codamedia

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 :)

Not required with an LT... People that don't use the LT have a misconception that nothing gets labelled on it because the scribbles are missing... this is not true. The LT has performance view to handle this, which is something the full version does not have. In performance view the screen shows every label of every switch, including custom names. You do not need to use the same layouts to remember where you are, you do not need to label it with a label maker, and you do not need to rely on the color coding. Just like the scribbles, they change accordingly as you jump between "preset mode", "snapshot mode" and "stomp mode". The labels are not DIRECTLY above each switch, but they are large and clear, and very easy to relate to each switch. I used to own an HX Effects (which has scribble strips) and I can honestly say I actually prefer the performance view from the LT. (this image from the net is washed out compared to how clear this view really is... but you get the gist of it. It's bright, it's vivid, and it's clear)

Have you tried setting your tap tempo to "GLOBAL".... as well as setting tempo pitch to "transparent". Switching presets will never glitch because the tempo is already set globally. Just tap in the tempo you require (before or after changing the preset) to match the current tempo of the song.

This topic is 6 years old and this thread hasn't filled a page, and most contributors have more than 1 post in the thread. IE: There are not many people involved in the thread. IMO - that means this is not a wide spread problem, it's an anomaly. Sorry to hear you have having problems, but I think this claim that L6 is shipping known lemons is a little misguided. That's not how professionals react to problems... just sayin'...

I look at it this way... the power plug sticks out a lot less than most of the connectors.... they are all at risk around clumsy people. You could build yourself an artificial barrier if you find yourself in these bad situations on a regular basis. If you extend the visual of the unit another foot people won't generally invade that space. EG: wrap a 6" - 8" empty box and place it in front of the connection area.... people will not come beyond the box, keeping your HD connections safe. I do something similar with towels on some stages that people insist are drink tables. They don't put their drinks on the towels (which are a rounded roll) they put them in front.... and if one spills, I have a towel soaking it up :)

I run an extension to my gear at the front of the stage... Since nobody should ever be walking, standing, jumping, stripping or dancing where all all the connections are so this this never an issue for me.

Try it on the unit... just in case there is a glitch in the software or communication. Once you set the delay accordingly the tap tempo will work.

Here are a few things to check... Is the IR you are loading one that Ownhammer has recommended for the Helix? Some packages have a HELIX FOLDER to draw from, others just have the sample rates listed. In those cases you need to use the 48k rate... If you are loading a 96k rate the Poulin may be able to handle the full quality, but the Helix will downsample it. I'm not positive on the length.... I think the Helix will truncate a 500ms IR, but I could be wrong about that one. For testing, I'd recommend a 48k / 250ms sample. Have you checked and verified the HPF and LPF settings on both the Poulin and the Helix? If those differ, that would have a huge effect on the comparison. It's also important to make sure that there is nothing down wind from each IR (EQ, compressor, expander, etc...) that is having an effect on one, but not the other. Out of curiosity, have you contacted Ownhammer about this? Reason I ask is that they will test their impulses on a variety of products.... if the Helix IR loader behaved differently from the others, they would know it. They are not biased to any particular company, they just want their IR's to work.

Your delay is likely set to a fixed millisecond, you just need to change that to a subdivision. To use tap tempo you need to change the time setting on the delay. You do this by "pushing the button" for the time setting... this changes it from ms to subdivision. Then you choose a subdivision to use.... eg: 1/8th, dotted 1/8th, 1/4, etc... etc...

^^^ this ^^^ In particular, check out the "dialing in a brad paisley tone" for a ballsy clean tone with a hint of dirt as you are requesting.

Are those settings clipping the input of the Yamaha's? If not, I think you are on the right path and should continue with that. My hunch is those settings should produce a fairly loud guitar signal... likely around 85 - 90db in a small room. If there is input clipping then that would suggest that the Helix Patches may be too loud. Without meters in the Helix this can be very difficult to figure out directly. You could set your output to "INSTRUMENT LEVEL" (rather than line level) then turn the Yamaha's up to the -10 setting and see if that helps with the input clipping. THIS IS NOT OPTIMAL... I'm just suggesting this as a troubleshooting measure if needed.

I'll address this question.... As you know, the full version has the scribble strips which place the labels at each switch. What isn't talked about as much is how the LT handles it. The large screen on the LT has something called "performance view" which the FULL version does not have. Performance view gives you a full reference of your switches (including the naming), so you can still see what they all do. In the end, both units have something the other one doesn't. I used to have an HX Effects and to be honest, I didn't like the scribble strips as much as I thought I would. When I got my LT... I found that I LOVE the Performance view. Others may feel completely different about this :)

It's a trade off...if the speakers are run full and you crank the volume on the Helix you could blow them with excessive power. But if you set the speakers too low and have to crank the Helix you could create input clipping which is something speakers hate just as much as excessive power. The trick is "matching" the two to give you a safe range to work with. It's all about knowing your gear. The back of the HS-7 (assuming that is what you settled on) has a dial that goes from "min > +4 > -10" which is not very intuitive at all. That is "input reference", not "output volume". It's acts like a volume, but it's more of a line matching setup. I believe the HELIX (when set to line out) is PRO LEVEL +4... but I cannot verify this right now... maybe someone else can. If I had a set of HS-7's in my studio, I would set it to +4 since that is optimal for my mixer. I would know that when my mixer reached 0 on the meters, I'd be hitting the speakers with a "safe" full volume..... do not exceed without possible consequences. If the HELIX is +4 at line level & if your patches are balanced... that same setting should give you a comfortable range with the HELIX BIG volume control. I would expect to run the HELIX volume around 1/2 way (give or take a little) for comfortable levels in a home setup.

