codamedia

I'm kind of old school.... I commit my core tones when recording. EG: If the track calls for a tremolo guitar line... I track a tremolo guitar line. The only things I don't track are reverbs and delays (with the one exception of syncopated delays), and I always track mono. I like the give the engineer and/or producers room to do what they want for position, space and depth in a mix.

That's what the POD GO is. The Helix tones, with limited slots, many of them pre-defined. What I love most about the Helix is the LACK of pre defined slots. I have no desire to return to the days of set layouts and limited options in each block.

I think your problem is more about recording/engineering that it is about the helix. Any instrument can be placed forward or backward in a mix... up front and immediate or distant/ambient & everything in between. The only time you cannot get something up front is if the tone captured is already far too wet... if you are only playing with stock presets, that is a possibility. That's not a helix problem, it's a preset problem. You need to roll your own tones, just as you would with a pedal board and amp.

Well done... not my tone/style but you can clearly hear what is happening to the tones during the changes, regardless of the platform. Any thread debating radical EQ and filters should be directed to this one. The most important EQ is the "cab>mic>position". Get that right and the rest gets a lot easier.

I own an LT and an HX Stomp.... I would say the Helix LT is dramatically more flexible.... which leads to better for some people, including myself. At the prices you gave... the LT is well worth the extra dollars for the features it brings. If the footprint size of the LT does not bother you... treat yourself. I hear ya.... I bought an HX Effects thinking I'd just plug it into my existing HD500. I upgraded to the LT rather quickly and have never regretted that move - and it's now 5 years in.

Yes it is... Which would not be the model/era that resides in the Helix - hence the difficulty you initially had in attempting to dial it in. This doesn't even account for the many slider/microswitch options found on the CC2. The FAWN is the classic AC30 tone & operation... the ESSEX is a TOP BOOST model.

The first question is.... are you sure the headphones are set to hear the "CAB SIM" signal chain? The live amp is obviously out of the question, so the cab sim is critical. If you are 100% certain that it is... don't try fixing it with more effects, you already know the main difference is in the cabinet. Experiment with various cab/speaker/mic/placement options until you get as close to your live amp sound as possible. Never underestimate the impact cab/speaker/mic/position has on the overall tone of the sound.

Pick one loop, insert it, and use those send/return plugs. If you must use separate send/returns, insert them as send/returns, not loops.

1: It takes seconds to insert/remove cables from a loop 2: If it messes with others patches, it's because they are using the loops. And if they are using the loops they are also inserting something into them. Sorry... that's just a silly comparison. There is a big difference between swapping tubes in an amp and inserting a single cable in an effect loop

You can get close on a Helix LT.... but you won't be able to merge back to include the PITCH & FILTER at the end. In my example I move those after the amps, in a serial path. NOTE: The upper DSP is set with a serial path, the lower DSP is set to a parallel path. Depending on the block choices, you may push the upper DSP to it's limits and may need to make a sacrifice. KEY NOTES Insert SEND 1 just before the chorus and reverb Set Path B input to RETURN 1 Insert a 4"-6" Pedal Patch Cable between SEND1/RETURN1 - If the venue lets you! Set both outputs to the same location

I know if I played a gig where the fractal was a house rig... I'd bring my Helix. Nothing against the Fractal, I just wouldn't bother attempting to turn the Fractal into a Helix. The Fractal does things the Helix can't do and vice versa... that's the beauty of purchase options. You can't plug an A/B/Y into the loops... but you are allowed to load your own presets? IMO, take your Fractal! Those people are unreasonable.

My Peterson would disagree with your Pitchblack ... I have no discrepancy between the Helix and Peterson. As stated in another post you've contributed to... check your calibration. While you are at it, make sure offsets are not set or just turn them off completely.

