codamedia

I know a few people with that model and they love it. @themetallikid My worry of most compact rechargeable lithium battery wireless units is what happens when the battery does die? Eventually it will. IMO, I prefer having something that runs on AA or AAA batteries. My choice when I bought a compact (pedal) Wireless was a BOSS WL-60. Typical Boss Pedal size and build quality. 14 channels Beltpack transmitter uses a standard guitar cable (one is included), not proprietary. less than 3ms latency 20 hours+ on 2 AA alkaline batteries. (receiver can also use AA or Boss Power Supply). I use rechargeable and never have an issue... a spare 4 pack of Duracell's gives me peace of mind. Range only claims to be "20 meters/65 feet", but I think that is extremely cautious. My first test when I received it was much further than that.... at least 120'. I've never had any issues on any concert/festival stages, but admittedly, I do not wander around a concert hall or festival site. Just providing another option.... :)

I bought my LT about 15 months ago.... I played over 100 gigs last year plus any rehearsals on top of that. No problems with the built in expression.... working just fine, no sign of any issues. Are you referring to the built in expression? I don't find it flimsy at all. MAYBE it isn't as robust as the Helix Floor or a Mission external pedal, but it's certainly much more rugged than the typical expression pedal on the market.

Although I didn't hear it exactly as you described.... I could hear overtones on Matchstick Ch2 when I loaded it up. However, I easily got rid of it by simply turning the BIAS up to 7.5 or higher. I found the bias sweet spot to be closer to 9. While doing that, I also turned the HUM and RIPPLE down to zero... but that's just something i do with most amps. FWIW... and back to the original topic of this thread (the OP). Turning the bias up as I described solved that problem as well.... at least in my setup. IMO, Line 6 should not have let the default settings of that amp be rolled out as they are. It doesn't sound like any Matchless I've played and/or heard until I raise the bias substantially.

There are many ways an expression pedal can be wired... If you are handy with a soldering iron, expression pedals are usually easy to adapt. Although the Line 6 likes to see a TS connector, you should still be able to use the TRS end as long as you are not wired to the R (ring) although I do not know this for certain. Here is the Line 6 preferred wiring... anything else will be hit and miss.

Are you taking the time to tweak the overdrives after you insert them, or are you judging them solely by the default setting? IMO.... I find the majority of the overdrives I insert are set too aggressively by default, either too loud, too much drive, or both. As soon as I tweak them in the manner I would tweak the real pedals I find them "often" remarkably close to the originals. Also... have you created your basic amp/cab tone prior to using the overdrives? You need to start with a good tone (ie: a tone you like) before adding anything to it. Although I don't own a Fractal and have no experience with one, I do see a trend of users suggesting the Fractal presets sound better than the Helix presets. If you are relying on presets, then that "may" be what you are experiencing.

There is already some great advice here, I'm just going to answer a few of your question based on my experience. This depends on the gig. If I have my own monitor mix and a quality monitor (or IEM setup), that is all I will use. If I don't have my own mix or if the monitor rig is not up to par, I will supplement it with an FRFR behind me. There are also times when I need that FRFR to fill a small room because a PA is vocal only. Gigs come in all sorts of shapes and sizes, I'm prepared for any and all :) Usually they just have to ask for my guitar in their monitor... it's 100% up to them. For gigs where the monitor rig is not individual, I will angle my FRFR to cover the stage as required, without any one person taking a direct hit. It's no different than when I have to use an amp. That sounds like his problem, not yours! Did you always put a mic on your guitar amp in the past? How did you handle that? Things might change a little depending on whether or not you point an FRFR from behind you, or toward you... but it doesn't take long to adjust for that.

I try to never question "why" someone believes they need a solution that is out of the box... but I do like to fully grasp the need. Wanting to play a Canon, 3 times, 16 seconds apart should not need a complicated solution. Can you explain exactly what you are trying to accomplish and why you feel the "delay" is the proper solution to the problem.

