codamedia

I think you have a different problem than the OP. Here are a couple things to try... If you are running into the front end of the Special 212, don't use any amp/cab modeling in the Stomp! If you are running into the power amp input (or the effect return) of the Special 212, use the "Pre-amp models" on the stomp... no cabinet or IR models. When you use the Laney cab, how are you powering it... or do you connect it to the Special 212? If it's connected to the Special, then the same bullet points apply. If you connect it differently I'd need more details before making any suggestions.

When you dial in your tones at a quieter level... your ears play tricks on you - hence, the Fletcher-Munson curve. You will add too much low end, and too much high end... creating a "mid scoop" in the tone. At stage volume - that big quiet tone often turns into a "boomy" yet "tinny" mess with no clarity! +1 That is the problem... providing a certain threshold of quality is being met by both the studio monitors and the PA / Monitor situation. I don't waste my time adjusting for poor quality PA boxes... I'll just bring my own FRFR when those are in play because nothing will make them sound good and clear. IMO... This is true only if the studio monitors are not capable of pushing enough air and volume to comfortably get over the Fletcher Munson curve. I find it hard (if not impossible) to setup tones on a set of 3.5" - 5" monitors... there is too much compensation involved. BUT - a decent set of 6.5" or larger is usually capable of reaching 90db (approximate stage volume for guitar) without pushing itself to hard..

The only portion of the Boogie you are not using is the pre-amp.... Therefore, you should be using the "pre-amp" models in the Stomp. The full amp models include power amp simulation as well, but your Boogie is already doing that. In the end... do whatever you need/want to in order to get a good tone. I'm just suggesting you use the Stomp modeling ONLY to replace what you have effectively removed from your Boogie.

I encounter a few crappy techs on the local scene... but I also tour, and if I don't put 100% trust in those guys and work with them I'd be out of work. I love techs.... some of them are great friends and working closely with them has helped me prep my tones so they will work "effortlessly" on any decent FOH system. IMO... ironically, blasting a guitar tone off the stage into a room with a bad tech most often makes things worse. Sure, you will love your tone on stage, but that doesn't mean it's any good where it matters most - the audience! I'm not saying it can't work (you may have great success with it), I'm just saying I've heard it fail more often than not! That said... some rooms FOH is VOCAL ONLY, while others carry the entire show. I'm only referring to the latter :)

Good idea... A Helix update that can prep me a pound of hot wings for the end of the night :)

Actually... that's pretty much what I told them yesterday. Truth is... the "fake amp" that often sits behind me is there only if the monitor system is so bad I need to use it for "my own use". The sound it produces never reaches the audience, or even the other members on the stage. It's just a Peavey Bandit with a COAX full range speaker installed.... I run into the power amp input when needed. So the joke is really on them. Not only do I go direct, but when I do use an amp it's a solid state Peavey (another hint. when using a Peavey, remove the logo so it sounds better as well) I never take an amp to my regular bands gigs... I trust those monitors. It's just a few smaller fill in gigs I do where I carry the amp... just in case. Yes... on the chicken roaster tour it was the late night snacks for the crew. On the laundry tour it was crew laundry as well as skirting, drop cloths, towels, etc... etc... Very practical, and wonderfully silly entertainment :)

In the real world... a '57 is often "off axis" (angled) and pointed more toward the "edge" of a speaker, not into the center of the speaker like the Helix models. This changes the usefulness of the real mic... but the Helix doesn't offer those options for placement. Still not my favorite mic... but it can work. When micing a live amp ribbons and condensers are not really an option... I'll lean toward a Sennheiser... 421, 609, or 409. The Helix offerings of these are pretty good as well.

Just a word of advice to anyone that plays direct with modelers with great success. Your rig always sounds better to a room full of musicians when you place an amp behind you and turn it on so you "look like" you are using it! Long story short.... at yesterdays weekly gig (filled with a room of musicians) I left my "fake amp" in the trunk due to a Christmas tree stealing the stage space. More than one musician commented that my tone wasn't the same even though I ALWAYS go direct at that gig. Closed minds drive me crazy!

No... your only option would be to return to one of the Laney's internal speaker simulations and turn off the cab/mic model in the Helix. The Laney sim would just turn off the horn and apply a filter so not mic is in play. But - that leads you right back to the problem you have in the opening post. IMO.... There is a huge benefit to learning (and getting used to) how to setup your tones with cab/mic simulation. You will have much more control of what the FOH (and therefore the audience) is hearing, because it will be what you are hearing to. Staying in FRFR mode with the amp/cab models on the Stomp.... go to the CAB settings and look at the mic model. Changing the model and distance makes a huge difference. FWIW... I tend to achieve better results with a 121 model pulled about 3" - 6" off the cabinet for most amps. This captures more cabinet tone, and puts some air between the cab and mic. Result... a warmer (amp in the room) style tone compared to having a 57 at 1". YMMV.

