codamedia

Do you have the Helix connected to Studio one as a "controller"? If not, I believe you need to do that for MMC to work. Also - when adding a controller to Studio One there are filter options.... make sure you are not inadvertently filtering the MMC commands.

^^^ this ^^^ FYI... a good quality DI to isolate your Helix from the FOH is never a bad idea. I've experienced grounding issues that the Helix XLR lift couldn't solve but an external DI w/lift did... and phantom power becomes a problem when the FOH board has a global "Phantom power switch" for the entire console. (notably... many mid to lower grade consoles, and certainly the older models of such) FWIW... I carried a phantom power blocker for a while... then decided to permanently mount a quality DI. I've never regretted the latter move which gives me isolation, a ground lift and built in pad.

@gertroscam... IMO... Just ask the FOH/Monitor tech to MUTE your channel until everyone is ready. Nobody will get your guitar in their mix until the band it ready to proceed with sound check, at which point you should no longer be noodling/practicing anymore :)

The janglebox is a compressor.... an IR is not capable of doing that action. It's could simulate the "high end" character of the janglebox, but not the compression. I haven't owned a janglebox so I don't know which compressor in the Helix would be most similar... but I'm sure there is something close.

@i7718.... I see you have figured out the merge block with help from "phil_m"... I just want to offer another possible option. I don't know if this exists on the stomp, but on the Helix you do not have to MERGE the two paths back together.... just drag the lower path off the merge block and a new output should be created automatically. Once you do that you can set the output options for each path independently.

That is called "stomp mode"... and yes it exists in the Helix just as it does in the HX Effects. The GAP when changing presets has options as well. Learning snapshots (mentioned above) is the best approach (IMO) but since 3.1 the Helix also has a mode called "preset spillover" that removes the GAP when changing presets. That option will cost you an entire DSP (path), but some find it worth the sacrifice.

What a great resource for safely inspecting presets, setlists and bundles. Bookmarked for future reference...

I'll assume that by "patches" you actually mean "snapshots"... which are like having presets within presets. Assuming you have a Helix Floor, Rack or LT... go to Global Settings > Footswitches > Preset Mode Switches Adjust those to have your screen display what you would like... If you want "snaps on top, presets on bottom" set this to "snap/preset" The flexibility of how to lay the controls out on a Helix allows users to set it up to their preference... what works for one person won't necessarily work for another.

I fully agree about those early Line 6 manuals and pilot guides, they were really great reads that were very informative. Besides the Helix Help site & the Big Book of Helix mentioned already I have found this thread to be helpful along the journey. https://line6.com/support/topic/19961-helix-amp-model-gallery-real-controls-vs-invented/

I'm not sure about the STOMP XL, but the Helix and LT can be set to use the returns.... I can't imagine they stripped that option from the Stomp. You cannot have the tuner listen to "returns" and "inputs" at the same time.

Just to be clear... in my suggestions I think the BADONK or PANAMA would be a better amp choice since they have a lot more gain than the 2204, but those amps would need an added EQ to scoop those mids out - simply lowering the mids doesn't seem to be enough. Disclaimer... This is not my style of music or playing, I'm just going by the samples I heard on you tube, and loading amps into the Helix to see if I could get close.

I'll admit, It's a scary thought... get to a gig, start it up and find it blank. Backups don't do you any good unless you have a laptop in your trunk to restore from. It appears to be very rare... I'll probably continue to play the odds that it won't happen to me. I always have a spare modeler on hand for emergencies, this seems to be a scenario that would qualify.

Not my style.... but I just opened up the Helix and dug into to see if I could find that. The BADONK and the PANANA had the gain, but I could not dial out enough mids. However... if you add a CALI EQ before or after the amp, you could scoop enough of the mids out to get it close. Any EQ could do this, but I like the simplicity of the CALI. Actually... I'm convinced that with some time & tweaking this solution could probably nail the sound. The Line 6 JCM MOD 2204 came closest with just an amp.... crank the gain, and dial the mids all the way back, then dial the pre-mids back as well. This may do a good enough job of scooping the mids without the need for an EQ. The low end might not be tight enough for this use though.

They will most often send XLR (the MALE end will be given to you). I have never been given a TRS or TS line in this situation... but that doesn't mean it can't happen. The most flexible option would be a FEMALE XLR/TRS Combo Input & a TRS/TS output but I don't see one in that list you sent. The one unit you do point out would be your best option from that list. You will need an appropriate cable to connect the stomp. FWIW... I would approach this a different way. Instead of using the Stomp to power the IEM (which I find convoluted) I'd just buy a two channel headphone amp.... something like the Behringer P1 which is a similar price to the items you are already looking at. https://www.thomann.de/gb/behringer_powerplay_p1.htm Set it to MONO operation (it then works as two channel mono instead of stereo) Connect the stomp signal to one channel and the monitor mix to the other channel Use that as your headphone amp... the volume controls the overall level, the "balance" controls the blend between the stomp and the mix.

