codamedia

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.

Aside from the great advice you've been given on this thread, it never hurts to reach out to Line 6 directly by submitting a support ticket :) Not at all.... you seem to be in a part of the world that varies from country to country... even region to region. A step down transformer does not cost much, and mitigates this problem easily.

I would just reach for the "Brit Plexi Normal" or "Brit Trem Normal" pre-amp on the Helix... however the realism of the Plexi tone will depend on how you setup your deluxe. The normal channel of the Deluxe would be your best option.... as it doesn't have the "bright" cap. However, unless I am mistaken the Tone Master provides a deep edit option to disable the bright cap on the vibrato channel as well... either way, you will not want that engaged when reaching for a Plexi tone. 2nd is the tone controls..... IMO you will need to keep both the treble and bass around 3. This allows the mids (fixed at 6.8) to come through better on the Deluxe. If you have them set in the 5 range (for beautiful Black Face Fender tones) it will compromise the realism of the Plexi tone you feed it. GET THE BEST OF BOTH WORLDS FROM YOUR AMP If you optimize your Normal Channel as I suggest above, you can keep your vibrato channel set for classic fender tones. All you need to do is insert a Send Block, run another cable from a Helix Send to the Normal channel then have that SEND engage at the same time you engage the Plexi Preamp. NOTE: To do this make sure the send is set to stop any signal from passing to the main output, and set it to instrument level in the global settings

I'm sure it will be a great sounding unit... I'm happy for Fractal on their latest release. My thoughts, just in case anyone really cares :) Those so interested in price need to factor in an expression pedal... if that is something you use. With 3 less "useable" footswitches (than a Helix) it limits the live control. Maybe not for everyone, but it would for me. Competition is good.... it keeps both Fractal and Line 6 progressing. For that reason, I fully embrace this product even if I don't believe I will ever buy/use one. Modeling matured over the last decade. IMO, the sounds are already great.... it's now just down to variations and features. The Amp World and Pedal world are NO DIFFERENT! Everything matured long ago so now it's just variation upon variation with the odd new feature (and sometimes a "killer feature") rolled in. The Keyboard world went through this by 1990 or shortly after. I think watching that happen in real time has helped me recognize that point has already arrived with modeling. Some people will not be able to live without the new features, and some will be happy with what they have. Just like some need a Boogie Mark V and a massive pedal board while others are more than happy with a Fender '65 Deluxe with no effects. It's a great time to be a guitar player.... EMBRACE IT!

When you place a buffer between the guitar and the Helix, the input impedance is going to become irrelevant. The output impedance from the buffered splitter isn't going to care what the Helix is set to... only passive guitar pickups do.

I'm glad you found something that works for you... I just don't have the desire to put a limit a product (Helix) that has endless options when used in "full range".

When an effect is far too sensitive I will place a simple GAIN block before it and turn it down several DB until the effect responds the way I want it to, then make up the gain loss with the output level of the effect. I tie both blocks to the same "stomp switch" so they toggle on/off at the same time. I don't know if that will work for you or not, it's just something I discovered when trying to get some effects to respond like the original versions I have owned.

Yep... that's how AC30's work. The tone cut is pure magic once you figure it out. Like you, I am also a fan of greenbacks in a VOX amp... there is a time for the blue bells, but for general use I prefer greenbacks. As for mics, I use a 121 ribbon on everything... often pulled back about 4" - 6". It's a much warmer tone than the dynamic models. Exactly. amps are not dumbed down in a Helix... they work like the real amps do.

Start by making sure the contour button on the Headrush FRFR 108 is NOT engaged... Then follow the advice everyone else has already provided.

By default an effects on/off state is controlled by snapshots, but with "Snapshot Bypass" you can set the block to ignore snapshot changes. Check the "Snapshot Bypass" setting for the effect that is being engaged with "switch A". I suspect it is the opposite as all the other effects.

Well... considering I don't plug my Helix into an Amp I honestly don't know if the Helix does this or not. The one thing I can say is I don't get caught up on the little things.... for me it's about end tone. If I get a great tone out of something I wouldn't care if a slight amount of highs are sucked out.... but I would care about a slight amount of highs being sucked out if the resulting tone was not good :) Obviously, the POD Go requires one more cable to reach the amp... have you actually checked to make sure it isn't the extra cable that causing this slight loss of high end? Cables are notorious for sucking high end, often in unpredictable manners.

Yes - I do suspect you will see the same (or very similar) behaviors. I don't know about the POD Go, but the Helix has several options for fixed input impedance, or two options for "auto" impedance. The AUTO settings simulates the first effect on a pedal board interacting with the guitar... or you can just set it as FIXED (eg: 1M) which would be the same as plugging into most amps. Does the POD Go have these options? If so, have you set them up accordingly? FWIW, I always set mine up "fixed" at 1M... although that is not without compromise.

Although I do not own the Stomp... a browse through the manual suggests that YES, it can output two parallel paths, one to each output. By default creating a parallel path will also create a MERGE block. On a Helix you can continue to move that path creating separate outputs (no merge)... but if you can't do that on a Stomp - the merge block should contain a LEFT/RIGHT pan for each path. I'm just going on my knowledge of the Helix, and the info in the Stomp manual. I don't have real life experience with the Stomp to say for certain.