codamedia

You are making the assumption that your guitar is putting out the exact amount of volume required to drive precisely 4db at the xlr output when set to line level. As you have learned.... it doesn't. You need to boost it by about 14db, which is actually quite normal! Everything is relative.... if you plug in a louder guitar your reference of unity gain has completely changed! Line 6 leaves a lot of room to adjust the levels here/there/everywhere for you to match up levels. It is done this way so the device works with every guitar you throw at it, not just your guitar.

A 14db difference is not out of line. If you consider -10 to +4 is already the variance between the two Line Level standards... that equals 14db! IMO.... there is nothing out of the ordinary here. If you have ways to balance it out (such as the Global EQ) just do it if you need to. That's looks like the answer right there. Your presets are about 10 - 14db quieter than they have to be. That really doesn't matter though... especially since you can make that gain up with the global eq on the XLR outs "when you need to"! I am pretty sure the Helix is +4 .... If your presets are a few db quiet, that is the difference you are seeing. The numbers you are providing add up as expected :)

I thought you were blaming the Helix.... so this is actually confusing me :) Of course it can! Line Level is much louder than instrument level... plus you have hundreds of ways to increase the gain along the way.

Line Level comes in two variants.... +4db... Often referred to as Pro Level -10db.... Often referred to as Consumer Level Some manufacturers tell you which one they use, others may not. IIRC, the Helix uses +4 (pro level), but it can be controlled by the big volume, and the preset level will also come into play. If you disengage the main volume from the XLR outputs, then that is the same as running the big volume at full! If the Scarlet is +4db line level AND if you have a quiet preset or attenuate the output of the Helix in any way this could occur! This would explain your need (in a later post) to use the global EQ to raise the XLR output by 12db. Those are Mic Pre's and can accept the lowest of mic levels to the loudest of line levels.... that's why there is a pot to control the input. The fact that you are running this around 35% suggests to me that the output form the Helix is actually in tolerance... albeit more aligned to -10 than the +4 it should be.

Isn't there 1024 preset locations on a Helix LT? 8 Set Lists with 128 per list? Or are you just referring to how many are empty when the unit is fresh (reset)? Even if you have used up 1K+ preset locations, export/import is your friend... You never have to lose anything unless you don't back it up. I'm a multi instrumentalist that runs everything through the Helix and also have several projects on the go. This is not meant as an debate, just as a counter point to your requirements... I have no problem working within a single set list. Out of curiosity, are you utilizing Snapshots and Stomp Mode to your benefit or are you just using presets in the old school manner?

By already sold out do you mean it's already full? You don't need all those factory presets, clear a few hundred out to give you some room to work on your own sounds. If you are worried about overwriting a preset you like... always make a copy of the preset then work on the copy! Again, there is no shortage of space on an LT to do all of this!

I agree with the comments thus far.... no need to say it again, so I'll expand more on your monitor situation. Your headphones would be great for tracking and/or quick reference... but I'm not so sure I would expect great tone from them. I can't find a frequency chart for that samson speaker, but I often find speakers like that to be overly contoured (scooped) in tone. Using one of Jason's presets, is your result boomy yet shrill at the same time, with no thickness or depth? If so, that's a tell tell sign of a box with too much contour. Another problem might be your expectations. If you are used to having an amp by your side the Helix with a full range speaker is not the same! The tone you get from the latter is that of a "miced up amp", not an "amp in the room". It takes a while to get used to that difference.

In fairness, you called a Helix an over priced effects pedal in your OP :) When you make a snide remark, be prepared to take a snide remark in return. Now let's try and solve this problem you have! What control cable did you buy, and did you test it to know that it works as you are expecting it to. The amp end must obviously be a DIN for use in a 5150II. The helix end must be a TRS With the CABLE ALONE.... do these tests (leave the Helix out of this for now) Short TIP to SLEEVE and see what the amp does... make note of it. Shot RING to SLEEVE and see what the amp does.... make note of it. Report back here with your findings and we should be able to help you from there.

I'd say they did that with the 700 series... but that was a 1st gen variax with no magnetic pickups.

As stated... it really doesn't matter. Worse case scenerio is that you get the LEFT and RIGHT crossed. But traditionally, RED indicates "right" when marked in this manner. I'll add one more.... On an "insert cable" red usually indicates "Return"

Wow... your post is not my experience at all. I have no problems turning on the helix and dialing in what I want/need quickly. I used to waste a lot more time dialing in my HD500 than I do the Helix.

From your list, upgrading the Firehawk to the Helix would be my choice. I went from an HD500 to the Helix LT... and the difference is impossible to explain. I have never been happier with any single piece of gear than I am with the Helix. I finder it tremendously inspiring.

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.