codamedia

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)

Why not just ask for a 2nd wedge/mix and have them only put the "guitar only" in that mix. IME... If the sound company doesn't have enough monitor mixes, then they are not likely to have a "spare wedge" for you to use. If by chance they do have a passive wedge, they won't want you using a small pedalboard amp into it. When you underpower a wedge, the more likely you are to blow the horn/tweeter. If you had to carry a proper/appropriate power amp to a gig that would completely defeat the purpose of what you are doing, and you might as well carry a small powered monitor of your own.

I would approach it a little differently... Insert a SEND prior to the main out... Connect the SEND to a DI Box, then connect that to the FOH (the SEND will never change in volume) Connect the MAIN output to your personal monitor... you can change that volume without altering the level the FOH is getting from the send. You need a clean/transparent power amp for a passive monitor. Most pedal board amps would be short on power, and probably add too much color to the tone. IMO - it would be more advantageous to just find a decent little powered monitor, or an FRFR. Just my 2 cents....

Although correct... there isn't anything you can do about if you want to add additional effects in the loops. If you are worried about latency and/or degradation of sound... there is a simple test you can do. Connect each loop with a "quality" short cable. Setup a preset in the HX Effects and place each loop on a separate footswitch, or put them both on the same switch. Start playing and toggle them on/off ... take note of any changes to feel & tone. IMO.... it is best to follow it up with a blind test. Have someone else toggle them on/off and take note of your response to each.... This keeps you from being influenced by knowing the position.

If you bought the replacement transmitter new, open a Line 6 ticket through your account. I'm sure they will be happy to help you out. The WUF files will only be opened by the appropriate updater. If the updater cannot see the transmitter or receiver, then it is likely a bad USB cable or port. Try different cables or ports. You have to be careful when buying cables, as the cheaper ones are usually "charging only" and won't carry data. You need a USB cable that carries data.

This suggests you got it to work in Native, but HX Edit threw the errors ... Is the version of HX Edit the same as the hardware? Was HX Edit logged into your account? (I did read that you said it was... I'm just double checking) Is your hardware REGISTERED to that account?

If you bought the IR from the Line 6 store.... then a simple "support ticket" with Line 6 is all you would have needed to solve this problem. They would have sorted it out very quickly. You didn't test any of this out prior to a gig? Please tell me I'm reading that wrong?

Do not do this... it will blow the HX Effects to pieces. As stated above, you will need a load box prior to the return of the stomp in order to make that work.

The DVP4 has two modes, and you should set this to EXP Mode if you haven't already. It sounds to me like the TAPER of the pedal is coming into play... and it's natural for Volume, but not for anything else. When the DVP4 is In Volume Pedal mode it will have an audio taper... while in EXP mode it should be linear taper which is what you want. (NOTE: This will make the volume control a little strange, but there is a setting in the Stomps Volume Block to compensate for that) This next suggestion is theory only... I don't own a DVP4 to try it myself. If you already have the DVP4 in EXP Mode, try inverting the polarity in the pedal (internal switch) and also invert the polarity of the EXP Input in the Stomp. This will keep the Heel/Toe in sync, but will reverse the taper (throw) of the pedal itself - placing the majority of the throw toward the TOE rather than the Heel.

Make sure you are not allowing any signal to bypass the Helix loop (send/return)... which would result in some signal bypassing the amps front end, therefore giving a "cleaner" signal. It is critical to match the I/O level of each connection between the amp and the Helix. When they are not matched, unpredictable results may occur. Helix SEND to Amp Input... the Helix send should be instrument level Amp SEND to Helix Return... the Helix return should be LINE level Helix Output to Amp Return... the Helix Output should be set to LINE level, and the big volume should be FULL or disconnected from the 1/4" outs. (assuming you are using the 1/4" outs). NOTE: The Amps manual and some online discussions suggest your amp uses a LINE LEVEL loop, which is why I am making the suggestions I am. IF the AMP uses instrument level loop, change step 2 & 3 to "instrument level".

Expression pedals are extremely simple devices.... If you have the Mission EP-1... you can easily mod it to the proper specs.... (for the 3rd image you need an EXP with a footswitch, and an HX Stomp)

Not all expression pedals are created equal. MISSION makes a specific "Line 6" model for a reason.... I don't think their regular one is compatible with the Helix which may be what you are noticing.

Since I am somebody that never assumes anything.... I need to ask a really obvious question. Is the HF Trim set the same on both sets of monitors? I think it should also be noted that although they both use 1" dome tweeters, there is more power driving the tweeter on the 8" model. That doesn't always equate to "louder", but it will equate to "more headroom/cleaner" therefore there will always be a perceived increase in high end on the 8" model. If the 8's are not the "p" (new generation) then something else to consider is that you are not truly comparing the same series... the 305's will have improvements that the 308's don't have. Maybe, just maybe the high end is part of those changes? (I do not know the answer to this, I am posing the question) ^^^ this ^^^ is also very critical.