codamedia

Although there is no "shut down" routine, there is a "start up" routine. I'm not sure if it matters or not, but I will never turn my Helix off while it is booting.

The lack of mic positions (center to edge) in the Helix cabs does create limitations on what can be done. When you buy a package of IR's those positions are often included and can be the difference between a "reasonably satisfying tone" and a "great tone" for some users getting the tones "they" are after.

Pressing two buttons to open the snapshot mode is easy.... but I prefer to go a different route. I change my preset mode to "8 snapshots".... now the mode toggles between snapshots and stomp mode. When I need a new preset, I simply step on either the "up or down" button and that opens the presets screen/scribbles until I choose one. I change presets much less frequently than snaps or stomps... that is why this method works well for me. YMMV

I have owned and played several Tube Screamers in my lifetime... I have NEVER had two of them sound/react the same on the same settings. We will never experience the exact tube screamer Line 6 used for it's modeling (other than the model itself)... so direct 1-1 comparisons often mean nothing. (this applies to almost everything in the Helix) That said.... tube screamers (with a few setting tweaks) can be made to sound pretty much the same... and this video is proof once again that it can also be done with a "digital" tube screamer. The difference was no different that two different tube screamers... and in a blind test I would NEVER have known which was which.

No.... freezing and/or boot failure is not a common problem. Troubleshooting is about the process of elimination. If you keep connecting things the same way, trying the same things and achieving the same results, you will never figure out where the problem is. Have you tried booting the HX Stomp without being connected to the iMac? When it does boot, have you tried "running it" without being connected to the iMac?

You haven't explained how you are running your powercab. Is it in FRFR mode, or are you using one of the speaker modes? If it's the latter, then you should try capturing the signal from the Powercabs direct output. If you are using FRFR mode... through my experience I find it takes time to create tones that work everywhere. It's like producing a song... it takes work to make it sound good on the majority of playback environments. FWIW... I create my guitar tones are two sets of speakers... I don't strive to make it sound good on one set, I strive to make it sound good on both sets. Once they do, my tones translate nicely to almost any FOH/Monitor rigs I have to play on. Quite often... it's just a small tweak here or there to make it better on one set without having a negative impact on the other set.

Unless you need the other SEND on the HX Effects for something else.... you can just insert a STEREO LOOP instead of a MONO one? This still only requires a single block. As long as the previous blocks are mono I don't think it would matter which SEND you use... but you could use a Y cable if you were concerned. With a Stereo Loop the 2 Returns will be stereo. The other option would require two blocks. A mono send and a Stereo Return. That would free up the 2nd send for another use, but it would require yet another block to utilize it.

Myself, I'd go with a "pair" of studio monitors.

That describes a decent set of "Studio Monitors"... The biggest problem is "Primarily" in your first quote. Studio Monitors are not easily portable and will not cover a rehearsal or any gig! If you really think you will need something to play with other musicians, then go for something like the Headrush... just know it won't do a great job of listening to other music, but there are a lot of great consumer choices available for that.

I am a big fan of FRFR... but as @DunedinDragon says above, this is the sound the audience is hearing, not what you are used to hearing. Some people have a very hard time with this transition. Here are a few things you can try to see it helps you out. STAYING IN FRFR MODE ON THE LANEY You didn't say how far you had the distance on the mic. The more distance you apply, the more "natural" the cab starts to sound. It's like standing 1 foot away from a speaker rather than putting your ear right up to it. I find 4" - 6" back is usually the breaking point for richer, more natural tones. Insert the tilt EQ after the cab/mic on the Helix.... roll the Tilt setting back to about "dark 50" then adjust more/less for taste. This should add richness/depth to the tone as it simulates moving the microphone from the "center" of the speaker more toward the "edge" of the speaker, a common mic technique with sound techs. Instead of using the HI/LO cuts from the cab block... insert a Parametric EQ after the cab and use the HI/LO cuts from that. They have very different slopes, and many find the Parametric cuts more effective. (note: you are not using the parametric per say... just it's hi/lo cuts) There is always the IR Cab rabbit hole you can try if you feel inclined to do so. Plenty of free and paid options. TAKE THE LANEY OUT OF FRFR MODE.... TRY THE 412 or 112 SETTING This will take away some of the best things the Helix does (cab/mic) but it might provide a listening environment you are more used to Set the Laney to 4x12 or 1x12 mode. On the Helix, remove or disable the CAB/Mic block... The Laney should have a neutral power amp... I would recommend using full amp models (sans cabs) on the Helix.... but you could also experiment with some pre-amp models. Good luck!

