codamedia

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 :)

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.