR window in Edit and gave it a destination, then all my IRs had the same names except with a "01-, 02-" etc prefix on the file names. I'm sure there'd be a better way to include the files with patches as far as like a digital signature something, but I'm also sure there is limited space for storage inside the Helix. It's never been an issue for me because live I use a total of two IRs across 4-5 presets, and the only time I'd ever need to audition through more than 128 IRs would be in a studio situation, and whether at home or remote, a DAW has the facility to load IR's to audition, as well as the fact that I can record a DI track and get a "close enough" sound to track with with the IRs on the device and reamp it with whatever I or the mix engineer wants later.

IF you Export your IRs they get numbered. Drop 3, 5, 6 back in their slots and load up the rest with whatever you want.

You should be able to choose the Helix as the audio hardware connected to Audacity, just make sure you're using the driver that installs with HX Edit. Simply add a new track, assign it an input from the Helix, arm it for recording, and go.

That doesn't sound like "works great". 2.4Ghz band is full. I pulled my G30 off my pedalboard because if we're in venue that has it's own Wi Fi and there are more than 15 people in there with cell phones, there will be dropouts, interference, having to change channels between every other song and sucks. Even my bassists "expensive" G90 rack mount has issues in full clubs. We also have Wi Fi on stage for our IEM mixer, so there's another interference point. I'm going back to UHF and putting up with some noise until 5ghz shows up with reasonable latency, because the slight extra fuzz is more welcome than dropouts.

Don’t expect Line 6 to be active here, they don’t consider this an official support forum, just a user support forum. I think what it comes down to is the 2.4ghz band is full to capacity, and they know about the g30 issue, that’s why the battery cover is available by itself from full compass.

I went full digital back in GT-10 days and I don't missing carrying all the extra gear and fighting with a guitar cab that sounds different in every room. As far as "amp in the room", you need something that moves air like the cab you're used to or it won't work feel-wise. So either a real guitar cab, Powercab, or probably one of the Friedman options. I tried their wedge 12" speaker and that was the closest to a guitar cab feel I've gotten with full-range speakers. I personally prefer my monitor up on a pole behind me to further decouple from the effects of the stage/room on my sound. I'm also an anomaly among guitarists as I couldn't really give two craps less about "cab feel", since I learned to play and spend 99% percent of time practicing in headphones or monitors, so for me playing guitar has nothing to with the amp or air movement, just hitting the right notes at the right time in the right way. I sure do like having a load in that consists of my pedalboard, my guitar case, and my 12" PA speaker with a pole.

Is there any way to record what you're hearing? It might be easier to offer advice with that information.

Soundguy probably had a level wonky on his end and fixed it while you were disconnecting your ART box and was just embarrassed to tell you what actually happened. I watched a soundguy working with a friends band one night spend like 10 minutes screaming at his iPad because he wasn't getting any signal in the mains. Turns out he accidentally hit the MUTE switch on the L/R and since that wasn't usually procedure for him he glanced over it multiple times trouble shooting. lollipop happens, sounds like it got sorted, I would still check my cables, but I wouldn't change my setup unless something was damaged.

Dumb question, but are either of the XLR lines crossing the line that goes out to the amp? Our drummer runs a drum trigger for his kick and we couldn't figure out for the life of us why there was a faint bit of guitar signal in our IEM coming down the kick line. Turns out the cable he was using went bad and was picking up noise from nearby/crossed cables. The cable would make an audible noise if you flicked it or handled it roughly. Replaced the cable and no more issues.

Does it power up if you press on the battery door? I've literally replaced that component 4 times on my G30. Recently took it off my board because its basically useless in rooms with more than 10 people or places with modern mixers that have Wi Fi for tables (including the ones I have in my band racks for IEM setups) as it gets a TON of interference from anything Wi Fi. The only way I could use it was if I plugged it into a 20' cable and moved the receiver way off stage away from lights/gear/cell phones, which kind of defeats the purpose of a wireless if I still have to run an extra cable for it every time. I'm going back to UHF for the time being and dealing with the noise because the dropouts were way more annoying that a little noise.