All this time we keep telling new users how a Helix can do so much more than a standard pedalboard and amp can... we tell them they have to think more like an engineer, not just a guitar player - there is so much to learn and it's so wonderful once you understand that. Then deprive them of one of the very features engineers depend on! Worse, it is defended by suggesting the Helix is just a pedalboard and amp. I have one question for those that don't understand the meter desire.... Will a meter HURT YOU? if not.. why argue with those that want one... including the 2500+ that upvoted it on ideascale.... apparently to deaf ears! ALL THAT ASIDE I also don't understand the side wondering WHY NO METERS so loudly. Just make a polite request for a meter block, and maybe Line 6 will add one for us. If not - the unit is still quite capable. If you bought the Helix for Meters you deserve to be disappointed for not doing your homework first.

Don't forget to try cleaning the POT in the EXP. If it's just a dead point, you might be able to free it from the debris causing it.

I can't tell from the image.... but often web developers will place the most common locations at the very top of the list... then ALL others under that. EG: A Canadian company might put Canada, Mexico and United States at the top... then follow it everything else. Scroll to the top of the list to see if it is there.

If your external exp pedal has a dead spot on the pot it will fool the the Helix (momentarily) into thinking nothing is plugged into the EXP2 jack. That is causing the internal pedal to shift to EXP2.. .then back when it is passed the dead spot. I know this because I built a 2 jack toggle system with fixed values to use in the EXP2 jack. When NEITHER of my toggles are engaged, the helix does not think anything is plugged into that jack so it shifts the internal pedal to EXP2... at that point I can manually control the values with the internal EXP pedal. As described, I use this to my advantage in my setup... but I can see how it would just be a pain in your scenario. You might be able to fool the system... try this. (I have not tested this... so I don't know if it will work or not) Open your preset Rock the external pedal until it kicks the internal over to EXP2 Now press the toe switch to EXP1 and save the preset. In theory, that should store the internal to EXP1 and it shouldn't shift on you anymore. NOTE: If that works I suspect you would have to do this on every preset you use it on.

I agree with the others... lowering the mix is how I like it as well, but I'm not so sure it's 100% accurate when you do it that way :) Keep in mind.... there are more than 25 Crybaby variations in the marketplace.... do you know exactly which one you own? IIRC, the Helix has at least 3 different Cry Baby models... unless one is your model, it will not sound the same, just similar. TearDrop 310 (Dunlop Crybaby fasel 310) Fassel (Dunlop Crybaby Super) Weeper (Arbiter Crybaby)

@Line6Nelson and @rwhite137 Great info provided from both of you.... thanks for the insight. One Last Update from my end for this thread. I opened the OP's original preset once again for some more tests based on this more recent information about the Texas Cali Amps.... When I raised the bass to just 0.1.... the preset DID NOT fade away after 3 hours (I actually let it run for 6 to test) When I lowered the bass on the amp back to 0... the preset FADED around the 3 hour mark as it had previously. With the preset producing zero volume.... all I did was raise the bass to 0.1 and it brought the preset back to life... just like reloading the preset. @havkayak ... Please read the very helpful posts provided about the Texas Cali amp, and please see my findings in this post. If you re-submit your problem (and preset) to Line 6, and get them to focus on the "Texas Cali Amp" with "Bass at 0"... I am sure they will take it seriously and try to find a fix. In the meantime, I can't see how raising the bass to 0.1 would effect the tone of your preset... surely you can put the unit through it's paces at rehearsal and hopefully gain back the confidence to take it to the stage.