Don't toggle anything on/off with that switch... assign it to values instead. There are two options. Assign FS4 to toggle the SPLIT A/B value.... The block will always be on, but FS4 will decide where the signal goes... A or B. If you already control the Split A/B Value via snapshots, then try this 2nd option... Set the two "returns levels" on the merge block to FS4.... Set the MIN/MAX settings for two returns ("A Level" & "B Level") opposite of each other. FS4 will toggle between those two states, and it will be independent of any snapshots you choose.

Nope... put both DRIVE and Channel Volume on the same EXP (EXP1 OR EXP2) The DRIVE increases as you press the pedal.... the Channel Volume Decreases (accordingly) as you press the pedal. There is a MIN/MAX setting for each control you assign to an EXP. For the Channel Volume, you need to set the MAX "Lower" than the "MIN".

Yes - it probably is. But if it's really minor you should be able to compensate any perceived differences. Yes - the HX is digital so every round trip to/from the HX goes through a single AD/DA conversion. For the record, any digital pedal works this way... and there are "countless" makes/models out there, some even disguising as regular stomp boxes. Yes, no, and not really. TB is only TB until it is turned on. TB makes no difference to the tone of the pedal, it makes a difference when the pedal is OFF - and even that is a subjective preference. FWIW... Since I can't stand surprises, I always ran a buffered pedal at the front of my chain. It retained the highs for me to shape later as I pleased & on my terms. For example... I don't want a cable to shape my high end, I'll do it with an EQ - but that's just my preference. There is no right or wrong, just a few standard approaches. Do whatever you have to in order to get the best tone you can.

There is a lot to unpack in that opening post.... and so much margin of error in deciphering it :) @z3albw1rr... please confirm that I am following this correctly? 1: You want the SPLIT block to respond to snapshots... which determine if you get modulation (path A), delay (path B), or both. 2: You want FS4 to MUTE the delay section, and you want full control of this... independent of Snapshots. I'm pretty sure I have a simple solution for this, but there is no sense in posting it until I know that's what you want. FYI... That is the designed behavior of Snapshots when they are set to DISCARD in global settings. The solution is to save your change immediately.... otherwise the second you change snapshots your change is instantly lost.

The first thing to understand is that the warmth you are describing here is the sound of a cable degrading your tone :) It might be pleasant, it might be what you prefer, just understand it for what it is. As for the 4cm vs 3cm difference.... IME this could be a gain staging issue, or it could simply be that your OD prefers a particular placement.... that's not uncommon. I once returned a particular "well liked OD" as quickly as I bought it because of it's finicky placement requirements on my board. It only worked well in one location, and sounded like it had a wet blanket on it in every other location.

As stated already... that's a WINDOWS/ASIO problem, not the fault/problem of the Helix or the Presonus. FWIW... I just connect my Helix to my primary audio device via XLR. Some get all worked up about that needing to do another AD/DA conversion, I DON'T! The Presonus preamps are good... they will add a pleasant & subtle flavor to the tone - but nothing drastic enough that you will need to alter anything. I embrace the flavors a preamp can add, they have always been part of the secret sauce nobody can figure out when replicating what they hear on recordings. The presonus has enough inputs/outputs that re-amping is not an issue.

That's likely going to leave you feeling a little disappointed. I agree with @PaulTBaker.... look up Jason Sadites videos on You Tube, then be prepared to put in many hours. It's a worthwhile journey. To be honest.... this is less about learning the gear, and more about learning how to create a good tone.... that is something that takes time... and it's also a moving target. Once you experience good tone you can begin to coax it out of any "decent" gear under any situation. I can't tell you how many times I have seen a demo video only to read comments like "yeah, but that guy can make anything sound good"? The reality is... "that guy" is proving the gear is rarely the limitation - it's the knowledge and understanding of the user approaching it that is shining through.

Assign the A/B value in the split block to a Footswitch instead of snapshots. Toggle between A & B with each press of the switch. The SPLIT stays on at all times so it is not effected by any snapshots and you have full manual control of the A/B with the footswitch. (a preset will still load with it's saved value) This works as long as you don't need a THIRD value from the split block.

Yes... it is easy with the Helix. It's all built in and there is no need for added gear as suggested earlier. Simply follow the advice already given by @rd2rk

I know that's not the norm, but he said he is relying on the sound techs and their gear. It would be impossible to do that without a setup capable of monitor mixes... and hopefully an extra one. I had to make an assumption :) Good luck, I hope that works out for you. FWIW... whenever possible I hear my Helix through my monitor mix, along with everything else - but I do run it fairly hot, along with my vocal. I carry an FRFR for times when the monitors might not be good enough, just to supplement the tone/volume on my side of the stage.

IME - this is the result of a few possibilities. The monitor "wedge" quality is not very good. The monitors are not very well tuned (EQ'd). If the monitors are mixed from the FOH... then the tech may be over correcting the tone you are providing. Could be a poorly tuned FOH system forcing the tech to apply too much EQ that wreaks havoc with the monitors. Could be a mediocre tech not sure of what they are doing. Could be the tones you are providing aren't ready for prime time yet (I purposely leave that to last... as I prefer to assume you are creating great tones already)