codamedia

With all due respect... that video does not eliminate a hardware issue as a possible problem. After a reboot a sensor, relay or shorting jack could be sending false info to the Helix.... and your fix could be a JOLT to the system that is needs. I'm not saying it is hardware, I'm saying it hasn't been eliminated... don't assume anything at this stage. Of course, it could be a software bug.... maybe the perfect combination of global settings and connections to cause this. As I say, my Helix is not suffering from this (yet) so it can't be a wide spread bug ... it's specific. Can you share a "full backup" of your Helix? I'd like to import your GLOBAL SETTINGS into my Helix and see if that triggers this problem. If so - I can help try to narrow down the differences. I'm got many shows over the weekend so I won't load anything until Sunday... but I'd love to help you try to find the cause of this. As I say... it could be something very specific in the Globals which is why I would like to import those to see if the problems start to appear on my LT.

A support ticket is definitely the route to go.... As for L6 ignoring it... have they acknowledged that they can re-produce it yet? Unless a problem can be reproduced on demand, it's impossible to fix. I've set up my Helix LT with a test preset one week ago today.... every time I start my Helix and try that preset, it works as expected. I am not experiencing this bug on my 4 year old LT - YET :) There is either a very specific recipe that triggers this problem in software, or there is a hardware issue on some units. EG: a bad batch of sensors, or shorting jacks, or ???

Yes it will sound the same.... the difference in volume between LINE OUT and INSTRUMENT OUT is not as dramatic as I thought it would be. I just ran a quick test with my LT and INSTRUMENT OUT is about 8db - 10db lower than LINE. If you want to set the output levels per preset, just leave the output set to LINE and lower the output level to somewhere between -8db and -10db for the presets you need at "instrument level". I just put a DMM on the output of my LT... it read just over 10K whether it was set to instrument or line. I would assume the STOMP or STOMP XL is the same, but I don't know for certain.

I see what you mean now, thank you for the image. I've never seen it referred to as C3. Line 6 refers to that button as FS10.... FS1 - FS6 is across the top, FS7 - FS12 is across the bottom. As for the problem, @datacommando has provided some great suggestions above to look into.

@theElevators... Your solution is perfect for the problem. Especially for those on a Stomp (like the OP) with limited footswitches.

Absolutely.... it was the Sun! It's not the heat of the sun, it's the light of the sun. When the sun hits the Helix at the perfect (should I say worst) angle it interferers with the optical sensor that controls the expression pedal. The sun likely changed it's position (or went down) when the problem mysteriously went away, just as quickly as it mysteriously appeared. The angle has to be just right and the problem only lasts about an hour at most - but I guess that is dependent on where you live, and stage directions. I have to built a temporary sun blocker around my Helix (LT) on "some" sunny outdoor gigs. My old POD X3 Live used to have the same problem, my HD500 did not. By chance, do you own an LT? I think it is more susceptible to this problem than the Helix Floor is.... but I don't think the Floor model is immune completely.

I'd love to help, but I don't know what you mean by "c3 keys" and "c3 button" Google translate to Turkish... "Yardım etmek isterdim ama "c3 tuşları" ve "c3 düğmesi" ile ne demek istediğinizi bilmiyorum"

Do what Randy did.... JCM 800 (Brit 2204). Marshall Super Lead (Brit Plexi Normal/Bright/Jump) ... goose it with the "DOD250" (Top Secret OD). Actually, IIRC Randy used an MXR Distortion+, but the DOD 250 was very similar and is the closest overdrive within the Helix. You posted the live video, this next suggestion is more for his "studio tone". Randy triple tracked every guitar part.... physically played them the same three times. To get that out of the Helix, dive into the ADT which is found in the Delay section... add it directly after the amp. That effect will simulate the extra tracks... including some random changes for more realistic "double/triple" tracks. There are many ways to get that tone on the Helix.... but I always think it's best to know what was used to created it first - then start there. Good luck!

Are you using an HX Stomp? If so, I can see how this would be very useful. That is exactly how ZOOM manages presets with their MultiStomp pedal. If you only use 6 presets.... those are the only ones the pedal will access by footswitch - it scrolls 1 - 6 then starts back at 1. I only use a small amount of presets myself, but I use an LT so my access to everything is already easy. The OP doesn't tell us what model he uses. If he is on a Stomp - then the feature would be very handy. The other units all have enough footswitches to keep things easily accessible.

Admittedly, I am one of those people that stays MONO... all the time. I leave all stereo processing to the FOH/Studio engineer to manage that the way they want/need. However - I would NEVER argue that what you are doing is impractical. The Helix is capable, and you use it to the fullest. I commend you and others that take full advantage of that. Based on this "sum to mono" problem I am going to prepare a stereo track for testing... and will periodically check it in my studio. That is something that should just work - it would be interesting to narrow down a reason as to why it happens.

Since it is extremely rare and can't be reproduced.... nobody knows yet. One precaution you can make (if you don't already) is to never touch anything while the unit is powering up. Don't move knobs, buttons or switches and don't plug things in while it's powering up. This is just an educated guess It won't be the code... or it would always happen, and it would happen to everyone. It could be hardware... but only if the problem happens more and more over time. That would indicate something is wearing out / failing. Most likely it's a power issue. A spike or drop at precisely the wrong moment during the start up procedure. Plugging into a power conditioner is never a bad idea.

That would solve your problem... and take away any "worry" about the situation. Although I wouldn't run a 1/4" to the PA... I'd run it into a direct box, then run that to the PA. @theElevators... your solution is very simple, thanks for sharing that. My only concern would be if "sum to mono" breaks during a performance. Have you ever noticed if that happens... or does it always work as it should, once you get it working with your solution.

