codamedia

I don't have a problem with a difference of opinion, I have a problem with disrespect. You have made your voice clear....

Correct, but there is a difference! On the hardware each processor is dedicated to a single path. In Native, the processor allocation is distributed as required. As I said earlier in the thread, I think the dark horse feature is better DSP allocation. The advantage would be no more balancing act between path A and path B, and no more wasted DSP power. If path B isn't using it, path A can access it and vice versa. EDIT TO ADD: I just saw on the FB Group that this theory has been completely discredited by someone with authority. Never mind :) I guess it's time to jump on the Variax (VDI port) bandwagon.

Dual processors...

I guess you are entitled to your opinion... I have to admit, it's a bold statement for a 2 week member with 10 posts and no contributions of their own to the community. This place can get heated at times with differing opinions, but respect is usually retained. Just sayin'...

Well, being a user forum I guess it's according to "ME" and "My Logic" :) I stand behind my post... which (if quoted in full) explained my reasoning.

The M-Audio EX-P is the cheapest solution I can think of ... roughly $30. There are two modes and a side pot... you need to find the correct positions but it works fine once you do. The Line 6 EX-1 would be the easiest... just plug it in and it works without trial and error. This one is still under $100.... I think I got mine for $40 on the used market.

The block limit on a Stomp is not directly related to DSP power. It might have been carefully chosen by Line 6 in order to market the product against the others in it's line, but it was not related to the processing power. Contrast that with a Helix Floor, LT or Rack. We can have 16 blocks on a single processor (32 in total). How many we can actually use will vary with the amps/effects choices we make, but it's our choice to make.

If you walk through box stores you will see the same coffee maker or toasters with 5 different names on it! White label products are very common. "Company A" makes a generic product and markets it to any number of company's. Quite often they are willing to make a couple tiny changes, and attach the appropriate logo. Company's that buy into these programs usually don't specialize in those departments, but simply want a piece of the pie!

I hope you are right about this... I am certainly in the "yes please" camp as well!

Yeah, that's about it! Some people suggested it was used to control the brightness of the LED's which is NOT the case. I could see it as a diagnostic on the three separate colors (RGB) if the ring started to look odd and not display colors probably... but certainly not a brightness control.

HX Devices can only do basic channel switching.... it can short Tip/Sleeve to control one item, and Ring/Sleeve to control another. The Hot Rod footswitch only uses Tip/Sleeve to control 2 relays, and their corresponding LED's. The footswitch is a circuit, the HX only touches two wires together.

Although direct sunlight can make it difficult on me... diffused (clouded) light is never a problem. I've done many outdoor gigs over the past couple years. I've seen reference to controlling LED Brightness if you hold FS2 while starting the Helix, but to me this just looks like an RGB value test. Maybe someone can clarify the usage and/or purpose of that screen.... it certainly doesn't appear in any manuals.

I doubt the Dark Horse feature would be tied to an extra piece of hardware such as the Variax.... just a fraction of users would benefit from it. IMO...Attaching the Dark Horse feature to "dual processors" is more likely. My guess.... FWIW.... The "manual" ability to jump paths easily and whenever you want so you can retain signal flow while better balancing DSP usage OR Smart "auto" DSP allocation that isn't tied to each path..... eg: If path A needs more power, it automatically assigns a block to the other processor and vice versa.

While others focus on your question of "when", I'll focus on this excellent part of your question! Most guitar players are more focused on polyphonic pitch shifting... while some (like you & I) are hoping for enhanced synth options. The key to both of these is polyphonic pitch detection. Once that is established within the Helix, let the "wishlist" explode with options. Strictly speculation, but I think Line 6 will start with what most people want (pitch shift), then expand it from there. I doubt we will see better synth options with 3.0, but the door might be open to push for them in a future release. I would also like to add that although I would love to see enhanced synth options within the Helix, I can also respect that the majority of guitar players would likely find it to be a waste of resources. Something tells me the "synth updates" would be a side pet project for one of the developers more than a scheduled update with a lot of money invested in it.

