codamedia

Not going to happen.... but a wireless system for a Variax (including all VDI functionality) would be a wonderful thing. I know I will always be tied to a cable with a Variax, but one can wish can't he :) You need to figure out who THEY is... because it isn't Line 6 or the retailers that did that!

.... or even a set of working emoticons :)

This can't be a real complaint... can it? Is this a guitar tech telling us he can't setup the guitar players Helix master volume to the exact place each time? I thought every tech knew how to solve this... just like they do with getting amp settings right gig to gig. Painters tape and a marker! It's worked for decades and kept the biggest of professionals happy.

Not all bands have their own sound tech, and not all bands get to carry their own sound tech to every show they do. How do you fire a sound tech at a festival 5000 miles from home? I find it's easier to setup a tone that they can't screw up :) We have different approaches... that's fine - I don't disagree with you or the OP on how you are doing thing... I'm just adding mine. There are more players with your philosophy than there are with mine... I'm aware of that.

That may sound harsh to many, but how true that is! Long before modeling I was in my late teens during the early 80's. I was taught by some very great players to always pump my guitar tone (Hiwatt Custom 100) back in my face through my monitor. I was told THAT was the tone the audience was going to hear... so adjust your amp so THAT sound good. Do not adjust it so the sound from the cabinet blasting past your knees from behind sounds good. BEST LESSON(S) I'VE EVER HAD! Having that experience, going to modeling was easy for me. When I use my tube amps (an SF Vibrolux or an AC30) I mic them up and listen through my monitor - and adjust them for my monitor. When I use my Helix, I listen through my monitor. It's all good!

FYI: If you have an old backup file from your HD500 (or even a factory preset file) the nice thing about HD Edit is that it works in OFFLINE MODE. If you open the program you can load the bundle without having an HD500 connected. Once you open it up, you can look at all your settings - although that delay is still difficult to get a reading from :)

Technically no, but there is an easy work around. Assign the expression pedal to control both items... then just use the snapshot to turn off/on the effect of choice. For example: Snapshot 1: Volume on, wah off... you will only hear the expression controlling the volume Snapshot 2: Volume off, wah on... you will only hear the expression controlling the wah Bonus... Snapshot 3: Both on... a really neat effect on it's own with both wah and volume being controlled. Using the same principle... you could also use the snapshot to control the BLEND of each effect... which is similar yet could be different from turning them on/off.

Absolutely... there are numerous reports of sound attenuation and tone loss problems as well as numerous positive reports like yours.... but there is no "allegedly" about it, both experiences are quite possible. It is important to understand that Phantom Power is not always the same. Although there are basic standards there are P12, P24 and P48 systems in the wild. There are also other specialized applications (P12L and SP48) that you may or may not encounter. Just because it works fine on your setup, you may drag it to a club and find your tones take a nose dive when the tech turns on the phantom power because something needs it. Being prepared for that possibility could be the difference between having a good night or a really bad night wondering what happened to your tone.

I fail to see the humor when a representative for the business basically gives the person having issues ZERO reason to ever have trust in purchasing a Line 6 product moving forward. Normally a business will engage a customer with a problem, not tell them they are S#!^ out of luck :)

That's some bedside manner you have there :) Really disappointing with with the credentials listed with your avatar.

Good point... I forgot about USB-C. USB-C is the next incarnation of USB3. It is fully backward compatible to USB3 and USB2... it just uses a different size port. If USB-C is what the OP is referring to it's still not an issue... they may just need an adapter to make everything connect together.

What in the world does this mean? LOL!

I thought I had added it to one of my earlier posts, but this is exactly what I do to warm up some tones. There is a thread here someone about the "Kinky Boost" as an always on... there are many that go with this approach. Another nice thing about the Kinky boost is that it uses very little resources.

