codamedia

Snapshots are powerful.... not only can they change the on/off state of the effects, they can also change the parameters within those effects. I think of it like this.... A Patch loads a new pedal board with default settings Each snapshot loads different "default settings" for that pedal board. Once loaded, stomp mode still allows you to turn on/off those effects. Sorry, I don't believe that is possible. But if you get a handle on snapshots you have two options You can set the "bank up/down" to "snapshot up/down". You will have immediate access to 4 presets and quick access to four snapshots. You might find this sufficient. You can set the bank up/down" to "patch up/down" and then set the view to snapshots. In this setup you have quick access (patch up/down) to your patches, and immediate access to your snapshots. In both cases, the mode still takes you to "stomp mode" so that is always an option for more flexibility.

The only place to set the threshold is where it sounds right, and feels right to you. This is a lot of trial and error, especially if you are relatively new to compression. No two compressors work the same, and no compressor works the same with different guitars. I recommend starting with three extreme settings... full CCW, half way, and full CW. This will immediately tell you which direction the threshold is working. Next, find the place where you notice NOTHING, vs having PLENTY. What you want will likely be somewhere in between, but again - there are too many variables to say anything with certainty. Always balance the level with the effect on/off. As you add more compression, you will need to raise the output level of the effect. Good luck, and welcome to the compression rabbit hole!

Interesting... at this point I would have to agree with phil_m.... I do not notice anything like this on my HX Effects. I've had many other multi effects over the years that have done this sort of thing to my tone, but never Line 6, and not this one. Is the units firmware completely up to date, and have you tried a factory reset to make sure something didn't get set incorrectly in the global settings? I know you've said you tried many things, but a factory reset never hurts when you are trying to solve a problem. Also, there is a sticky thread at the top of these Helix forums named "HX Effects Audio Artifacts"... take a look at that. Maybe you received one of these units? L6 will help you out if you did.

Yes, that is correct. It may not be intuitive or makes sense... but it is that simple :) Remember, #4 (global vs preset) effects everything on that input page. The Inputs and the Impedance.

Open a support ticket with Line 6. They will provide you options for having it serviced.

IME... The BBE, similar to an Aphex Aural Exciter is best used like salt with food.... just a pinch is needed to go a long way. I wouldn't use one live, but in the studio having one on an effect send can help lift something out of the weeds. Never the whole mix, just a part or two, and just a touch. NOTE: I'm not saying the two devices are the same, I'm saying you use them sparingly in a similar manner :)

Don't over think it, It's all done at the same spot :) Once you set #4 to preset, don't touch it again. Now you go to that same location when you are on a patch and change the impedance (and/or inputs for that matter) for each preset as required. Just don't change #4 back to global.

You really don't need full range to model cabinets... but you do need a flat response so the cabinet modeling can draw it's own curve. If you are using the HD (or a Helix) just for electric tones then a flat response (limited range) speaker can be a perfect choice. You will never require the extended range, and would likely end up dialing it all out anyway. It's a great solution for an "amp in the room" experience. IME: Full Range is required (or at least beneficial) when you use your line 6 device for more than just electric guitar. Acoustic instruments, a microphone, keyboards, etc... etc... When balancing those with electric sounds the HD series makes it a little more difficult... as you really do need an HPF (high pass filter) to tame the high end on the electric tones. The Helix adds an HPF to the cabinet block, but the HD series doesn't so I find I need to add another EQ along the way. I prefer to go use an FRFR! Although it may take a little more time and effort to really dial everything in, I know the tones will translate to the FOH (PA) and monitor rigs with no effort. The sound tech can usually set the EQ flat on my channel... adjusting only a little to compensate the room. I send the tech one line for my electric, acoustic, banjo, mandolin, pedal steel and all techs tell me the only thing they ever need to do is mix the level on occasion.... the tones all work with a flat strip. This is just my opinion based on my experience... YMMV

