codamedia

Are you talking about the "Stack Power Amp ouput mode" that I mention in the post above? If so, what are you connecting to, what is your setup? If you are using that mode, why aren't you using any amp models?

You do it the same with with the POD.... I did look at this patch in HD Edit, but didn't load it on my HD500. If the volume is too high or too low when you engage the rat (the only overdrive in the patch) then you can adjust that with the Rats "output" level. It really should be that simple. If the patch itself is too loud or quiet compared to other patches you can adjust the volume it in the mixer block to match the other patches.

That would be me... sorry if I offended you, that's not my style! It's really difficult to convey intention and intent in a forum post - especially when the forum doesn't have working emoticons to use :) I was trying to help, not belittle. I'm sorry it came across as the latter.

Global Settings... Stack Power Amp Output! That will thicken your tones, and should solve the problem across all pre-sets. It's the EASIEST way to get betters tones from a setup like you have. Personally... I think there are better ways, but start there!

I thought you were asking if this would work? Now you need them for other things? If that's the case, try the AUX in.... you will need to set the HELIX input to AUX for this. I would then put a GAIN BLOCK in the first position and bring that up about 6db... you may even need a little more. This should bring the AUX to a similar input level as the Guitar Input would be.

The "save" is actually a separate button above that knob. As stated, that is actually the "Presets Knob/Set Lists Button" . It is convenient, but not essential to operation... as long as you don't need to change set lists on the fly, or save to a new preset location on the fly (both can be done with the editor online). The big question is.... how much damage is done to that area of the board. If just a knob is missing (shaft in tact) then you are getting a great deal! If the shaft is broken changing the pot is not a big deal... even if you can't do it yourself, a qualified tech can do it within an hour. BUT If the shaft is broken.... how, why, and how much damage could it have done to the surrounding area of the PCB when it happened. If there is more damage under the hood it could be cost prohibitive to repair. Just my 2 cents...

It might not be obvious, but yes - it stops the ACOUSTIC from blending into your electric patch. The XLR outputs always obey the LEFT/RIGHT rules set in the mixer. The 1/4" outputs collapse to MONO if BOTH are not plugged in. When you use a dummy plug on the 1/4" right out the 1/4" outputs obey the LEFT/RIGHT rules, but if you don't use a dummy plug on the right, everything (including your acoustic) will come out the left. Hope that makes sense. If not, please trust me :)

I always use Studio/Direct... Just avoid the use of any "cabs/mic" modeling when going into an amplifier. Either don't use an amp model, or use only the pre-amp version of the model.

I don't see any mention of using STEREO effects in this opening post... therefore I am presuming you don't need stereo output for anything, just a SINGLE OUT for electric to the amp, and XLR out to the PA for the Acoustic. This is how I used to do it when I had an HD500 (note, you can reverse left and rights if you want, I'm just listing them here to make things clear) YOU MUST place the MIXER BLOCK as the last item in the chain, otherwise any effect following MAY merge into the other tracks. Connect XLR Right to the PA System Connect 1/4" LEFT to your amp *** Important ***.... Put a dummy plug into 1/4" RIGHT. This prevent the acoustic from merging to mono on the 1/4" outputs. On your acoustic patches pan both channels on the mixer block to RIGHT On your electric patches pan both channels on the mixer block to LEFT NOTE: If you want to run the acoustic into AUX in... just set your acoustic patches to use AUX input, and your electric patches to use GUITAR input. If you want to have separate feeds and effects within a single preset "all of the above applies", but the following is also needed.... Plug the acoustic into the AUX in... not through an A/B box as you mention you are doing. Create TWO DISCREET paths in the HD... PATH 1 for your ELECTIC (choose the guitar input) PATH 2 for the acoustic (Choose AUX input) remember to pan those mixer blocks at the end.

Sorry, late to reply but the behavior you detail is exactly what I see with Windows 10 using Presonus Studio One. This suggests that it is Windows 10 specific... According to "Brue58ski" Windows 7 only needs an initial activation then runs fine when offline. On Windows 10 you need to be online whenever you START your session, but then you can take the system offline to do your work.