If the only reason you want to run it into the front end of the VOX is to include a tube in the tone, I think you will be terribly disappointed. I think you would be better off just running the Helix into the EFFECTS RETURN on the Vox... and still keep the cab/mic modeling turned off. IMO... the 5150 model will sound more realistic that way than it will with the VOX Preamp imparted on it's tone. Just my 2 cents...

IIRC, all of those switches are on a daughter PCB.... more than likely, the connector between the daughter board and mother board has broken or come dislodged. If the unit is out of warranty and you are comfortable taking it apart to take a look, go for it. If not, take it a service depot to have someone else do it.

Make sure you are not connected to a USB hub, try different USB ports... and possibly even a different cable.

Sorry guys... you are correct in terms of unity. I tend to (incorrectly) associate unity with the final output level (eg: reaching 0 on a traditional input meter... - 14 or so on a digital meter), not the 1 to 1 relationship it truly represents. Sorry... I didn't mean to derail the thread!

I/O pairs are irrelevant. They are not meant to work as a team, they are meant to match the input and output device independently. EG: You cannot accomplish UNITY output when both I/O are set to instrument and you plug a LINE source (who's output is set to unity) to the input! In that case, changing the input to LINE will accomplish UNITY.

FYI: In a live situation I run a master preset for each guitar.... I create a full "serial chain" that can hold up to 32 blocks. I don't use all 32, but it is certainly around the 25 mark. Once I enter my preset the snapshots (8 snap mode) take care of all my fundamental tones, and I use stomps for the little extras I use on occasion such as chorus, phase, octave, etc... etc... Even though the processing power is reserved when you add a block, what you want to do will not make the Helix sluggish... and with careful choice of effects and placement (spread out between the dsp) you should be able to load what you need.

Further to this, there is a Global Setting that can change this behavior. "Global Settings > Preferences > Tap Tempo Pitch" By default that is set to "authentic" which copies the behavior from the real pedals and can create some very odd sounds just as the real pedals did. When set to "transparent" the tap tempo can be used WITHOUT the pitch variations and other artifacts.

Not to nitpick... but it's "OWNHAMMER" with an "N". As in... "I own a hammer" :) There is no right or wrong way to approach it. Some of us have enough "real world" experience with cabs/mics/placement to zero in on the IR's we are looking for, others don't know where to start - and that can be a little daunting. Every cabinet has a tone, every speaker has a tone, every mic has a tone, and every mic position has a tone. Ownhammer goes further by combining cabinets, combining speakers, combining mics, combining positions, etc... etc... If I'm not mistaken, the Marketplace set you bought has narrowed it down to ONE CABINET, but you still have a lot of speakers, mic's and positions to figure out. How much you want to learn is up to you. You can choose an IR that sounds good and call it a day until you decide to try something different, or you can read a bunch of articles and watch countless hours of videos about all the differences so you can feel more confident in your choices. Either way, over time you will learn and understand not only the differences, but what you actually like and don't like.

Based on what you are saying, this preset is just running a parallel cab/mic. The signal spits before the top cab.... BOTH CABS get hit with the signal, then the path merges back (blends) with the original. It is fairly common to run to different cabinets at one time... or two of the same cabinets with a different mic/position on them. Visualize this as two cabinets sitting beside each other. You are running out of DSP power. It's not a limit of the path/line itself. The same restrictions will apply if you try to add an effect to the top or bottom line.

The only time I use this setup is in a Live setting... I always go direct to the PA/FOH. I setup my patches on my studio monitors (2 sets) at relatively loud volume....and they translate well to the PA, Monitors, and this little pseudo FRFR I put together. Sometimes I need this setup to fill a small room (legion gigs in particular) and it does a great job, but on most gigs it only supplements what I hear through my monitor mix, and fools the musician snobs into thinking I'm playing through an amp :) I'd love a L6 Powercab... but even the regular one is $800 here in Canada. I also don't think I would use the speakers models.. I'd just set it to full range and use the cab modeling or IR's from the Helix. That is sort of what I put together with my little setup.

I run a simple rig on stage... I keep it mono. Add to that, I'm a cheap bugger that doesn't like to spend money :) I picked up an old Peavey Silverstripe Bandit a while back for about $50... then loaded it with an Eminence BETA 12LTA Coax full range speaker. I plug my Helix into the EFFECT IN which bypasses the Peavey pre-amp, but still gives me access to the T-Dynamics, Presence and Resonance which I may adjust for the room on occasion. 80% of the time I don't need that as I have an adequate monitor system / mix to use, but it comes in handy when I am playing a gig with a small monitor rig... or something with just one mix. At home I run the helix through my home studio setup which includes a couple of sets of monitors I can flip between.

Please correct me if I am wrong (I know that is possible)... I always thought the '63 Bassman was the Brownface Bassman... I know the blackface amps were being introduced in '63, but when someone says '63 Bassman I am automatically making the assumption it's the coveted brown face that Brian Setzer has immortalized. Whether brown or black.... it's still very different from the Tweed Bassman.