codamedia

It all depends on the "high end" produced by the effect. If the highs are all natural (nothing actually added) then I agree with you.... But If the effect adds artificial high end to the tone.... The highs are retained when after the cab block The high are attenuated by the cab block when it is between amp & cab (when the highs extend beyond the frequency of the speaker/cab)

When I hear some isolated guitar tracks from recordings I'm usually surprised at how much "fizz" is often there. I also find that when I prep a tone at home I hear the artifacts I don't like but they serve a purpose in a live situation and help the guitar cut through. Perfect, sweet tones are not always the answer :) That said, I hate fizz and tend to try and get rid of it myself. This is my experience, YMMV. Presence often adds more fizz than treble so I will tend to use treble to shape the tone, and add presence only as needed. Stay away with anything with a bright cap..... If using IR's, lean toward the ones with the mic position "off center"... FWIW I usually prefer a position about half way between center and edge. The center of a speaker is "all fizz" to my ears. Ditch the big EQ's and go simple. Add the TILT EQ after the cab/IR block, then dial it back toward the dark setting. It's actually a fairly subtle EQ, so don't be afraid to get aggressive if required. Throw the "Rochester Comp" near the end of the chain... anywhere after the cab/IR. The default setting is really loud so you might need to turn the output level of the compressor down... then set the gain reduction so it is barely coming on. This is a great studio style compressor that adds some magic sauce to the signal, and really tames artifacts such as fizz. * Disclaimer: I am not a high gain player so our experiences with fizz might be quite different.

The Stomp has two sends... a TRS Cable is required to use both. TRS on one side (for the Stomp) and 2 separate 1/4" plugs on the other side. Once you get it figured out, label the 1/4" plugs so you know which one is SEND L and SEND R. This is what one of those cables looks like.... you can get them in any length, and often they are referred to as "insert cables".

4 Cables will get you MONO, 5 will get you Stereo. Do everything a 4CM tutorial will suggest but instead of a single cable going from the LT output to the Amp return, you need to run both the LEFT/RIGHT outputs on the Helix to the LEFT/RIGHT Returns on the amp.

Guitar Input > HX Send L > Amp input > Amp send > HX Return L > HX Send R > Pedal > HX Return R > HX Output > Amp Return You could likely use a combo of input/outputs, but get that wrong and a feedback loop will rip your ears off ... it's a dangerous route to go. The method above keeps the signal in a flow that will not loop back on itself... unless you get the cabling wrong.

Unless you need all 8 presets to show at a given time, you can change that screen to show different combinations in the global settings. EG: Change the screen to show 4 presets and 4 stomps... then a boost (and 3 other effects) can always be available. Of course, you will have to setup a footswitch in stomp mode to engage a boost, whether it's an effect block, or the Output Block as @rd2rk suggests above.

Just curious.... have you tried a FULL factory preset, without loading your presets back in? Corrupted presets can be a nightmare... which is why I am asking. Some reset options keep existing presets which will not solve this problem.

I've never actually used auto engage... but I would suggest setting the MIN setting of the whammy to +3..... (EG: +3 to +24, not 0 to +24) In theory... when the auto engage kicks in , it should be at the minor 3rd. If auto engage kicks in at the value of the expression, then it will take some serious trial runs to get it right. TIP: I still recommend my 2nd option :)

Two ways I would do this..... If you run a volume pedal in your chain, place the send anywhere before the volume pedal and leave it to set to send the signal to both to the rest of the path, and to the send. When you lower you volume pedal, you have silent tuning. The tuner is always getting signal, so you also have live tuning available at all times. Insert the send and have it set to MUTE the signal to the rest of the path. Place that SEND block on a footswitch and use turn it on/off as required. There is no need to do a complete loop...

Join the club.... most of us learn how to work around this "little" problem. Maybe you missed the point... I understand that you want to keep external boxes to a minimum. Why add both a tuner and a switch box, when the Helix can take the place of a switch box already. A tuner is all that is needed for the send method to work, and gives you options on a preset to preset level. That's what I do now for all my string instruments that I hold. I find it only takes a moment to unplug/switch/plugin a new instrument. I also don't like having a ton of cables floating around my side of the stage :) My pedal Steel is permanently connected to a RETURN, and on the rare occasions I play keyboards another return is reserved for that.

Even with the Variax.... just put a compressor at the start of the path to help establish a consistent guitar signal - then try some of the synth blocks. That said... I find the Helix synth options to be sorely lacking at this time - I'm hoping future updates will give us more options, but I'm not counting on it.

I am a multi-instrumentalist and have discovered this same issue a few years ago. There are certainly things Line 6 can do to improve the tuner in regards to functionality.... but for the most part, for the majority of users, it just works! What bothers us is not a "big limitation".... it's just an annoyance that the vast majority of users don't experience. If you have a spare SEND on the Helix you won't need "external switches"... and you won't need to run a tuner IN LINE... but you will need an external tuner. Use the SEND to feed an external tuner and get creative with the send block (preset to preset) as to whether or not you want it always engaged, or only engaged when toggled. There is no shortage of options in this setup. NOTE: The SEND Trick can also be done within the Tuner Settings... but you are back to the limits of the tuner inputs. My suggestion places a SEND BLOCK on each preset... so you have full control from preset to preset. Most guitar players swap guitars using the same cable or wireless.... they don't have everything plugged in at all times ready to go! Again... I'm like you and utilize those returns to my advantage for different instruments.... but we are not the "majority of users"!