Exactly fourteen minutes after everyone stops worrying about when the next one comes out and buys this one. L6 is keeping tabs, so they know.

I have the Floor. It's been rock solid live and for recording since I got it. My only problem was GC not honoring their preorder and sending units to "Platinum Stores" for sale instead of to the people who paid up front.

I've had mine since a few months after launch with daily use, transporting 3-5 days a week on a pedalboard to rehearsal and shows, and haven't had an issue. That being said, if you rely on your gear for your paycheck and you're using it everyday and traveling, you need to have a backup with all your settings update alongside your main unit. Anything less would be irresponsible.

Haven't had this issue on either of my laptops, but only one of them gets the regular updates. The one I need to use for recording only gets updated manually. It's a really good idea to have the most "pro" version of any OS on a computer than you NEED to work all the time so you can control the update schedule, and it's a good idea to only install updates if you absolutely NEED to, as well as limited internet use for work-critical hardware. If everything is working, there's no reason to change anything. You could try rolling back from Startup by holding SHIFT down while you select RESTART from the power options.

Something is amiss in the presets themselves or at the board coming back to your in-ear system. My IEM rig sounds just like my stage rig, just without the room involved. This is one of the main reasons we've gone to our own mixer/IEM setups for both of my bands. Custom mixes that never change, individual channel EQ separate from the FOH feed if needed, saves time in setup/soundcheck because we don't need to involve the sound guy in the monitor mix and we can each control our own mix from our phones.

Sometimes it easy for us guitarists to over and under think things when it comes to gear. Speakers play a huge role in how something sounds. You could have a really awesome top-dollar tube head and dial it in to sound amazing through a Marshall cab, plug it into a Mesa cab, and now it sounds totally different without ever touching a dial. Same idea with modelers and small cabs or FRFR speakers. A lot of peers that I play shows with use modelers from Boss to AFX, but most of them are still plugging into a power amp and their preferred guitar cab because of the feel and in-the-room sound that comes from those speakers versus a small full-range cab. Even if the FOH/studio sound of that cab mic'ed up might be the same as what the FRFR cab is putting out, its not the same for the player in their position on stage between a bassist and a drum kit, and being comfortable on stage is as important for a performance as how things sound. Headphones are whole 'nother thing compared to even FRFR solutions and most people will build patches specifically for headphones, patches specifically for recording, and patches specifically for live use.

Ok, a few misconceptions to clear up first. The Helix doesn't "sound" like anything until you tweak it to sound a certain way. (big period) You're never going to get a 1x12 PowerCab to sound like a guitar played through a massive bass rig, no matter how you tweak it. You could make it sound like that rig mic'ed up, and run into a console from another room, but the visceral guitar-playing experience of a stack of (bass) speakers throwing sound at you will never be replicated with a 1x12 cabinet, no matter how awesome it is. This is probably the BIGGEST reason people who are comfortable with amps and dive into modeling ultimately head back to amps. There's an expectation that because something like Helix/AFX/Kemper has all these bells and whistles that it should be able to sound like anything (which IME, it can) at any time, through any playback source, and that's just not possible. Imagine if you could have a 2" speaker and an 18" speaker that both are capable of the same frequency response. Even though they're moving the same frequencies, that 2" speaker will never SOUND like the 18" speaker. It's the same for a guitar rig. If what makes guitar enjoyable and gives it the sound you want is having six bass speakers cranking sounds at you, playing through a 1x12 will never match that experience, no matter how you tweak it. Before you write the Helix off as generic sounding, try running it into the FX return/Power Amp in of your head into your cabs and tweak with it that way. Always tweak with your ears, don't necessarily try to match physical gear settings to digital gear settings by the numbers, adjust stuff till it sounds good. TL;DR - The Helix is an incredible tool, but you have to be realistic about your expectations depending on your playback source. EDIT: if you're the kind of person who sees a button or knob and HAS to push it, modelers might just make you crazy, lol.