GLOBAL SETTINGS > MIDI TEMPO > PAGE 2 > TEMPO You can set the BPM to be GLOBAL, PER SNAPSHOT or PER PRESET If you set that to PER PRESET you get exactly what you want. Even when set to preset, you still have the ability to tap in a new tempo if the timing drifts, or the song is started in the wrong tempo. Now, if you are asking if this is a good idea? It's great if the drummer is on a click and your tempos are stable, but I sure would't count on it for the reasons you are asking. The LED drifts from the actual clock. Many have complained about this... and some just turn the light off altogether as it really bothers them that it drifts. The actual tempo clock stays stable, it's the LED that drifts. In short, don't rely on the LED for timing. If the drummer cannot see it, you can't even get a reliable count in for the song. It's almost impossible to follow an LED when playing... although it's not a bad way to start a song in the ballpark.

FYI: I use my returns as additional instrument inputs regularly... depending on what I bring to the gigs. What do you mean by "completely silent"? Do you mean it isn't working for you, or do you mean it's noiseless...which I assume is a good thing? Is the Helix up to date? If not have you tried updating the firmware and/or doing a complete factory reset to see if the problem goes away? Why? Many years ago I got a BOSS GT-8 for next to nothing because it was just a horrendous noise on all presets. Nothing looked out of line in the global/master settings so I reinitialized the unit. It actually fixed the problem and the problem never returned for as long as I owned the unit.

I'm not sure I understand your "A" question... do you mean HD Edit, or Workbench? I address Workbench below with my "warning". B: If you use a VDI Cable the HD500 can power the Variax, and change the patches in the Variax automatically. In the HD500x global settings you will set the VARIAX MODEL to "per preset". Then you can load a different model in any preset. C: Older Variax models have to the the tunings baked into a patch. The tunings cannot be altered separately. This is accomplished by storing (on the guitar) the same patch with an alternate tuning. With the HD500x, you also need to double your preset. One preset will call the normal tuned guitar, the other can call the altered tuned guitar. Of course, you can always access the altered tuned guitar from the guitar switches itself. WARNING! (this may be what you were asking in question A) The original Workbench Software that the older Variax guitars requires to create altered tuning, other modifications and patch management DOES NOT WORK with the HD500x. You won't be able to connect the Variax to the computer through the HD, you will need the Workbench interface, or an older POD for that connection. The HD500 worked, but not the HD500x.

Yes.... but not by changing the expression function, it's done by simply changing the on/off state of the effect. 1: Setup the expression to control both he WAH and the VOLUME 2: In snapshot 1, turn the wah off. Only the volume changes are heard. 3: In snapshot 2, turn the volume off and the wah on.... now it controls the wah and not the volume.

NOTE: Line 6 gear is very picky when it comes to expression pedals. Not all expression pedals will work. There are dozens of topics about expression pedal woe's on these forums. Try different polarity positions and make sure the minimum dial is at zero.

Actually, you can use the tuner from the returns.... Go into tuner mode... in the menu you will have the option to change the inputs. Change this to use the return you need (or all of them) and that becomes the source for the tuner. I don't know if this was always an option, or if it was recently added in a firmware update. All I know is that 2.7 has it :)

A Variax is far more flexible in terms of tones and tunings... (eg: instant drop D, open tunings, etc.. etc... it's not limited to full guitar drop tunings) that said.... the Drop "does what it does" very well, and will work on any guitar you plug into it. I carry my TELE and my VARIAX to every gig... but my VARIAX is an older 300. If I had a JTV or Standard loaded with magnetic pickups it would become my primary guitar pretty quickly.

MIDI does not pass audio... so that's not the solution. I would setup a stereo RETURN as the last block in the helix... and connect your keyboard to those inputs. If you want the GUITAR and KEYBOARD to work at the same time, you need to set the MIX on the return to 50% if it isn't already. The guitar will process as always... the Keyboard will join at the last block, completely unaffected by everything before it. If you want to get into processing the Keyboard with the Helix you could setup it's own patch, or run a second path for the Keyboard that is separate from the guitar chain.

A simple "acoustic" sim would be nice to have... but in reality they are just EQ curves so you don't need them to get the sound. One or two EQ's can get the job done just the same. I suggest you take a look at this PATCH offered by Glenn DeLaune. For less than a stop at Starbucks you don't just get a patch with EQ curves, you also get a couple really nice IR's that can be used in your own patches as well.