Well... if it's brand new, return it for a new one. Any good store will have an exchange policy for a short time before the "warranty" policy kicks in. It's it's used.. use every recourse you can to return it.

I would try booting it in "update mode" and try installing the firmware once again. This should be the procedure on the Stomp.... If you run into any trouble with a failed update or your unit will not boot up, try powering on while holding the right arrow ">" This will put the unit into update mode and you can re-install the latest firmware from there. Make sure you follow the 2.82 update procedures precisely! There are specific procedures for each device... it's easy to follow the wrong ones :) There are two important steps that many people miss.... Start by installing the 2.82 version of HX Edit.. and when the install options appear, INSTALL EVERYTHING! The Stomp will use what it needs and ignore the rest. Doing this will avoid conflicts... it will ensure you have the correct drivers and updater required. When you run the updater (which is installed with HX Edit), DO NOT have HX Edit open.

To which I will reiterate.... "I love how these threads make it sound like amps and pedals never failed :)" I feel for you, and anyone else who has had their Helix (or other gear) die on them... it's a terrible feeling! All I'm saying is... any piece of gear can leave you high and dry at any given moment. It's not like the Helix is dying left, right and center - we are just meeting on the forum where people report it.

The Helix does not come with any IR blocks loaded. IF your unit came with IR's... they have been added by the former owner. You could ask the the seller about them... maybe he will transfer any ownership/license to you and provide you with the original copies. IMO... It's always nice to have the originals. If he just loaded freebies from the net none of that really matters.

Try a "global reset". if that doesn't work, I suspect it's untimely hardware failure.

I have yet to experience one... but that doesn't mean I won't :) I would love to see an elegant solution for this issue that some have to suffer through... because I know one day it might be me.

I love reading solutions like this. Thanks for posting....

FYI... It is common practice for full time players to have back up rigs regardless of their setup. I love how these threads make it sound like amps and pedals never failed :)

The IR is not just the cabinet & speaker, it is also the MIC, the MIC Placement, and anything in the chain after the mic (pre-amp, eq, filters, etc... etc...). When you listen to a cabinet, you don't hear those extra's unless you record it, or monitor it the same as you monitor a direct rig. Therefore.... they sound the same... but only when monitored the same.... Record your amp using the same mic/placement used for creating the IR Record your amp using the IR instead of the cabinet/mic Those two recordings will sound the same (if the IR was created accurately)

You need to test this without changing any channels on the amp at the same time.... Disconnect the midi Set the amp to it's first channel Roll through the presets to see if the popping is there... take note if any are Repeat bullet 2 &3 for the other two channels on the amp If the pop is ever present (to varying degrees because of the amp settings)... it's the HX presets alone If the popping goes away, it's related to the changing of the amps channels at the same time as the HX presets Post your results and I'll come back with another round of questions. Separate questions... Is this a "soft sounding pop" when you change presets... more like a "thud"... or is a "hard pop", more like a "bam". Does the POP only happen ONCE when you first change the preset... or does it continue to pop repeatedly once the preset is loaded?

Is there a reason for making this complicated? Can't you just run the XLR Direct Outs from the Power Cab(s) to the FOH?

Exactly.... I also found a big change on the "acoustic models" when I tried a set of "bronze wound" with a wound "G" just like an acoustic would have. It didn't work so well with the electric models (as I expected) but it did make a positive difference on the acoustic models. There is always a compromise... find what works best in your situation and go with it.

A preset can change a Variax model, and a Snapshot can change a Variax model... but you cannot assign a Variax model change to a foot switch arbitrarily. That scenario is quite easy. Create the acoustic preset, then create snapshots that load the individual models. If you have effect blocks that you want to control via Stomp Mode and don't like the snapshot changing their on/off status, simply set their "snapshot bypass" option accordingly.

A lot of great things have happened since 2.2... In general, your tones should not change, but there are a few thing you need to be aware of. Follow those update instructions very closely. The latest updates have very specific instructions depending on where you are updating from. Don't forget to backup your presets first as people have already mentioned. If you run into issues on the update "don't panic". People here will help you through it Once you get up and running, you may find your reverbs are more intense (louder, wetter). IIRC... it was the 2.6 update that did this, but that should be the only real audible difference you may encounter. Good luck...

That makes sense... I never knew that happens - not because it didn't happen to me, but because nobody tells it like that :) All they ever say is that the Helix got stuck on the "boot failure entered update mode" screen ... they never say they saw the message on the computer and chose to continue - then it hung! IMO - those would be two different problems. The Devil is in the details when asking for help! (sorry, not ranting at you)

I will verify that I have no problems with it... it's running fine here! I couldn't disagree more. I find them much more accommodating than the majority of other company's out there.