Just insert the "PRE-AMP ONLY" models of the SLO-100. That removes the power amp modeling completely which.... in theory..... should turn it into an x88.

FYI.... there is one thing that "may" have changed your presets. In 2.6 (IIRC) the reverbs got noticeably wetter! If you use reverb, you may have to turn the reverb mix down... in some cases a substantial amount. Aside from that presets should be remain the same.... you just have many new options to explore.

Exactly.... It was the only thing that made me chuckle over getting it stolen. In my scenario the speaker was in an old guitar amp with a power amp input.... in that case you do not need separate power. But if you are only putting a speaker in a box, yes - you still need some sort of power amp to drive it.

Keep in mind that the BETA-12cx still needs a horn. It's "horn ready" but doesn't come with one so there is still more research to do. Eminence also makes the BETA-12LTA which is ready to go for your needs. I used to run the BETA-12LTA in a Peavey Bandit and just plugged my Helix into the the power amp input. It worked great as a pseudo FRFR, and felt a lot like a normal guitar amp. The only reason I am not still running that setup is because it was stolen earlier this year.... I replaced it with a more standard FRFR setup.

I am just curious if anyone has tried the Celestion Ruby IR.... (any variation of cab) yet? I just picked up a 5 pack from Celestion.... mostly the old faithfuls such as a 2x12 Open Back with Blue Bells, a G12M Greenbacks and Vintage 30's both in closed back cabs, and an A series 2x12 Open Back. I knew I wanted those ones.... that was easy. When listening to samples the RUBY is the one that grabbed me most. Since the actual Ruby was only introduced in the last couple years, I have no real life experience with the real speaker. I tend to like darker sounding speakers, and this one jumped out at me. So far with limited testing in my home studio I am loving the tones I get from the 1x12 Open Back IR... but until I get it to a stage I can't say for certain if I like it as much as I seem to.

If you can get by the "space" issue, volume shouldn't be a problem. The DT25 has an XLR out that simulates the cab tone. Setup the DT25 and just keep the volume down on the DT, the direct out should sill function and give you the tone you need to create your sounds. This opens the next can of worms. Creating sounds at low levels often don't translate to louder levels. I use studio monitors to setup my tones, but I run them around 85db - 90db while doing so. You have to take Fletcher-Munson out of the equation.

From what I understand... the DT25 has a Celestion speaker custom made for Line 6... and that it is closest to a Celestion Seventy 80. Celestion offers a verity of IR's and a full package for that very speaker. https://www.celestionplus.com/products/guitar-irs-by-speaker/seventy-80/ Keep in mind that an IR will always include a MIC model and placement as well.... so it will never sound exactly like the combo cabinet itself.... it will sound like a miced up version of it!

You spent XXX amount of dollars on a Helix or HX Product.... your monitor solution is not the place to cut corners! IMO.... 3" monitors would not cut it, not for me. You have to be able to move some air between the speakers and your ears if you want a big sound :) I prefer 6.5" - 8" studio monitors myself, but there are some nice 5" models available as well. IMO, take a look at the Yamaha HS line... they offer a 5, 7 and 8 version. There are certainly others capable brands as well, but I would suggest getting the largest model you can afford, that will also fit the room you are trying to fill.

Turning off the "touch" feature should solve this. I turn it on only when I really need it (long day of editing), otherwise I find the screen heads off into unpredictable views, often at the worst time. Global Settings > Footswitches Touch Select Set to "off"

Steve Howe has been a Line 6 user for many years.. not just the Helix but also the Variax.

There is a reason why thousands of pro players have a tube screamer on their pedal boards.... IMO... the TS is not a sweet sounding overdrive at lower volumes... but on a stage - at stage levels (ie: in context), it is pure magic! That is solid advice!