I only play at gig volume :) Not exactly true, but yes - the tones I am talking about are at gig volume. Don't underestimate the power of a "subtle" compression... you do not have to hear a compressor for it to be doing it's thing. When it's subtle you don't really hear it, you feel it... and that is what I am after. The feel will include a little "smoothing" and "sustain" without actually hearing any compression. It should be worth noting... this works with the gain levels I use, which are not that high. If higher gain drives are used I suspect it could become very noisy and a bit of a mess. At that point, the only comp I would ever use is the Studio Comp at the end of the chain, never a stomp comp.

FWIW... When I use a Stomp Comp I always put it after my drives. I don't like to put a comp between my guitar and my overdrives.. that's the most dynamic/soulful point of interaction. Placing it after the drives smooths the tone, but leaves the interaction in place - huge tonal palette. Placing it before the drives make the interaction less dynamic, almost "monotone" for lack of a better term :) That's just my approach, it's not meant to be a "right vs wrong" way of doing it :)

The LA Studio near the end of your chain is the trick. It smooths out the tones while leaving the attack in place. Once those peaks are smoothed out you can play a little more aggressive, and the sustain comes more naturally. When a "studio style" comp is placed toward the end of the chain, the effects and amps are open to the dynamics of your playing. You still get a refined tone, but very interactive and dynamic. Another option to the LA Studio is the 3 Band Comp... FWIW... I run the LA studio comp "always on" near the end... then only add a stomp comp near the beginning when I need that "pop / squish" effect. Some funk, some 80's pop, some 90's country, etc...

Bryan Adams "Summer of '69"? That's not clean! Just sayin'.... Bryan plays a VOX AC30... and it is breaking up, not heavily, but it is breaking up! Keith Scott is the lead player.... hard to say what he plays for amps on that song in the studio... live he played Marshalls and/or Hiwatts at that time but was not clean. As for that arpeggio part with the keyboards... it's the same tone as the intro guitar chugs. An AC30 turned up to get some edge. Attack it with a single coil guitar in the bridge position. Add some LA Studio Comp near the end of the chain. Sweeten to taste with reverb and a touch of delay. Even the keyboard tone in that part is not clean... it's a tone based on a sawtooth wave which has a natural "soft crunch" to it. IMO... Stay away from chorus.. it will muddy up the tone. If you really want to add something there make it really subtle. Try the "mod > legacy > dimension", set all SW switches to off, then blend it in accordingly. It provides more of a "studio quality" chorus than any of the stomp effects do.

Is this meant to suggest the Fractal "doesn't" need to be tweaked? The internet never disappoints with misinformation.

This is how I approach it with the IR Block. If an IR is cutting too much volume, I simply increase the output level (on that block) to compensate. Keep it all on one block.. makes it easier to bypass or swap it out later without trying to remember where you compensated the added volume. Were those instructions specific to the Helix? There is an output level on the IR block for a reason... and when you add an IR block on the Helix it defaults to -18 (IIRC).... there is no harm in raising that to -10 or even 0 if needed. Adding a gain block "after the IR" or using the output level on the IR Block is going to do the exact same thing. Why use an additional block.

Can great tones be had from a Helix without meters? YES, proven time and time again. Can great tones be had from a Helix with meters? YES, proven time and time again by those that connect to a Board or DAW and monitor the meters those provide. IMO: I don't need a speedometer to tell me if I am going to fast or too slow. BUT - it often saves me from speeding tickets. I don't need a thermometer to tell me if I am too hot or too cold. But rather than throw logs on the fire and open the windows until I feel right, it nice to get the temp to 72 and know I will be immediately comfortable. That's what meters are all about... quick reference for general usage. NEEDED? No! CONVENIENT? Yes, I like them. If you don't agree with my opinion I have no problem with that! IIRC... the delay on getting a really accurate tuner was due to the nature of how graphics were handled on the Helix. The update that gave us a good tuner (including a Strobe) should be more than capable of providing a decent meter block!

Please record the noise and post it. IMO... between 3:00 and full you will hear hiss regardless of having a preset loaded. That's "really loud"! BUT - you may be experiencing something different. Without actually hearing it, or knowing the actual noise levels, we simply don't know.

In my world, the OP (opening post) is the case :)