codamedia

Yep... check out this video as an example (start at 3:40 for the magic) ... then use your imagination for all the possibilities.

Insert the Loop and set it to Instrument Level. Leave the send level as is to the front of the amp, but adjust the return level of the Loop down to about -6. That will be similar to a LINE LEVEL return and should suffice. Of course, the other option is to insert the loop and set it to Line Level. Now turn the Send level down to -6 and leave the return level as is. I would like the ability to split the I/O of the loop as well... it's a great request. But I do find the I/O variable level is usually enough to compensate.

Nothing needs to be plugged into the INPUT for this test... you don't have to hear your guitar. Simply engaging the loop will add substantial white noise if the unit is faulty. You can also add a RETURN and it will do the same (if faulty).

Can you provide some details? What exactly is the problem?

Don't be fooled into thinking a Banjo IR will make a guitar sounds like a banjo... that's not really what IR's do. EG: An Acoustic IR created with a Royer 121 Mic at 6 inches will give your Takamine piezo a simulated tone of a Royer 121 mic at 6 inches. It won't turn your telecaster into an acoustic. The same would apply for Banjo, Dobro, etc... etc...

The Helix is pretty flexible with modern Variax guitars. For example, you can set a single string on a Variax to change pitch with the push of a button, or assign it to a controller. One example where this is handy is a pseudo B-Bender or G-Bender! It's not just pulling up an alternate tuning on the guitar, it's altering one or more strings "on the fly" and returning them back without leaving the patch on the variax. I don't even know if this is what the OP is talking about or wants, or if the Firehawk is capable, I just know it's really powerful on the Helix.

I don't know for certain, but I think only the Helix gives you "per string tuning" changes.

I'd only use the EQ if needed, but you're chain is the right beginning... plus judicial amounts of delay and reverb. Try the middle position for this tone. BTW: That's a great piece of music, thanks for sharing!

That is not normal behavior. Something is forcing your gain back to 0 in your setup... you need to identify that and correct it. Your solution should work fine... although I would just use a snapshot to change the values of the same block myself. To each his own :)

I suspect the automatic upgrade method would not does this, but you also have an option to choose a file from your computer... there should be nothing stopping you from downloading and installing an older firmware file. I'm with the others... why? Bugs gets fixed and features get added with each firmware version. 2.6 was a fairly major update, and even though 2.7 was more of a maintenance release, the tuner upgrade alone makes it a must have. IMO of course.

Nice resource... thanks! OP: Based on that resource, R46 and R48 should be the same value... keep in mind you can't test components in a circuit without getting unpredictable results. That resistor looks gone to me... even if it still had any life, I'd be replacing it.

Cyber Monday perhaps? That's when I usually come across the best software deals.

I don't claim to know the answers you are seeking. All I am recommending is that you talk to Line 6 about it to get their opinion and/or proceed with caution.

To put your mind at ease (even just a little)... I don't know of any other "audio artifacts" with the HX Effects other than the white noise with the returns/loops. FYI: I am not commenting on this subject by hearsay, I had one of those units and Line 6 took extremely good care of me.

What would you expect if you combined the outputs of a pair of Fender Twins into one speaker. Would you consider trying that? The same principle applies with a headphone amp. It is two separate mono amps... albeit, much lower power than a Twin :) Power amps are not always designed the same way when it comes to bridging.... and not all power amps can be bridged. That is the only reason I am suggesting that it might be in your best interest to check with Line 6 before creating a cable to bridge the L/R together.

I don't have my HX with me so I can't test this... but are you sure? I would have expected that you could add two volume pedal blocks if you wanted. One Caveat.... the HX automatically sets up the initial volume block added on EXP2.... you would have to manually change the 2nd block to use EXP1. If this is a limited behavior, you can assign the 2nd expression pedal to a gain block which would be very similar... but you may not get the volume curve you desire.

You're right... speakers are speakers. If each side of the headphone jack is 12 ohm (and known to be true) I'm pretty sure an 8 ohm or 16 ohm speaker would be safe. Speakers don't draw power, they just take what they are given so they won't hurt the Helix. Just to clarify, my only concern with your previous post was when you thought you would "bridge" the left and right side of the headphone output. That sounds risky to me without approval from Line 6.