One forum member here has been pushing for something he calls "global blocks" which would allow this to happen. However, even if it did exist you would have to use it sparingly... and I doubt a tremolo would be it's best usefulness. Think about it... if every change made on every block snowballed into every preset the entire purpose of a preset would become pointless. If I find a new setting I would prefer to use... I approach it the way @datacommandomentions above. I save it as a favorite, then just go replace the block in each preset with the new "favorite".

Sounds like the tuning dial is misbehaving. Like any encoder or pot I'd attempt a cleaning first... failing that it may need to be replaced. I'm sure our resident Variax guro will jump in to make a suggestion or two.

How is the power provided to the widi jack (or widi master) at the Variax? Do you need a power bank. Also, you keep saying PM me, but this forum does not allow PM's :)

The opening harmony riff is over an F chord.... the song is actually in Am IIRC. Set the scale to C major Set the harmony to be a third below (eg: -3) Play the riff starting on the E note.... The starting E note is the 5th fret on the B string. E... d/e/d C G... E... d/e/d C... That will toss this underneath ... C... b/c/b A E... C... b/c/b A.... (HINT: If you set the harmony as a third up instead, play the lower riff starting on the C note and it puts the higher part on top) Here are the settings I used... there may be a better harmony block to use, I was just sketching it out to make sure it worked. You will see that voice 2 is turned right down, so it is not used.

Brand new should = warranty. I wouldn't try anything beyond a factory reset.

That's standard behavior as far as I know... If you really want to know, open a support ticket and ask the good people at Line 6 what their intent is/was.

To each his own I guess... my experience was the complete opposite of the OP. Maybe it's I/O settings, maybe it's the method of monitoring, maybe it's just preference. Dynamic range was never an issue with each modeler, and they both have "hit & misses" in terms of amp models. I just know I get way better tones from my Helix than I ever did from my HD500.

TS cable (standard guitar cable, not TRS) connected to the OUTPUT of that EXP is your best bet. If the sweep works but is in reverse, simply swap the polarity in the global settings. Keep in mind, not all EXP pedals work with Line 6. There are no shortages of threads about this topic.

10K Linear pots are fairly easy to come by. I believe larger values also works with Helix, but not the older Line 6 units. I think with the Helix the most important thing is the wiring, not so much the pot value. TS, wired to the specs. I have a Line 6 Exp pedal... and a Roland EP-5 that I modded to line 6 specs. I kept a 2nd EP 5 stock for most other devices I might use it with.

TRS male on the HX Stomp side, 2 x TS Females on the EXP sides... ... unless the Expression pedals have inputs, then it would be TRS Male to 2 x TS Males I suspect this is the bigger problem. Not all expression pedals are wired the same, and even though it works on a Fractal, that doesn't mean it will work on a line 6. EG: Mission makes a LINE 6 specific expression pedal, it's the EP-1-L6H, not the EP-1-KP. Here is the wiring for a Line 6 expression pedal.... you can rewire yours to work (it's often quite easy) or you can buy compatible EXP pedals.

Your image holds the answer.... the ability is there (Pan) but you overlooked it. Remove the Send Block, then in the mixer/merge... A Pan Hard Left B Pan Hard Right Place B volume back to normal Voila! Left out to the Amp.... Right out to the PA. NOTE: I don't have my Stomp with me at the moment, but I think you could also delete the mixer/merge block... the B line will go straight to an output, then you can choose each output individually.

You will not be able to balance them individually... I'd suggest using the channel volume or output block volume to balance presets. Do not change the drive, as that will change your tone. Do not adjust the "master" (within the amp), that too will change your tone. Find a decent backing track.... when you create your tones, play along with the backing track and get them to sit in with the part. Repeat that for each tone you have. In the end you will get your sound sitting in a mix the way YOU want it to and it they will be more consistent. NOTE: This process works best when you can do this close to a practice/gig volume.

Although I normally use full modeling and direct to FOH/Monitors, I have copies of my presets that do not include any amp or cab modeling... for those times I do need to plug into an amp. It works great! Just because the Helix has amp models, you are not forced to use them - and it's still a bargain for everything else it includes.