Correct... but please be aware this is a very new feature and you just posted this answer to a zombie thread from 2016. Nobody overlooked it back then, it simply didn't exist.

IMO... upgrading to a floor just for SPDIF ports isn't a wise investment. Have you used SPDIF in the past? It can be problematic. There are special cables required (it only LOOKS like an RCA, it isn't RCA) & there are clock rates to consider. Yes, plug your mic pre into a RETURN on the Helix.... win/win! You already own the LT and the Mic Pre. In that scenario, there is a conversion happening... the MIC PRE is converting the analog mic signal into digital, then sending to the HELIX Floor SPDIF input. If you connect your mic pre to your LT RETURN.... that is all analog, the Helix is doing the conversion to DIGITAL. The END RESULT is that there is only ONE analog to digital conversion taking place. The LT route will be just as pure as the Helix Floor / SPDIF route. All that said... I'm a big fan of keeping the Audio Interface separate. If you really want the SPDIF option I would put the price difference of an LT > Floor into a dedicated interface instead. @rd2rk has already made some great suggestions and points on this subject earlier in the thread.

The only way to do that is to follow the advice from @phil_mabove. That's exactly how the original "King of Tone" operates... two "prince of tones" in one box. This is really easy on a Helix Floor, LT or Rack HOWEVER... you can engage the 1st drive with the footswitch (on/off).... then ADD the 2nd drive on another footswitch by assigning the "LEVEL 2" value to a footswitch. You will not get the 2nd drive by itself, but you can add it to the first drive when needed. This options is best if you have limited blocks... such as a Stomp or HX Effects.

Just so the OP understands.... the choice of LEGACY effects is not the reason he can't sort out the timing.... they have the same timing options as the HELIX effects do. Even with those old effects, you can still choose a fixed time or a time subdivision that is linked to tempo.

Yes - the OPTO Trem can be set to a separate speed than the the "tempo".... and it also comes with subdivisions just like delays and other modulations do.

There is nothing wrong with keeping it simple... but it almost sounds like you might not realize how capable the HX Effects really is. Watching a few video's can go a long way into expanding your knowledge.... take it slow, you don't have to learn it all at one time.

You have a lot of options to accomplish what you are after. The only effects that are tied to tempo are the ones YOU tie to tempo. You can set a hard value to any effect you want... many set different "fixed speeds" to tremolo, phase, chorus, etc... etc.... and never tie it to the tempo. You can also do that with delays. Another option is to simply set different divisions to each effect when you do want it tied to tempo. One delay can be set to 1/16 note (fast), some to 1/8 or 1/4, and some to dotted 8th (syncopated).

Il s'agit probablement d'un problème matériel. Je vous suggère d'ouvrir un ticket d'assistance auprès de Line 6.

No, you can't do this directly... but indirectly, here is how I approach something like this. Both delays are loaded on the preset The same footswitch is set to control the MIX level on BOTH delays (MIN = 0, MAX = <whatever level you want that delay to be when on> The snapshot determines which delay is engaged. Pressing the footswitch will raise the MIX on both delays to the appropriate level, but only ONE of the delays is active so that's the one you hear. Clarification required... but I think you are asking how to get the tap tempo working :) For TAP Tempo to work, the delay must to set to a time division. Each delay has two "time" modes. One is in MS (milleseconds)... which is a fixed setting that can't be tapped.... the other is set to a time division (1/4, 1/8, dotted 8, etc.... etc...) which is what you want. And no... unless I am mistaken you cannot assign Tap Tempo to another footswitch unless you get into some midi tricks.

I would have never expected such a drop from a 2mm change. Thanks for those tests/experiments and insight... that is a great little article.

You should not be sharing a preset that someone is selling! I won't download it out of principle! You need to attach an audio sample of what you are hearing. He's not the designer... it's a preset he says he bought.

Make sure the contour button is NOT turned on. You must set this for flat response when playing louder and when preparing tones. Lift the headrush off the floor, even just a little. Prepare your tones at louder volumes... (more on this later) When you create your tones at home... you are creating them at lower volumes and introducing the "Fletcher Munson Curve" into your sound. The result is always the same.... you think you create a great tone but when you turn up your tones get boomy & thin and you can't hear them. Turn down the highs Turn down the lows (possibly a fair amount) Turn up the mids note: steps 1 - 3 happens naturally when you prepare tones at louder volumes. At lower volumes the tone might appear to sound small & lifeless... but as you turn up, it will sound bigger and cut through a mix.

STEP ONE: If the mixer has phantom power engaged... that "can be" the result. Turn if off on your channel and it if can't be turned off - you will need to use a Direct Box between your Helix and the FOH/Monitors. The Helix does not like Phantom Power! STEP TWO: If phantom power is not the issue, then it is a GAIN issue. FOH & Monitor Consoles all come with "trims/input gain" controls, and many also come with PADs. The tech should now how to use those when required. If not - you still have options that you can control at your Helix. Set the BIG volume to only control what is given to the AMP.... This will set the XLR outputs to FULL.... (stay with me... this provides a consistent signal to the FOH) If the XLR outs are too HOT they are likely set to LINE... instead, set them to "mic/instrument level" in global settings. That will lower them by about 12db. If you still need finer control over the level going to the FOH/Monitors.... try this (only works if you are not using the global EQ) Engage the Global EQ on the HELIX Set it to the XLR outputs only Leave all EQ settings flat.... you don't want to change your tone. Turn the LEVEL of the Global EQ down so it doesn't clip the input of the FOH/Monitor board. Somewhere between -6db and -12db should get the job done.