Just to add to Soundog's test.... A faulty unit will have about 12db of added white noise... which is substantial. It sounds like somebody turned a water tap on. A slight increase (1db - 3db) of hiss is normal and expected.

I don't know for certain... but IMO the stock cabs seem to provide "center mic position" only... that's how it sounds to me. You can adjust the distance, but not the movement between center/cone/edge. A ribbon such as a 121 pulled back a bit can get around the shrill tones that position can have, but not a '57. Again, just my opinion. I am predominantly a clean player with a touch of dirt.... even I need to avoid the '57 on the stock cabs, even though on an amp I wouldn't hesitate to use one between cone & edge. I have a couple of nice "go to" IR's for simplicity. I use the stock cabs when I can afford to experiment, but stick to the IR's for the most part.

Why disable the amp block.... CAB and IR I understand, but I'd be leaving an amp in place. At your own risk is right! Those are two small mono amps, they will not necessarily combine to make 6 ohms. Unless you have knowledge from L6 that this is 100% safe without damaging the unit, I wouldn't suggest trying this. I'd just use a standard speaker cable which would pick up on one side of the headphones.

1: Yes you could use the Tech21 in the loop of the HX Effects, and place it anywhere in the chain you want. When you are playing acoustic (as mentioned in your 2nd question) you can write a patch that does't include the loop and subsequent amp sim. If there is an option to turn off the cab sim in the Tech-21, you could also experiment with IR's in the HX Effects for cabinets. 2: You can use the HX effects to process the acoustic, and experiment with IR's if you want. You don't need an acoustic IR to process the acoustic, it's just another option. 3: I don't have experience with that reverb in particular, but since the 2.6 firmware update the reverbs on the HX have been very lush. Just an FYI: You cannot compare the Helix to the older PODs in terms of modeling. As for size.... by the time you add the Tech 21 and maybe an expression pedal or two with the HX Effects you are in the same size territory.

I didn't see any mention of trying different USB ports during your troubleshooting.... that's an important step, not just trying different cables. Also... If you can find the device manager, right click on each "Root Controller" (under the USB area), go to the power management tab, and make sure the computer is not allowed to save power with this device. Wording varies from OS to OS... I don't recall what it is on Windows 7.

As far as an "amp in the room" sound, I would think this would be very true. But what happens when you put your 1960b in another room, put a mic on it, then listen to it through your EV ZLX12P powered monitor? That's the real comparison... because that is the final sound the Helix is emulating. When recording, that full blown Marshall is stripped down to what the MIC captures. When live through a PA that Marshall is stripped down to what the MIC captures. What you hear on stage is the 4x12... what everyone else hears is what the MIC has captured. You need to get used to hearing yourself the way everyone else does, not the way you always heard it before, and that takes some getting used to. I've been going direct for many years (when applicable) and find it really has it's advantages once you get used to it. With an amp, I was often disappointed with my sound when I would go out front and heard it through the PA. I learned that it was much thinner than I was always hearing on stage. With a modeler, I dial in my tone through an FRFR to get it how I like it.. and the sound out front is now consistent with what I hear. Keep an open mind, and take your time understanding how it all works. It's very rewarding once you get it figured out.

Of course it can work as a stand alone device.... if you can fit your needs within the limitations it has. Keep in mind.... having both the Stomp and the HD500 would make a great combination. Take the stomp when you want to keep it small & simple... but integrate it with the HD500 (via loop) for a very powerful setup when you want it.

ADD 5db? Do you mean you raise the IR Level by 5db... or set the IR level at 0 then add another 5db? When you add an IR the default IR level is somewhere around -16db....which is too low for any IR I use, commercial or home made. I suspect they set it that quiet to save ear drums and speakers. They can control the level of their own effects, but they can't control the level of a customers IR. Better safe than sorry. I always have to increase the IR level to somewhere between -10 and 0.... but I've never had to add more level than the IR was capable of if set to 0. I usually run it closer to -10 - which is roughly 5db higher than the default setting... if that is what you actually mean :)