Who are you talking to with this one? I hope it not me because I always RTFM! Page 7 of the HELIX Floor/LT manual clearly states... "IMPORTANT! Never connect the Helix device's XLR outputs to a device whose XLR inputs have 48V phantom power enabled!". I am not disputing that. I was aware of that when I bought the unit so I prepared for it (by breaking out a DI box) and have accepted it as such. That doesn't mean I have to like it :) No worries there Kilrahi! You didn't miss anything so if that "RTFM" comment was directed at you it's completed unwarranted. The HELIX STOMP manual does not mention Phantom Power anywhere... but if you do connect the balanced TRS output to a console with Phantom Power engaged, the same problem occurs as with the Helix Floor or LT. I repeat... The warning is not in the stomp manual so it wont' matter how many times you RTFM :)

There are two rows... an upper and a lower. There are two paths per row... path A and path B (as you are setup on the upper row) Each ROW has it's own processor... and since you have everything on the upper row, you are only using one processor. Move some stuff to the lower row and that will free up power.

OK... I don't know that model, or what effect it is modeled after... but the mix could just be for the "delay" effect, not the entire effect. It used to be common (on traditional amps/effects) to run an echoplex into an amp to do exactly what you are doing here. In that setup the "delay" was never used, just the tone of the pre-amp from the echoplex. If this model is built with the same idea then the warmth of the effect comes through regardless of how you set the mix control.

What MIX are you referring to? The MIX in the effect, or the level of the MERGE for path B?

I wasn't really clear... but my comment was directed toward the other quote not yours... I included yours for clarity and reference, but obviously that's not how it came out. Sorry about that.

The vast majority of pro's and semi-pro's still do countless small gigs when not on tours. They can be seen in a wide variety of honky tonks, clubs, coffee houses, legions, churches, etc... You are right, useless was not a good choice of words... of course it still works. But it is limited & IMO that's hard to understand considering none of their previous products suffered that limitation. Vintage vs Modern is not a fair comparison.... especially considering modern ribbon mic's are not bothered by phantom power, some even need it. I wouldn't complain if a vintage amp required an expensive and hard to find tube, but I'd be p/o'd if a new amp was designed around it. I love the Helix... I could never go back. I just wish I could use the XLR outputs regardless of the quality of console I get to plug into that evening. Since I can't, I need other gear to make it possible.

I followed the outline in this video... but substituted the JD Aura in place of the Helix EQ's Jason is creating an IR from. On the JD Aura, keep the blend all the way up when capturing the 16 different tones.

I'm not sure if this is a language barrier or you simply haven't explained it very well. I don't know what you are asking :)

With a setup that simple, is there any reason why you wouldn't have done this? Guitar > Amp Head Input > Amp Head FX Out (100% level) > Helix INPUT > Helix OUT > Amp Head Return That would have worked perfectly without adding any send/return blocks on the Helix. Both the INS/OUTS on the helix can be set to Instrument or Line if you needed to match the signal, and both also have volume controls so you can still "bump" the signal if you wanted/needed to.

I used to own an HX Effects (since upgraded to a Helix)... and to my recollection the merge block (with final gain structure) is only accessible if you have a parallel path. I don't think it is always there, but I could be wrong about that.

USB3 specifications state that both PORTS and DEVICES are suppose to be 100% backward compatible to USB2. In theory, any USB 2 device (that includes Line 6, and thousands of other products on the market) should work with any USB3 port. If it doesn't, it's because the computer manufacturer has not followed spec, not the other way around. Quite often... it's just a case of adjusting the USB settings in the device manager.

The headrush is not a "guitar speaker" just because it has a little more mids. It's still a full range box, much closer to the Alto in flavor than it is to any guitar speaker. Conversely, the ALTO is not necessarily a better representation of what a good PA does because it has less mids.... it could actually be the opposite because of that. The big question here is "why" is the Alto "less accentuated in the mids"? Is it because the ALTO cuts them (with use of the contour) or is it because the Headrush BOOSTS the mids? IMO, you want the box the leaves the mids alone as much as possible... or is at least capable of setting up as such.