codamedia

Ok, you have certainly done a fair bit of tests.... There is just a few more things I can suggest you try.... Try a different Loop on the Helix. EG: Try loop 2, or loop 3, etc.... (this would expose a faulty loop) If you get the same result on all the loops, try lowing the SEND level on the Helix, and or the RETURN level. Each loop block has a level for both the send and return - don't be afraid to lower them if you have to.

I have to say.. .your setup is very "high risk" for an opening day :)

Really... you are just running the FX Loop (send/return... both on instrument level) then into a CAB after the return? That should be a very neutral setup. Leave that exact preset in place.... and try this. (let us know the results) Plug the guitar straight into the AMP Keep the attenuator to the Helix return in place... Does it work? Now plug the guitar into the Helix The Helix SEND into the Amp input Keep the attenuator to the Helix return in place... What happens now?

If this is working.... then the proper settings for a RETURN should be "Instrument Level".... which you do say you have done. IMO, the guitar into the amp works, but the Helix send to the amp is causing the problem. This would suggest to me that the Helix (in particular the effects prior to the send) is pushing way to much level to the input of the amp. Right now we know how you have everything hooked up, but we have no idea what you are running for effects and whether or not the gain structure is appropriate. Can you share your preset with us... we might see something you are overlooking. EDIT TO ADD: I see you posted the preset while I was typing... thanks!

Make sure the send/return 1 is set to "instrument level" in the global settings. If it is set to line, the front end of your amp will be seeing a massive boost in signal.

If you created an "ideascale" feature request can you please link it here so we can upvote it. I think the workflow has merit.... but we all know these forums is not the place to request a new feature.

That mod button converted the delay to a very subtle chorus... it could never do both delay and chorus at the same time. These settings should come very close to the "MOD" button on the carbon copy... but just like the carbon copy it will sacrifice the delay itself. You can use "snapshots" to simulate going from delay to mod. Adjust "depth" and "mix" to taste. Time: 20ms Feedback: 0 Noise: 0 BBD size: 1024 Mix 50% Level: 0 Rate: 1.0 Depth: 3 Headroom: 0 Trails: Off

That's the power adapter for the little independent power supplies, it's not necessarily what the VDI puts out. I'd suggest you find the pinouts for the RJ45 "power" section, and get an accurate measurement of voltage before trying it. As for amperage... I think a Variax "requires" less than 1A, so I don't really know what the VDI port would "safely" allow. Please heed my warning about "void warranties"... I'm just pointing you toward something to "research further"... not providing an actual "tested" solution.

This will not work with an LT... There is no simple way to add a couple footswitches to the Helix LT. The EXP2 jack is TRS, but only for controlling external amps with the Helix, not the other way around. When used as an EXP IN it's just a TS connection and needs to work like an Expression pedal. EG: Wire a 10k resistor onto a latching switch, then that switch will work like an expression pedal that is "full heal down" (off) or "full toe down" (on) when toggled. Next you have to assign EXP 2 to a parameter in the Helix. If you want to assign it to a "boost" that is certainly possible... This is all done "per preset". You can set the EXP2 Input as global so it's position is retained while jumping from preset to preset, but still needs to be assigned to the correct parameter on each preset.

If you don't own a Variax you can probably tap the power from the VDI port to power a couple small pedals. I don't believe it's a full 9v though, I think it's more like 7 or 8v. That wouldn't be a MOD to the Helix itself... it's just a custom cable. Keep in mind, I'm sure Line 6 would void any warranty if ports are used for unintended purposes such as this.

You have that in reverse.... the POD Go software resembles the HELIX software, but with a lot more limitations :) The HELIX units can also run out of DSP if you are not careful, but with two processors you can certainly run more, and spread out the resources as required. To answer the TITLE of this thread... "is a helix lt just a pod go with more resources?" No, it's a lot more than that. The Helix LT has the same resources and abilities as the Helix Floor and Rack... it just has less "hardware" features. The POD Go is a convenient (and great sounding) little package, but it also has the most "software limitations" of the entire line.

IME....Whether or not a used speaker sounds the same as new at that time I am looking to buy it doesn't matter to me . It just needs to sound great, and work under pressure!

You make it sound like Fractal is guilty of false advertising with the AXE FXII released in 2011. Last time I checked, this is 2021... "state of the art" has changed. That said, IMO... AXE FX II is holding up just fine... and the X3 still sounds great as well. IMO... You can decide what YOU like and don't like, but you can't decide what EVERYONE likes or dislikes.

Not really.... physically loading down a guitar will be more reactive than simply setting an EQ. I think it's great that this "purist" option is available in the Helix. There were generally two ways people ran their traditional pedal boards... whether they new it or not. if you always had a buffered pedal at the front of your chain then your guitar ALWAYS see's that impendence regardless of whether or not it was on/off. This was the way the Helix was setup for AUTO by default. If you have True Bypass pedals at the front of the chain... then the impedance is changing all the time, depending on the first pedal that is turned on. This is the new "option" available on the Helix and will make the purist crowd much happier.... FWIW... I run wireless so none of this effects me in any way. I just set my input Impedance to 1M to avoid any surprises along the way.

