codamedia

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!

When running into an FRFR it starts with amp/cab choice.... get a good tone there, then add the distortion blocks. IMO... cab/speaker/mic choice is critical when setting up good overdrive tones. ^^^ this ^^^ is also very important

A cabinet/speaker choice is a huge part of your tone... not just with the HX platform, but in the traditional amp world as well. This gets even more complicated when you add the many mic choices and position options. Enter the IR.... those options are all baked into one nice neat little package. I can get those sounds from the stock cabs, but often need multiple cabs, mics, positions and plenty of EQ to do so. I have the LT... so I can afford to play around with the stock cabs as much as I want. If I owned a Stomp (and needed blocks for effects), I would just use an IR. When looking for an IR, don't go in without knowing what you are after! (ie: do your homework) Buy a package with a cabinet/speaker combo you know you are going to like.... then learn how the IR's are organized in regards to mic choices and positions. If this all sounds foreign to you, be prepared for a heck of a learning curve! The choices made here are (IMO) just as important as the choice of amp you use to drive it... but with far more options!

That's a simple and often foolproof way to set it up... so I can't see routing being an issue. I'd suggest a full troubleshooting routine.... Can you isolate each path (DSP) to see if one of those is the cause of the problem? Did you test different inputs? Did you test different outputs? Have you tested different cables? If that doesn't narrow it down... back up your unit and try a FULL reset. Keep in mind we are just "users helping users" on this forum... have you opened a support ticket with Line 6 to see what they have to say?

Sounds like a phase issue to me. Not the effect.... actual phase cancellation. How do you monitor your Helix? Daw, console, direct to speaker(s), etc... etc...

The Variax is proprietary, not standard midi. I highly doubt the Helix is going to listen to the VDI port for anything more than what the Variax can offer, and in the format the Variax can transmit. If you get it to work at all... it will likely only change some variax settings on the Helix. If you are really lucky, you might find a CC number that matches the tone control on a Variax.... then you will have a single variable control that can be assigned to almost anything on the Helix (that's equivalent to an exp pedal, not a midi controller). IMO... having the VDI port power your controller is already a brilliant move.... just run the short midi cable and take advantage of all the options you now have!

The moment you put on headphones you are removing two things.... The sound of the room The distance (air) between you and the speaker(s) Don't underestimate the impact of either of those.

To answer your title... midi is your friend! You can certainly chain two HX Effects, or an Effects and a Stomp, or a HX unit and a Eventide/Boss/Digitech/Zoom, etc... etc... etc... Any device with midi can talk to each other in terms of changing presets, snapshots, and any other midi commands it can send/receive. For audio you can simple chain one into the next, or insert one into the loop of another. Your call! To answer this question... if you want more control, add a midi controller... choose one of many. I think the Stomp allows a simple footswitch to be added for an extra control or two, but the HX Effects would require a midi controller. (IIRC) IMO... by the time you slave a couple of smaller HX devices together, or add a midi controller and/or expression pedals you will not have saved any size/weight. You simply will have added to the complexity of your setup.

Ingredients.... Basic amp tone, fuzz, octave (actually two octaves) and judicious amounts of compression. Amp: The amp can be almost anything.... I would likely start with a Plexi normal input with very low gain. Fuzz & Octave: There is no shortage of "octave fuzz" models in the Helix... have you actually tried any of those to see if one comes close? You could also piece it together with a dedicated fuzz and a pitch block if none of the octave fuzz blocks work for you. A note about the Octave: You will need to dial in two octaves down. One octave down should be almost as loud as the original guitar... the 2nd octave should just be dialed in enough to notice.... don't over do that 2nd octave. Compress: At the end of the chain I would insert the LA Studio Comp and be really aggressive with it. That will provide the almost "synth like" dynamics of the solo.

The LA Studio Comp emulated the venerable LA-2A compressor that has been used in studios for years. When you listen to a guitar track on an album, it is compressed... often by an LA-2A, an 1176 (which the Helix does not have) or a variety of other "studio" models, not stomps. Studio compression an important part of the "final guitar tone" you often hear on recordings and players such as Jason Sadites are well aware of it's importance. Another useful compressor within the HX line for this task is the 3 band comp... which in the studio is known as a multi band compressor.

Being an LT user, I never create a preset without the LA Studio Comp near the end of the chain, but I can appreciate your block limitations with the HX Stomp. You could try raising the SAG and BIAS settings within the amp. The increased SAG could add some compressor "feel", while raising the bias may create some added "warmth" for lack of a better term. It wouldn't be exactly the same as having the LA Studio Comp in the chain... but it might be enough for your needs.

I would suggest you get in touch with Line 6 through their ticket system.... They have different distributor agreements throughout the world.... they may be able to help or their hands may be tied. You won't know until you contact them with your problem.

I don't want to be negative.... but that just doesn't seem right to me. If it has to sit for a period of time, that's a "cool down period", not just a software reload. If this unit is under warranty, I would be using it!

Then I guess the only option is to plug in the Helix the same way. If the iPhone sounds fine, the Helix will be fine.... If the iPhone sounds tinny, the Helix will sound tinny... If the iPhone sounds boomy, the Helix will sound boomy....