You set that in the same place you set the input impedance.... the input section. 1 = Input 1 source 2 = Input 2 sourse 3 = Imepdence choice 4 = Sets whether those first three options are applied globally, or per preset

For convenience and workflow they are wonderful... only you can decide the latter part of your statement :) I should put things in perspective.... I didn't pay $1000 + for a new Variax.... I bought a used 300 for peanuts and put a really nice Fender Tele neck on it so I would enjoy playing it. I'm not so sure I would like it as much as I do if I had more invested in it. To be fair though, the newer guitars all have magnetic pickups as well, so as long as it's a nice guitar I enjoy playing the investment may be worth it.

I use a Variax fairly extensively in some shows. As Jos_K has already mentioned, it's great way to add sounds to a show but it won't be a replacement for any real instruments because you are always playing an electric guitar. IMO... the sounds are already very good but if you add a nice acoustic IR or Resonator IR the acoustic sounds can really come to life. In a band situation it will mix in quickly and nicely. Here are some things that may or may not matter to you... With the resonators you will be able to play them like a round neck and some bottleneck slide if you want. BUT - you will not get that square neck (Jerry Douglas) playability. The slide is very different with that style, and it is not possible (not for me anyway) to play like that on these. You can certainly fake parts to at least get the sound. With Banjo you are confined to a 6-string faux banjo (used a lot in country these days) or a tenor plectrum style.... 5 - string can be faked, but is not easy. For a 5-String sound I have two patches depending on my need. On one patch I tune the high E down to a D which sacrifices the high G drone. On another I tune the high E up to a G but have to sacrifice the Banjo D string. Since I play real 5-string, it also takes a different technique with the high G being at the opposite end of neck than usual. The acoustics, although quite nice, can sound a little thin due to the string composition and size. EG: If you put a set of nickel 10's on a real J-45 even it will sound thin - LOL! I have an acquaintance that plays a Variax most for acoustic sounds and he puts Phosphor Bronze strings on his. That makes a huge difference but when the acoustic instruments are secondary it isn't practical. This is where the addition of a nice IR can come in very handy to thicken and warm the tone. As for palm muting... I've learned to adjust but I use an older Variax. I think this has been addressed considerably in the newer models (JTV and newer). As to your question about finger picking... I've never noticed that to be a problem, but I'm used to switching guitars all the time. It's just another guitar to get used to.

Keep in mind this thread is from 2017 and the legacy effects were not included until version 2.5... released earlier this year.

There is no magic "punch" knob, and every compressor works differently so what works on one could be the opposite on another. Check out this thread... it may offer some guidance. https://line6.com/support/topic/9927-how-do-the-compression-pedals-work/

When using an amp model (full or preamp) with an actual amp (input, effect return, or power amp in) the only thing I would consistently do is make sure the cabinet/mic simulation is turned off. IME.... cab sims into anything that isn't full range is where the most unpredictability is. I'm not saying it can't sound good, I'm just saying it becomes unpredictable. IMO.... I would never use two of the same thing. Amp preamp or Helix preamp... not both Standard guitar cabinet or Cab/Mic sim on the Helix... not both Fortunately... as long as your amp has an effects loop the 4 cable setup will allow you to do whatever you need.

Really? Should be easier than that. If you are moving the effect position in the signal flow, the switch should never change. If you are changing the switch, can't you just do a swap? Touch (don't press) and hold two switches for a couple seconds.... confirm the swap. This only changes the switch assignments (and should retain your settings) but does not alter the position of the effect in the signal flow. NOTE: I use an HX Effects not a Helix... but I believe the basics are the same.

