codamedia

No need to use the AUX IN unless you really want to... the Stomp, Stomp XL and HX Effects have "left/right" inputs and those can be separated with the split block to feed path A/B respectively. I found this video which does walk through 3 different options for running two independent instruments through a Stomp... I'm sure the Stomp XL is no different.

Great question.... To be honest, I'm not sure because I don't own a Stomp XL. EDIT TO ADD: Yes it is possible.. see the video a couple posts down. I know could create two independent paths on my HX Effects when I owned one. Move the SPLIT block to be first in the chain Hard pan the inputs at the split block Place the MERGE block to be last in the chain Hard pan the outputs at the merge block Left Input fed the upper path all the way to the left output. Right input fed the lower path all the way to the right output. Seeing that both the HX Effects and the HX Stomp XL has separate left/right inputs, I am making an assumption that it might be possible.... if the OP is even wanting it.

Although the Stomp XL is limited to a single DSP.... you can still get 2 paths. Add more than one block, then DRAG one of those down. A 2nd path is created, including a "split block" and a "merge block" which can also be moved around. You are still going to be limited to 8 blocks but you can divide those any way you want on the 2 paths. The split & merge (that are auto created) do not consume block space.

The most important thing to remember is that this only matters when the effect is in a bypass state. Once the effect is on, it is always buffered. Always On? I'd place it just before the amp... on route to the amp. As an effect? I'd place it in the other loop... then use that loop as the "on/off" for the effect. In either example... it won't matter if it's buffered or not.

Just do a complete backup.... even though it will backup everything. When you do a restore, simply uncheck everything EXCEPT globals.... which will be the only thing restored.

More info required.... they are all distinctly different. JTM45 / Bluesbreaker? Super Lead / Plexi? JCM800? IMO... regardless of which model, I'd most certainly start with those models already within the Helix. Brit J45 (JTM45) Brit Plexi (Super Lead / Plexi) Brit 2204 (JCM 800) Line 6 2204 Mod (Alternate JCM 800)

There is no comparison between the two screens. The LT is much larger & clearer and much of the function is in color with high resolution. Admittedly, I still need readers on occasion when editing, but I also need them in front of a computer screen. When it comes time to play... the LT has something called performance view that I don't think can get any clearer. I actually prefer performance view on the LT over the scribble strips found on a Helix floor, but that just my opinion.

I've noticed that with the Helix Script Phase as well.... Try the "Legacy > Script Phase"... It retains the lows much better, IMO.

I am in that 2nd group... but day to day I do not run out of resources. However... if I tried to add something like a poly "drop" effect I likely wouldn't be able to. At that point I'd just create a simplified duplicate preset which could handle it... which would then make me part of the first group :)

On the fuzz tone... cut the lows, substantially. Use the MIX/BLEND to bring in just the right amount of "fuzz" to your existing "nice low end" tone... If the block does not have a MIX/BLEND, you can try placing the FUZZ on a parallel path.

Snapshot Mode was made for this sort of thing.... You could add a MIDI controller to gain added control via midi... or if you are brave, create a midi loopback and use command center for the added control. I do the midi loopback on my helix and it works great...but it requires care and planning.

A guitar is exactly 1 octave higher than a bass. If you are using a guitar to mimic bass parts, it should be dropped an octave, or at least have a low octave added. If you are using a BASS.... it's already there. My suggestions already posted in this thread never leave the Helix. Maybe if you can provide a youtube example of "a sound" you are actually looking for... we can get more specific in helping you.

Excellent... you have the wheels in motion at the proper levels to figure the problem out.

I'm with you on this....Although I'm not doing stackable snapshots at this time, I encountered it from a different angle. I do a midi loopback assignment on one stomp button - and from scratch I need to assign it 8 times (once for each snapshot) in a single preset. It's annoying. With a little luck.... there is a hidden answer to #1 that we are both missing but in reality I suspect the ones that are "not" suffering from this, are actually the ones not behaving properly (as intended).

