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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"?

I'm sure you figured this out... but "Linear/Log" is not an option in the EXP settings, it's an option in the VOLUME Block. Normally you would set this to LOG for a Volume pedal. However.... if you already have an external expression pedal with a LOG curve.... Linear might be more appropriate. (most EXP pedals have linear curves, but not all)

There are BASS AMPS and BASS EFFECTS already available in the Helix The effects are all lumped together, not in separate sub categories. You need to know which specific effects were made for BASS (the manual/model list will tell you) BASS AMPS are in a separate sub category Choose Amps or Preamps or Amp/Cabs Then Choose "Bass" The models will appear Keep in mind you are not limited to the Bass Amps and Bass effects.... you can use anything you want.

This is great... I wish more company's would do this. Our national music store chain in Canada has a "stolen" database.... and since they are so large coast to coast it is always worth reporting to them - as eventually the item might appear there for trade or service. The only problem is... they don't publicize it, I only know about it because I know a lot of the staff at my local store.

That video is about fixing/cleaning the expression pedal assembly, not the footswitches. IMO, I think the video is completely irrelevant to what you are describing. The footswitches are just actuators (the switches are mounted under them) but I don't have a recommendation for cleaning or lubricating them.

Any IR that loads into a Helix can be loaded into an HX Effects.

I'm a direct to console, FOH, Monitor/IEM and on occasion FRFR type of guy. But yes, I still like my amps... old habits never die. This weekend the opportunity came to take out my Marshall 50 Watt with a 1x12 cab. Initially I planned on just taking my BOSS GT-1 as a small pedal board.... but at the last moment decided to take my Helix.... simply copied my primary presets for my TELE and STRAT (the guitars on this gig) and just removed the AMP/CAB blocks. VOILA! It worked like a charm. I didn't have to change a single effect, not even the overdrives. They worked exactly as intended. What this confirmed with me is that the AMP/CAB blocks I do use (when going direct) are extremely similar to how I normally shape an amp. I would not have been able to do this on my multi-instrument gigs.... but for the straight up guitar gig it worked perfectly, and it's nice to know it does!

I couldn't agree more. My presets are loaded with "everything I might need" for each guitar I pick up... but I use very little in reality. I have a 3db boost on a footswitch for every preset, but rarely kick it in.... normally I just play with dynamics, then dig in when the time is MINE to fill :) There are so many ways to make a solo (or part) stand out, and more level (db) is not always the requirement.

IMO - I find a 6db boost a little radical myself.... normally (like you) 2-3db is all my parts really need to jump out. I suspect you are "under mixed" in the fronts but can't say that with certainly from behind a computer countless miles away - I'd have to hear it. You could split the difference.... turn the guitar in your own mix down a few DB, then the 6db boost will sit nicer when you kick it in. KEEP IT SIMPLE, I would never try setting up different "gain increases" for the FOH that I wouldn't use myself. (IMO)

IMO... if you have to resort to extreme EQ to make something right, something is already wrong that needs addressing first. The default "cuts" on the cab block are a good "starting point" and should only require minor adjusting. Global EQ should be reserved for emergency "room adjustment" when moving between several different environments, not used to create tones. Double Cabbing does not count in either of the above.... that is used to create great tones, but not required to get great tones. This sounds like "cab" issues to me... might I suggest you try some of the following. The Helix cabinets don't have the ability to "move the microphone" from center to edge, and it appears the cabs are all miced at the CENTER which is the brightest/thinnest part of the speaker. There are two "work arounds" that I find work REALLY WELL to thicken tones. Try changing the MIC to a Ribbon or Condenser, then pulling the distance back a little. The 57 at 1" is default on many cabs and that is the brightest/harshest combination in the Helix. Change that to a 121 and set the distance to 4"-6".... you will instantly hear more smoothness and warmth. expand on this by getting familiar with the different tones from the mics, and the distance. Over time you will build a favorite "go to" list for different situations. To simulate moving a mic from "center to edge".... insert a TILT EQ after the amp/cab block. Leave the default settings for now, but dial back the TILT toward the DARK settings. DARK 40 or DARK 50 often takes the brightness off the tone while thickening it a little. (That is similar to a mic being about half way between center and edge on a speaker, which is very common with live techs)

Not to pile on, but snapshots are your friend. This is how I approach the Helix hierarchy. PRESET: Each preset loads the amp/pedalboard layout of your choice. SNAPSHOTS: These are the PRESETS of that layout you loaded. You can't change the layout, but you can change the settings of anything you want. STOMP MODE: Just like using a traditional pedal board, but with more flexibility and power. If you can build a multi-purpose preset... snapshots are instant and seamless at going tone to tone while stomp mode is still just a click away.

The 8's, 5's or 3's..... IMO, the 3's would not provide you with an accurate enough "LIVE" sound... and you would likely get better results with an FRFR. If it's the 5's or 8's, you might (or might not) find an FRFR to be any better at preparing sounds. This is highly unlikely... unless your FRFR is the same FOH Top that is used. None of these boxes are truly "flat response", they all have a sound of their own. The trick is not getting tones that sound the same on everything, it's getting tones that sound good on everything. (ie: the term "translates well") EG: If I listen to a well produced song through 3 different stereo's it will sound different on all three.... but it will still sound good on all three. The same applies to guitar tones through various FRFR/PA/Monitors.

That's is certainly another way to approach it... it becomes the difference of managing "pan" or managing a send block. My approach would allow for blending as well.... the SEND block has full control of how much signal goes each way. It could easily be setup via footswitch, snapshots or expression pedal. I suggested "on/off" as the simple first step :) Speaking of blending the two channels, that would depend on how the Tone Master deluxe is setup. The two channels on a regular Fender Deluxe are out of phase so blending is not an option without unpredictable results. I have no idea if the Tone Master is out of phase, or in phase with each other.... (hmmm, it might even be programmable)

What are you using for studio monitors? The quality of those, along with the LEVEL you monitor to create your tones makes a huge difference. I use two sets of Studio Monitors (a 6.5" set & an 8" set) and create my tones at about 90db. When I get the tones to sound good on BOTH SETS it translates to any FOH and Monitor setup I have ever used, and it also translates well to my FRFR. I never have to tweak my tones live. As nice as my FRFR sounds, I don't think I could setup tones there that would translate as well as the studio monitors.