I'm not trying to sound rude or harsh, but there are so many contradictions in the opening post that I don't know where to begin. You say that the Power Cab can't keep up but the sound man had you turn it down to 11:00 (less than half). That means it was too loud. Try re-positioning it to hit your ears instead of the techs (and subsequently the crowds). You said the tech had your guitar in the wedge so loud that you couldn't hear the vocal. NO - you had the guitar in the wedge so loud that you couldn't hear the vocal. How much you want is your choice... just ask the tech to turn it down! You said the club had "high quality gear" but you said you don't expect much from the wedge, and that your guitar "came out as a fizzy, articulated mess" through the wedge. If the gear is indeed quality then the wedge should be able to handle a MIX of your choice. Either the gear is not as good as you suggest it is, or your tones are not optimized yet... and the wedge it just re-producing what it is fed. You don't like IEM's because of the disconnect from the crowd. You don't have to be isolated if you don't want to be. Everyone I know that uses IEM's uses them with an ambient mic to offset that problem. You may want to look into that. Based on all of that, these are the first few things I would try, with the gear you already own. Re-position the Power Cab so you can hear it better. Forget the rock pose of putting it behind you and blasting it past your knees into the faces of the crowd and tech. Angle it toward you so you can hear it. It can still sit behind you if you want, but by directing it upward you will hear it better...and subsequently not turn it up as loud. The by product of pointing it upward is that you will hear the tone directly. That will help you dial in the tones the way the tech and crowd will hear them from the PA. You will produce tones that work universally, not just in the Power Cab blasting past your knees which often results in a shrill/fizzy tone when in it's direct path. (EG: the "fizzy, articulated mess" you heard in the wedge). That's my take on it. If I have misunderstood anything said in the opening post I apologize. To answer this question directly.... "HELIX: Possible to run PC in backline AND FRFR112 in frontline?" Yes you can do that.... but you shouldn't have to!

Yes... the one at the right is the MERGE, then one on the left is the SPLIT. Keep in mind... you can move those just as you can move blocks... so you can move the merge inward which will allow "common effects" after it - if you choose. The nice thing about the SPLIT and MERGE is that they don't consume any blocks :)

That video doesn't look like you are editing the value in the right place. You are only temporarily changing it. 1: Instead of changing the value with the small button under the "route to" label... push and hold that button. 2: That opens new options... the footswitch should be assigned already... but further to the right is "min & max values" 3: The MIN value is your "State 1" (as you call it) value, the MAX value is your "State 2" value. 4: Save the changes and test the results.... it should work!

My post wasn't really about that aspect... but you seem to be hung up on my 1 to 1 statement so I'll address it. The Palmer PDI01 has three tones. Three IR's captures those three tones! Of course it's not a 1 to 1 of the HARDWARE... the IR has no jacks, no box, no ground lift, etc... but they do capture the tones which is the key feature! In my example... The Fishman JD Aura is loaded with 16 IR's. Turn all other features off on the hardware and 16 new IR's capture those 16 original IR's! The Fishman Aura is loaded with 128 IR's. Turn all other features off on the hardware and 128 new IR's capture those 128 original IR's! When I load those IR's into the Helix, they sound exactly the same as their hardware versions - and I process them to taste just like I would on the hardware itself. Back to topic: Should I be legally allowed to distribute all of my Fishman Aura IR's across the internet? I don't think I am! You may disagree. That's fine!

Maybe :) A week or two back someone requested a '63 Bassman, and I supported that request. There were several people that jumped in and said "no way, we already have a bassman". I know the difference between a 59' Bassman and a '63 Bassman. They are not the same amp. You know the difference between a 5150 (aka Panama) and a 5150 III. Since I don't know the amps, I trust when you say they are NOT the same amp Good luck in you quest. If the reqeust is on "ideascale" I will go upvote it for you!

I have zero interest in high gain amps... anything beyond a JCM 800 is too much fore me. I wouldn't be able to tell the difference between a Peavey 5150 and an EVH 5150 III in real life or in a modeler. BUT I couldn't agree more with what you are saying here. I already got my Deluxe... I got my Twin... I got my AC30 (two of them actually), and I got my Plexi. Just because I have everything I love about the amp world doesn't mean you should be deprived of what you really want. If the 5150 III is an iconic amp missing from the Helix, then you have the right to request it, and I hope you get it! More choice is not a bad thing... I already ignore 85% of the amps in the Helix.... ignoring 95% is just as easy. If it draws more users, I'm all for it. You should think of HX as a series... the Helix is just one product (the flagship) of that series. The more successful the series is with a growing and diverse user base, the more they can develop the series... including the Helix.