codamedia

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.

Old 8 bit converters would be bad for this (sort of like recording tape from tape)....but not the quality of converters in something like the HX series. I used to run an HX Effects and an HD500 chained up... no issues at all. I don't think either unit holds a benefit with inputs or outputs... at least in a live situation. Therefore whether the chicken or the egg is first won't really matter. The number of BLOCKS available PRE vs POST does matter. NOT USING LOOPS... these are your options.... Effects into Stomp: 9 PRE effects > Amp Model > potential of 5 additional pre or post effects depending on amp position, and/or IR cabinet requirement. Stomp into Effects: Max 5 PRE Effects > Amp Model > 9 POST effects It's up to each user to decide which of these directions is better for them. Really? I think the opposite is much more optimized. Normally you would want the better controller (in this case, the Effects with all it's switches) to send to the other device so you can control it. FYI: Sorry, I'm not trying to argue.. these are all just opinions and different points of view! You could run both directions... but you would have to be careful to turn off "THRU" on both devices, and mapping could get a little confusing. BUT - for the power user, yeah - why not! If it were me, I'd just run from the EFFECTS to the STOMP and call it a day.

First post.... WELCOME! Midi is only used for "control" not audio - so you need a bit of both to get the most out of it. I wouldn't waste any blocks for "loops" on either device to connect them to each other... I would just run my guitar into the HX Effects and set it up like I would a pedal board. The output of the Effects would go to the INPUT on the Stomp where I would setup my Amp/Cab/IR and Post Effects. I would also use the Effects as a master device since it has more immediate controls... and run midi out to midi in on the stomp. I'd coordinate the patch changes so the Stomp follows the Effects and would customize any other controls I want. This is strictly my opinion and my approach... what works for me won't always work for you :)

It is legal for your own use, if you own the product. I've created IR's from my Fishman AURA and Fishman JD Aura so I don't have to carry those boxes around, but it wouldn't be legal for me to share those. It's very different when you are creating your own speaker IR's, or Reverbs... that's a combination of items and not a direct copy. But an IR from something like the Palmer (or in my case the Fishman's) is a direct 1 to 1 of the product they are selling.

You can't install the ones from the XT Live.... The HD 500(x) has it's own model packs you can buy. You can check there to see if any of your old favorites made it to the list. https://shop.line6.com/software/model-packs/hd-model-packs/

Thanks for clarifying... As already mentioned directly above by @Kilrahi, your solution is certainly possible. The only downside is that you need to use two blocks instead of one to accomplish the same job.

As a country guy I only use the Deluxe Reverb normal channel... and Brent Mason created the majority of his "most famous tracks" using a BF Twin Reverb. I can assure you that neither of those matter to my country colleagues nor should I expect it to ;)

This is still open ended.... If you want a separate "in > path > out" for each instrument, then NO, this is not possible. As soon as you share an effect the instruments will blend. If you are sharing the output, then YES, this is possible. Setup the input as outlined by @amsdenj above, give each instrument their own effects on their own path, then merge the two paths BEFORE any shared effects such as delay or reverb.

Be prepared to take a day or two really figuring this out... but in the end you could potentially have an exact replica of your "mid focus settings" in a few different IR's, and you will also gain the ability to create IR's in the future. You will need a DAW, of some sort. If you don't already have one I'd suggest Presonus Studio One Prime. Limited features, but it has everything you need to prepare your files.. The actual making of the IR will be done with "voxengo deconvolver ". You can run it in DEMO mode (without buying) and still have the ability to create an IR. Perfect if you are only creating a small number of IR's for personal use. With those two tools, you just need to learn the procedure. This video walks through how to create an impulse from several EQ's on a Helix... but this can just as easily apply to creating one from the mid focus eq on the HD500.

The L/R will output the same signal unless you are using "stereo specific" effects. When inserting a delay/reverb/chorus, etc.... make sure you choose the stereo version. Also worth noting.... if you put a MONO effect after the stereo effects the entire signal will collapse back to mono unless you use a parallel path.

User forums are support, and many company's have them as part of their support network. For official support you pick up the phone, or you use a ticket system. Also common of most company's. I just looked at the support page... Line 6 is pretty clear in telling the visitors EXACTLY what the forums are for and what to expect when they click on the link. This is the blurb.... "Explore our forums where tens of thousands of other users talk about Line 6 gear and help each other."

The problem you will face... is knowing exactly what your mid focus is doing. It is the least intuitive eq block in the HD500 so you need to study and understand the graphs posted above to get an idea of how you might have it all set up. At the core of the Mid Focus are the filters... an HPF and LPF. Combined with those is a resonant peak... those can be accomplished easily enough with a parametric. Once you calculate what you have constructed with the mid focus, it should be fairly easy to re-construct with 2 or 3 EQ blocks. However, you will end up with a transparent EQ curve that matches, but still might not give you exactly what you want since the Mid Focus is anything but transparent. OPTION #2... Learn how to make IR's.. they are not overly difficult but you will need a little time to figure it all out. As long as you have a computer you can download free software (it's all legally free) to do the job. Once you know how to make an IR you can capture your various Mid Focus EQ's from your HD 500... and they will be an exact copy of what you currently have. OPTION #3... do without the mid focus OK, Let me qualify this statement :) I used to run the mid focus on my HD500 to warm & thicken my tones. The HD500 always sounded a little thin to me and the mid focus helped with that problem. When I switched to the Helix that problem was gone - I didn't need the mid focus any longer. I'm not saying that same will apply to you, I'm just saying it might :)

Your old X3 Live is not in the same ballpark as the Helix :) But still.... give yourself a little time to get used to it. There is a lot to learn in this box... Your amp is not modeled in the Helix, but the M13 is there in the Legacy effects. If its any consolation, I run the Helix Deluxe Reverb EXACTLY the same as I run my real Deluxe Reverb... I don't have to re-think anything. If you can find an amp int he Helix that is similar to your amp, you shouldn't have any issues at all.

Well... let me take this quote from your opening post.... This means you are already used to hearing yourself through a monitor rig... and/or through the PA... that's half the battle. You would set up your Helix the same way you would your amp in isolation with a mic on it. The difference is... it's all in the Helix and there is no longer the need for an amp, isolation and a microphone. That said.... I do recommend you give yourself a little time to get to know the thing :)