codamedia

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.

Strictly IMO... because I do not own a POD Go. I don't believe you will notice a big enough difference in the "oversampling". I'm not even sure I noticed a definite difference in the latest update(s). I think this is one of those 5% better things that is really, really hard to put a finger on. Does the Helix have better converters? I doubt that... but maybe someone else will know better than I do. The Helix has double the power and far more flexibility than the POD Go but I really don't believe the Helix sounds better, it just has more options and capabilities... which COULD result in better tones.

I consider the Helix my single best purchase in more than 40+ years in the business. That is due to it's flexibility and sound. I owned an HD500 well into the Helix life cycle. I wish I hadn't waited that long I owned an X3 well into the HD500 life cycle. I wish I had kept the X3 Read between the lines. The next update is NOT ALWAYS what you think it might be! The Helix is already great.... the next version is unknown. IMO: If the Helix checks those boxes now, there is no reason to wait for what's next, those boxes could disappear!

As you said... you boxed yourself in (through no fault of your own)... Ultimately, you want to setup your tones on your LIVE FRFR at gig volume, but as you say, it's not possible in your situation. Given your situation, I would suggest you buy the best FRFR you can afford that also suits your needs! That FRFR will likely have a few EQ settings (flat, monitor, enhanced, house, etc... etc..).... start with those to get one as close to the headphone sound as possible. If there aren't any presets.... adjust the EQ on the FRFR to get it as close as possible to the headphones. If that alone does not accomplish the goal you can apply the global EQ to the output feeding the FRFR and shape the tone for a given room. This is no different than dialing in an amps EQ on a gig and will apply to all presets. When you get back home, make sure the Global EQ is not assigned to the headphones and/or turn it off completely.

I don't think it's possible on the script phase... but for the transistor tape (solid state echoplex) just set both the feedback and time to zero. I usually use the "legacy > Tube echo" (tube echoplex) for that "pre-amp" effect with the same settings... which also has the "drive" I can increase as desired.

Are your delays setup with fixed millisecond settings? I am not 100% certain about this... but I think the "authentic/transparent" global setting only works with time based delay settings which are controlled by tap tempo. If you set your delays via "milliseconds" I don't think that setting does anything. (somebody please correct me if I am wrong) FWIW.... I run two delays on my Helix. One is a fixed MS slapback setting, the other is a longer time based delay with the tap. The "transparent" global setting works great on that tap delay.

@themetallikid.... the top view of your board looks a lot like mine, right down to the wireless position. That is certainly a problem as that size almost requires a board of it's own. Sometimes there is no way to cheat "size" - LOL!

This is quite easy with the Helix line.... The big units (rack, floor, LT) can provide a separate path/processor for each input.... while the STOMP and HX Effects would require a parallel path with creative panning to separate everything. Without any support for parallel paths I think the POD Go becomes to restrictive. The only option would be "input to effects send", and "effects return to output". Although possible, I think that would be very limiting.

Missing.... :) Helix LT - YES

I know you are fixated that the problem only happens when you connect the "FX Loop" but I think that is exposing the problem, not creating it. That squeal is horrible, but (IMO) is sound like digital interference, not analog. I missed the mention of S/PDIF earlier in the thread. Without changing anything else.... just remove the S/PDIF cable from the Helix and see if the noise STOPS coming through your AMP. If it stops, then the REAL problem is the S/PDIF connection.

FWIW, I would likely run a combination of both. I don't think there is a wrong way, just find something you are comfortable with.

YES... that is what you need. "Expensive"... really? You own an HX Effects and an Apple iPad Mini. In Canada the Camera kit is only $50.... and it's worth every penny because it works! It is beneficial to any ipad/iPhone because any class compliant USB device can now be connected. Cameras, keyboards, hard drives, printers, audio interface, etc.... etc...

If you plug your Helix into the RETURN on the amp.... disable the CAB but leave the amp models. The Big Volume on the Helix will become your volume control for the amp unless the MASTER on the Marshall still works from just the return. If you plug your Helix into the FRONT of the amp... disable both the amp models and cab models within the Helix. The Marshall then becomes the full amp and the Helix become a glorified pedal board (effects only) rather than an amp modeler. Nothing is wasted by using this method... nobody says you have to use every feature in every situation.

Try this setup ... see if it helps. If noise is being introduced by unbalanced lines, this should help with that. Path A (upper path) Set input block distinctly to guitar in (not multi) Set the output block to SEND 1 Path B (lower path) Set input as mic (XLR) (make sure Phantom Power is turned off in the global settings) insert your CAB MODEL on this path Set Output as required Now, connect SEND 1 to the input of the amp and use the BALANCED output of your attenuator to feed the MIC input of the Helix. NOTE: Watch the input level at the XLR on the Helix, you may need to trim (lower) the XLR input on the Helix quite a bit. I'd start at it's lowest level and if it peaks there, stop the experiment. Raise the level as required. .... and as @rd2rk has asked, can you share an audio example of the noise?