Looks like you are already trying Left/MONO... and that is the correct option as stated by several people. The proper solution is to identify and correct the source of the phasing. As already stated, it is likely the two cab/IR's that are out of align. While using the Left/MONO output only.... disengage one of the cab blocks to see if the phasing goes away. If it does.... then there are two options.... Time align the CAB with a delay until the phasing goes away and save the preset. You can now go from Stereo to MONO any time you want. or...... simply turn off one of the cabs (your choice) when you need to go mono. (NOTE: If it doesn't appear to be the cab, then turn off/on each block one by one until you identify the block causing the problem) There is a saying in the studio.... "MIX in Stereo, FIX in Mono". The same thing applies here. When you fix the MONO sound to work, the Stereo sound will actually benefit from it.

I just monitor my guitar through my monitor mix.... sometimes it's through a wedge and sometimes it's through IEM's. If we are on wedges and the monitor system is not up to par I carry a dedicated Cerwin Vega CVE 10. I find the Cerwin Vega can cover a stage and/or fill a small room just as well as any 20 - 40 watt amp can. In my home/project studio I have two sets of studio monitors. This is where I setup my tones.... and when I can get them sounding good on both sets of monitors, the tone translates very well across the majority of FOH/Monitor setups I might come across.

well.... I agree with what @rd2rk says above.... but for troubleshooting you should always take something like that out of the chain long enough to know it isn't causing the problem. If the problem persists, add it back in! Is there any chance the Global EQ is engaged on the Stomp... possibly with some dramatic EQ or Filter settings? Are you running ANY effects in the Stomp prior to the amp block?

For the record, I never said NOTHING ELSE should be checked. I was providing other "potential" issues. You're right.... I'm wrong. I'm used to it when you are active on these forums.

Under certain circumstances "input impedance" would most certainly be relevant. Yes it needs a particular recipe to be a problem... but by DEFAULT the Helix is setup to deliver that recipe by simply adding a fuzz, wah or any one of many other low impedance effects to the beginning of the chain. Whether the effect is turned on or not, it will load down your pickups... and it can get muddy. I'm not saying that IS the problem... it's just something to check :) There is never any harm in leaving no stone unturned while troubleshooting!

What is your input impedance set like on the Stomp? Auto: Always picks the impedance of the first block in the chain, whether it is active or not Auto w/ "Global > Preferences > Auto Impedance" set to first enabled..... picks the impedance of the first ACTIVE block in the chain. Or you can set it to a fixed value to avoid surprises. (to troubleshoot... set this to 1M and see if it solves your problem) Another possible problem is cables. Make sure any in your chain are not sucking the tone from your signal.... test them each individually. Whenever something doesn't sound right (dull, lifeless) I reach to other cables to make sure that is not the issue. Never underestimate how much a simple cable can screw with a signal, and never under estimate how quickly a cable can/will turn against you :)

NO TWO "real" JCM800's sound or react the same. Fractal and Line 6 do not have access to the "same" JCM800... nor do they model them the same way. Of course their will be differences. Maybe you prefer the way Line 6 models the amps.... maybe you prefer the JCM800 that Line 6 has access to over the one Fractal has access to.... or maybe you don't realize that the amps are different in real life, and require different settings to get the most out of them.

If I used an HX Stomp or HX Effects I would likely stay away from the gain block unless absolutely required since "blocks" are limited. But with the LT, I don't hesitate to drop one in as required to serve any transparent cut/boost action. There are many reasons I like to use the gain block. It uses very little DSP... virtually none. It's really transparent sounding. It can be placed anywhere in your signal path... rather than tied to a fixed position. Often overlooked... they can CUT just as well as they can BOOST. I generally use THREE gain blocks on my live presets.... One at the front of my chain. This helps me to balance gain structure quickly with different guitars. One near the end of my chain as a lead boost One before a "stomp style compressor" (eg: Dyna Comp, Kinky Comp, etc...) .. I find the stomp compressors have far too much gain reduction, even at their lowest settings so I set the gain block to CUT the signal by a desired amount so the compressor will have more range, but still have it's tonal characteristic. I make the gain up with the output of the compressor. BOTH the gain and compressor block will toggle with the same stomp switch, or within a snapshot. (ie: they work as one pedal). Just my 2 cents....

The way this is worded I am wondering why 4CM would be needed. If you are using the Helix Preamps only... then you wouldn't be using the "pre-amp" of a tube amp.... just the power amp. IMO... just run an output of the Helix to the "power amp input" on the tube amp and call it a day. If you plan on switching between the pre-amps in the Helix and the one from the actual amp, then yes - 4CM is needed and it is quite popular among users. Just insert a LOOP that sends to the amp and returns after the pre-amp. Set a switch that toggles the loop on/off while simultaneously toggling the helix preamp off/on. The switch will toggle between the Helix preamp and the amps pre-amp. Of course.... you could also program all of that into snapshots as well. Lots of options.

For live use... I generally stick to the Princeton model with a Celestion Ruby IR. It provides a dynamic, yet thick clean pedal platform. I then use effects/snapshots to alter tones as required. In the studio I have many favorites amps.... but I'm kind of old school. Fender, Vox, Marshall! I use the Princton for my Blackface Fender tones The Essex 30 for my Vox tones. The Plexi Jumped (quick access to normal and bright) or JCM 800 for my Marshall tones I also really like the WhoWatt model. It's extremely flexible once you dial it in. I'll usually use the stock cab for each amp in the studio.... but will most often change the mic to a 121 and pull it back between 4 - 6 inches. That doesn't mean I don't reach for others amps... those are just my "go to" amps.

IMO...same ballpark, but completely different technology. It's not really "Helix vs Kemper", the question should be "modeling vs profiling". Once you decide which technology you prefer, look at the various products that offer it.