^^^ this ^^^ would really help.... I'm not into the style so I can't really give specifics... I just have a decent understanding of what I am hearing when I do hear a sample. If using a guitar... lower it (digitally) an octave to get it into bass territory Visit the Synth section of the Helix... especially the newly added "legacy" synths from 3.15 Locate something with a sawtooth wave and blend it in... this gives a little "grit" to the sound Find something with a sine wave and blend it in an octave lower.... this adds sub frequencies. Use sparingly. Now add some compression, EQ and Effects to taste.

I can understand what Sashca and Phil_m are saying.... As I understand it... the PAD happens before the AD conversion... the ON/OFF may be digitally controlled, but it very well could be a "fixed value" baked into the hardware. But, it never hurts to ask.... just in case it is possible :)

^^^ this ^^^ I'm in Canada... it was minus 49C this morning so I understand COLD..... If the unit got as cold as you suspect.... let it warm up to room temp (or closer to room temp) before using it.

@5mafre5br ... ^^^ this ^^^ IF you are using Windows 10, you can find those settings here.... Settings > Sound > Manage Sound Devices > Select the Helix (it must be on and connected in order to see it) > Choose disable I don't remember where that is on other Windows versions... but it's there. I'm not sure how to do that on the MAC... but I'm sure it's there somewhere

If he's an authorized repair shop... of course he can call Line 6. They don't want people fixing their stuff ad hoc.... they want it diagnosed and fixed right.

Yes - quite possible. I have thought of that. BUT - it never hurts to ask, just in case it "is" possible.

Not that I am aware of. Did you open a support ticket with Line 6 and show some pictures and/or video of the problem? Maybe get their take on the problem? Was the local guy a Line 6 service rep?

As with all blocks, inserting a MONO version will collapse everything to mono, inserting a STEREO version will keep things stereo. Insert > Send Return > MONO This shows what you are describing... Send 1, 2, 3, 4, Return 1, 2, 3, 4 and loop 1, 2, 3, 4 What you want is.... Insert > Send Return > STEREO This shows Send 1/2, Send 3/4, Return 1/2, Return 3/4 and Loop 1/2, Loop 3/4

Although I love the new input pad options on the 3.15 update, I can't help but think it could still be improved simply by making it variable. I have created an IDEASCALE submission for this.... here is the link in case anyone would like to upvote it. https://line6.ideascale.com/c/idea/1040381 Summary: Make the input pad (in the preset) variable to plus/minus 10db (value to be determined), and have that assignable to snapshots or footswitches. It would make it really flexible for those of us that use multiple guitars. I currently do this with a simple GAIN control as the first block, it works fine but I'd prefer it built into the input block since it is an input setting. NOTE: There have been a couple other requests for a variable pad... but I decided to start one that expands on the 3.15 update. Here are the other links I found, just in case you would like to upvote those as well.... https://line6.ideascale.com/c/idea/963267 https://line6.ideascale.com/c/idea/873228

The Fishman performer is just a nice sounding "full range" set up with a few EQ frequencies carefully chosen for acoustic. EG: It's a small PA/Monitor. Unlike guitar amps, It doesn't (nor should it) have any special character of it's own other than simply sounding good. This is easy to assemble in the Helix..... (IMO) Preamp > Mic > Studio Tube Pre (emulates a console input, and includes hi/lo cuts) Choose an EQ (or two) of you liking to emulate the tone controls on the Fishman. A parametric should be all you need....it just won't be as simple as the fixed controls on the Fishman. Add effects to taste... reverb, chorus, etc... etc... Add a GAIN block as a BOOST for when you need it. (optional) Add an LA Studio Comp to the chain to polish the final tone a little. Don't over think this one :)

It starts by getting everything as close as possible (in level) before going to a gig... but when needed it's not that hard to do what you want. Save the preset with the overdrive/distortion in focus.... (eg: highlighted). When you are on the gig... if the drive is too high, you can bend over and adjust it immediately... then press the save button. The only additional step from pedals is the pressing of the save button and possibly (with some effects) pressing a page over button. Refresh yourself on the touch capacitance features of the HX Effects... .this bring effects into focus very quickly so you can adjust them on the fly. Then it's just a matter of pressing "save".