Even though I own an LT and don't regret choosing it, I can't disagree with anything stated. The LT was a perfect fit for ME, but unless you know for certain it would be all you need - the floor is the safer choice. Two things I will say about the LT.... It's not as flimsy as some might make it out to me. I have absolutely no concerns about it's ruggedness and I do 100+ gigs a year (in normal times) Don't under-estimate the power of "performance view"... something ONLY AVAILALBE on an LT. I owned an HX Effects before getting the LT and I certainly prefer Performance View over the scribble strips. (IMO of course)

I just gave the song a listen... I'm pretty sure that 2nd note is a minor 3rd (D) not a perfect 4th (E). (my ears may also be deceiving me at 7am) I also don't hear the initial note "slowly rising up to the 2nd note" as you say.... I hear that 2nd note struck THEN the rise with the whammy begins. Although.... my 2nd option does give you the ability to slide into that 2nd note using a slide which would be very smooth. Option 1: Automate the whole process with a Whammy (I have not tried this, but in theory it should work) Set the Whammy to AUTO Engage... with it being completely off at heel down. Set the min value to a minor 3rd (D).... and the max value at two octaves Play a B, then the Whammy will engage with a D and raise to a B two octaves higher than the original. Option 2: Manual with the whammy.... Set the whammy at min value 0, and max value 2 octaves and engage it with a footswitch (not auto engage) Play the B note.... Slide into the D note (with your finger, or with a slide) Raise the whammy while sliding back to the initial B note. You will never hear this downward motion with the Whammy raising the pitch so dramatically. If it were me, I would use Option 2. Good luck!

The Helix FLOOR and Helix RACK both have S/PDIF I/O.... in theory, you could chain the audio on multiple devices that way and keep everything in the digital environment. For control it's as simple as a daisy chain of midi and some careful planning. The only option for the other HX Devices (including the LT) would be analog I/O.

I was going to suggest a Gretsch for many of George's sounds... but I agree fully, the guitar choice is very important and a typical Strat or Les Paul will not be as convincing.

If I were looking to replicate those tones I'd reach for the AC30 Fawn Normal...

Jeff Beck is the guitar player on that cut. I think that's a Strat middle position (or stacked humbucking bridge position) into a Marshall... then studio effects applied such as compression, delay and reverb. There is a hint of gain to the Marshall but it might be useful to know how JB does this. He cranks his Marshall(s), then rolls the volume back on his guitars to clean it up. He always has a lot on tap for explosive moments. Alternatively, you could setup a Plexi Bright with the gain around 3 or 4 while keeping the guitar volume at full or slightly under. To really copy the sound you have to be in stereo... then run both a slapback (mono) and a longer delay (tap in the tempo... ballpark 400ms) which is only on the left side of the recording. NOTE: Toward the end of the solo (the highest parts) you might think you hear an effect... that's just trademark Jeff Beck whammy bar. Practice, practice, practice - LOL! It is those high parts at the end of the solo that screams STRAT to me because the trem bar is so identifiable with Jeff Beck. No dive bombing, just a shake which leads to shimmer & sustain. FWIW, Private Dancer was written by Mark Knopfler and recorded by Dire Straits for their "Love Over Gold" Album. Mark wasn't comfortable with singing the song and thought it was better suited for a woman to do. Most of Dire Straits (sans Mark) plays on the track, Jeff Beck was brought in to add the guitar.

We guitar players can be pretty self indulgent at times :) IMO..... worry more about what the PEOPLE will hear than what YOU ALONE will enjoy! More to the point! If the sound varies a little for you through a monitor, who cares. All those people in the crowd/congregation will still hear the same thing through the FOH.

OK.... none of the Helix amp sims sound good AND Amplitude 5 doesn't sound good when the signal to the computer is coming from the Helix. Obviously, something is painfully wrong! ANY OF IT should sound decent, just a matter of adjusting to tastes. Some troubleshooting will be required to find to the problem. Check your guitar cables, check your guitar, try multiples of everything, try a new USB cable, check your monitors, etc... etc... etc...

Another dumb question.... Are you 100% positive that the wall plug you are plugging into is providing power? Don't assume anything, always test it with another device, and/or test the Stomp in other circuits around the home. Failing that... return it for a new one.

For the most part I agree with you... "user defaults" are the big picture, but favorites is still useful and shouldn't be overlooked. Here are three example from my viewpoint. I'm a creature of habit.... and use the same amps & effects almost everywhere. When building a preset, having all of these in favorites puts them ALL in quick reach. If I just relied on user defaults I'd still be scrolling through multiple windows while adding blocks. Sure... there are times I might add something different, but having my favorite "go to's" in one spot is really handy. I might have multiple "favorites" using the same amp or effect. User Defaults only allow ONE starting point, favorites will let you add the same amp or effect with different settings multiple times... with different names (keep reading) I can rename it (EG: WhoWatt is now a HIWATT, Vermin is now a RAT, etc... etc... ) Long story short. If it's something I use regularly - it lands in favorites. If it's something I found a good setting for and might use it someday, it becomes a user default. NOTE: My thoughts and ideas are subject to change :)

In the Volume pedal block the "curve" setting can be set to Linear (default) or Logarithmic. Change that to Logarithmic and it will behave more like a real volume pedal does... providing a more gradual volume throw. (NOTE: This is in the VOLUME PEDAL block you add to a preset, not the EXP adjustments in global settings)

They are not guilty of theft, but they are also not the rightful owner.... at least in Canada that's how it works. Law enforcement would follow up with where the new owner got it from.... if they felt it was worth the effort :) Losing a Helix is a nightmare for some of us, but it ranks slightly above the theft of a package of batteries at a Walmart for police. IMO... the only thing Line 6 is responsible for is contacting the owner that reported it stolen. If the owner takes it up with law enforcement, Line 6 will have to share the "new registrant" info with police when asked, not with the original owner. Absolutely.... it would be nice to know the required procedure L6 would follow.

Failed at creating "snapshots" or failed at assigning a "snapshot in stomp view"?