Just in case you are not aware, values are NOT automatically setup to be controlled by snapshot, you have to do that part. Take a look at the values of the Stupor on the Helix screen. Are they in brackets? If not, you did not assign those values to be controlled by snapshots. It's easy.... just push the button while you change the value.... brackets magically appear and now they are controlled by snapshots. Next up... follow all the advice provided above.... especially the point about saving every snapshot before moving to the next one while developing your preset.

Absolutely true... I don't disagree with it one bit. As I said earlier, I NEVER buy into extended warranty coverage.... other than the Helix! Not because I don't trust the manufacturing of the Helix... but because I know where I am gigging, and I know the coverage I get. The fact that my retailer is coast to coast and will cover a bar room drunk spilling a beer into my Helix with an instant loaner/replacement....well, I know the crowds I play for, and I know the odds :)

It's hard to beat the combo of a Variax and Helix... even my older generation Variax comes in handy, the newer models even more so. That said... it should be stated that a Roland GK Pickup and "capable" Roland/Boss processor (EG: GP-10) also has the ability to process strings individually, and can do a decent 12 string emulation. The cost of such a setup is likely comparable to a Variax and would require another bulky piece of gear (Roland/Boss processor) to integrate into your existing setup.

For the most part I agree with you 100%... but I consider the extended coverage I have with with my Helix to be worth every penny. In Canada the Helix is only covered by Line 6 for 1 year.... and it only includes manufacturer defect. The stores extended coverage is included (free) during any manufacturer warranty as well. The distributor in Canada is also the nations largest music chain... so help is available in almost every corner of our country The extra coverage includes theft, liquid damage (handy in beer filled honky tonks), drops and even neglect! Not just manufacturer defect. If the unit can't be fixed, I get a new one. If the unit can be fixed, I get a loaner until it is is ready. If the unit goes back for repair 3 times, they dub it a lemon and replace it. For someone that does about 100 gigs per year, $45 a year is well worth it :) That said.... I never buy coverage for anything else I buy from that store... I just felt it was worth it for the Helix. That seems excessive. The coverage I talk about above is is for each year AFTER the first year, is less than $50 per year, and you have the option to renew it each year... not pay it all up front.

I'm just using an old 300 but I replaced the neck with a maple Fender Tele neck It gets the job done but I would like to get a more modern version for better integration with the Helix.

Nothing convincing.... 12 String is a difficult instrument to fake. An octave pedal alone cannot do it.... because only 4 of the 6 strings are actually octaves, the other two are unison. That requires individual string processing. One of the key tones to a 12 string is the natural "chorus" that takes place. A chorus pedal is usually to intense... but with the Stomp or Helix you can go to the "Mod > Legacy" section and insert the Dimension block. Try the different settings there for a really nice "subtle" chorus effect. Myself... I use a Variax guitar so when I need a 12 String tone I use one of those to dial it in. IMO: Even with individual string processing... it's not easy to get a great convincing tone :)

That's been my approach for the past year.... it's worked fine but for some reason I decided it was time for a change :) This is the setup I have recently gone to.... it's a 29.5" x 15.5" board... enough for the Helix, an external expression, then two additional pedals stacked upper/lower. If you need a lot of extra pedals, and/or a power brick or similar it might not be the best choice for you, but I like it's versatility. There are many variants of this board out there... they seem to change regularly so I don't know what is available now.

Positions and EQ choices are also made by those creating quality IR's... just sayin'. As for the slopes, there are many options of those within he Helix, you don't have to use the ones that come with the cab blocks. EG: Many people prefer the slopes in the filers on the Parametric EQ over the ones in the cab blocks. The only point I am trying to make is don't settle for a stock cab in it's default settings. Learn how different mics sound, learn how different positions sound, learn how to create a dual cab with two different mics and learn how to apply filters. WHY? Because that is how great guitar tones are made on recordings, and because that's how those great IR's are also made! I've said this many times on these forums, I'll repeat again here. The ONE THING missing from the stock cabs is the ability to move the mic from CENTER to EDGE. Since 2.8 that can now be simulated quite decently with the TILT EQ after the cab block(s). Just dial the TILT setting back toward the dark side to your liking. I tend to use "dark 50" to "dark 60" a lot.