This is what I would do, but there are many ways that are just as valid. 1: HX Effects "Send 1 > Tech 21 Input" 2: "Tech 21 output" > HX Effects "Return 1" Now, insert a MONO "Effect Loop 1" block anywhere in the chain you want the Tech 21 to be. Normally it would be after dirt and compression, but before delays and reverbs. But this is all up to you.

https://line6.com/support/page/kb/pod/pod-hd500-hd500x/installing-hd-model-packs-on-hd500x500hdhd-prohd-pro-x-r730/

This really shouldn't happen... it may be the loop level settings, but could be something else going on. What happens if you just scrap the 4 cable setup and run the HX into your amp? Does the distortion sound right then? Everyone gets hung up on the 4cm, but rarely (extremely rarely) do I ever see anyone running a traditional pedal board in that manner. IMO... get the unit sounding the way you want "in front of the amp" then (only if you feel you need to) attempt the 4 cable method.

"Output to amp" is not correct. Guitar to Input... Send 1 to amp Amp Effects Send to Return 1 Output to Amps Effects Return Obviously... make sure Effects Loop 1 is setup as a block in the HX Effects. The diagram above shows the correct routing... but in 35 years of gigging I have never disconnected the ground from cables... and never suffered from my choice :)

There is an official statement about this .... it is a sticky at the top of these Helix forums. Look for the title "HX Effects Audio Artifacts"

If it sounds good in headphones then you must be running CAB simulation. You have to turn that off when you go to the amp.For absolutely no cabinet simulation you need to set the HD to Studio Direct mode, then turn off the cabinet in the amp model. If it still sounds really bad... tweak the "modeled amp settings" in the pod. Don't just expect the headphone settings to work. If it still sounds really bad... something may be amiss in your global settings.

When you say you are looking at buying the HX... do you mean the full blown Helix, or the HX Effects? This is how I view the HX Effects in particular...but it would be the same with the Helix but with more capability. Every preset you build is like building a different pedal board. You can keep them similar, or as drastically different as you want. When you choose a preset it's just like placing a new pedal board with a saved default setting at your feet. Now you have two options (both available) once you load the preset Stomp Mode: You can turn effects on/off just like a real pedal board Snapshot Mode: Access to 4 different "defaults" for that particular pedal board. (The HX Effects has 4 snapshots, I believe the Helix has 8) As already mentioned, the "intro > verse > chorus > solo" approach is best achieved by snapshots.

What a great suggestion... I have a few of those sets in my string box but no longer have the guitar I bought them for. Now I have some experimenting to do :) I have a colleague that uses his variax mostly for acoustic... he sets his up with a light set of bronze wound and it makes a huge difference on the acoustic tones.

I run a fairly complex setup similar to what you are doing. My patches will not work for you, but I will give you an idea of how I set it up. I designate my left output for the guitar amp, and the right output for the PA. It doesn't matter if this is reversed, just decide on this before you start. If you use the XLR output for the PA you need to put a dummy plug in the 1/4" right output. I just use a DI with the right 1/4" out. Acoustic patches.... created the patch and pan everything to the right so it only routs to the PA. Electric patches... at the end of my chain I split the path. The right side will get an amp sim of choice and is panned hard right to go to the PA. The left side does not get an amp sim since it is routed to my amplifier. With #4... if you want to run an amp sim into the amp (or into a power amp input) you can certainly do that. But I do recommend you choose the "no cab" option for a cabinet. With that basic concept, you can create and route any tone to any location. Some sounds go direct, other sounds go to the amp, some go to both. It does take time to balance all of the signals but the mixer in the HD allows you to make those final volume adjustments along with the hard left/right pans. FWIW I use my HD for electric, baritone, acoustic, banjo, dobro, mandolin and pedal steel - so my routing and patching pushes the HD beyond it's limits and requires added A/B boxes. BUT as complicated as it is I am able to accommodate everything with one device rather than running separate setups for each.

It was a long time ago that I installed the vintage pack... I don't remember off the top of my head, but I do remember it being more complicated than I expected. Maybe the info here can help you out. https://line6.com/support/page/kb/pod/pod-hd500-hd500x/installing-hd-model-packs-on-hd500x500hdhd-prohd-pro-x-r730/