Out of curiosity... did you see what I said in my next post from the one you quoted? It looks to me like we are in agreement :)

If you are going to do that... post the specs of the IR. What cab, what speaker(s), what mic's and what positions? The next question will be... what mic choices and positions have you tried with the stock cab.... or did you just insert it and hope for the best? FWIW... I use an IR live that is very close to what I have gotten used to hearing for many, many years. But when recording I use Stock Cabs because they are far more flexible than merely IR swapping. Others may approach it very differently... YMMV.

You seem to have found an IR that you love. That's great, but it doesn't mean IR's are great compared to Stock Cabs... it just means you haven't learned the best method to setup the stock cabs to your liking. It's like being handed a shade of color you love, rather than the RED/GREEN/BLUE to create your own shade :)

All you need to do is connect standard midi cables to that breakout and the Helix. Wrong cable... That was MIDI to USB and is used to connect to a computer. The two MIDI plugs on that cable will not talk to each other because one in an input, the other an output. That is where it starts... then you need to get the midi implementation right. Once you have the proper cables hooked up, follow the video instructions. NOTE: Always remember, OUT of one device goes to an IN on another device. Never IN to IN or Out to Out. If you only need the Helix to control the Beat Buddy... then you should only need Helix OUT to Beat Buddy IN. (one cable) If you need it the other way around it would be Beat Buddy Out to Helix IN. (one cable) If you want two way communication, you need TWO midi cables... one flowing each way (two cables)

Actually... providing he has left enough headroom at the power amp that is the best place for a boost. Placing a boost anywhere else in the chain effects EVERYTHING down chain including the power amp... having it at the very end only effects the overall volume.... (again)... providing he has left enough headroom available.

OP wants a GLOBAL BOOST that can be assigned to a footswitch that he can kick in/out as needed for solo's. OP finds that his BOOST LEVEL may need to be different from gig to gig, that is the heart of the problem. Please read this sentence from the opening post which makes it pretty clear .... Your solution of an external boost between the Helix out and Amp return certainly works, and can be kicked in/out as needed. Since the Helix cannot do this internally, your solution is (what I consider) the best and easiest option.

Since I'm not a Stomp user I can't answer your question directly... but I can answer this one... Line 6 uses ideascale for submitting features requests, they don't really monitor these user forums. https://line6.ideascale.com/ (you need to create an account) Before adding this request, do a search to see if someone already did add it. in that case you just need to upvote it. there is no sense in splitting the ideas and watering down votes.

This thread is about having a "global Boost" on a footswitch.... where you only have to set the boost signal one time, and it applies to all presets! That is very different from simply turning up the volume. Personally... I find that presets often need different "boost" levels not "one size fits all" so I can't really relate to the request. BUT - the OP has a need and is asking how to do it, in those cases, we try to help whether we agree or not :)

I am pretty sure @phil_m was talking about widespread use of MIDI 2.0 implementation... and I agree with him. Just because a "core spec" has finally been approved does not mean every new product will begin implementing it. It will begin to trickle into the marketplace... not flood into it. I'm curious as to how long it will take the Major DAW's to implement it.... I highly doubt it will be this year, but that is just my opinion. IMO: Roland having a USB2 Ready machine coming out is more about marketing (hey look... were the the first to have it) than any sort of practicality. Like owning a Model T when there were still only horse paths to drive on. Don't get me wrong... it's been 40 years since MIDI first came out. It's about time! I'm looking forward to what is coming!

Thanks for clarifying... :)