codamedia

I don't know if it has always been there or not... but you are right, it is certainly there. Immediately I reached for the amps "hum" control and that did nothing, then I realized it seems to be attached to the "ripple" control. Turning that down gets rid of it although I don't really know what effect that may have on the tone. With just a few strums of the guitar (not a full test) I don't notice any difference with ripple up or down, but YMMV.

I use studio monitors similar to the HS8's to craft my tones at home.... live is always through a Monitor and FOH and the tones translate very well. I may have to tweak a NEW tone just a little on the stage, but rarely - and never much. Here's what I suggest.... It is always best to start with setting those HS-8's are set FLAT! "0 room Correction" and "0 High Trim". Ignore this IF you have taken time to fine tune your room and know what you are doing. If you just set those settings to "sound good" it is most likely inaccurate. Create your tones at 80db or higher. This reduces/eliminates Fletcher-Munson. FWIW I create mine closer to 90db. I would trust the HS8's... those are very nice monitors and they can move a lot of air (volume). What I don't know is the quality of the PA at the school. Good is good, junk is junk.... then their is everything in between :)

Your answer has already been provided... I'm just giving you another way to put it in perspective... Presets load your layout.... Snapshots manipulate your layout, but cannot change it.

Just want to add... you can leave the LA Studio Comp where it is if you want to tame the peaks, just be sure to set the LA Studio to "Limiter" rather than "Compressor". That "should" tame the peaks, while leaving all the quieter parts (swells, reverbs, etc...) untouched. The LA Studio Comp is an LA2A model.... not a stomp box model. It shines at the end of the chain, but only if you don't try to use it like a guitar compressor.

I'm surprised this isn't making sense to you! Left/Right signal combine to make full strength Left alone... is usually about 3db quieter Right alone.... is usually about 3db quieter I use the word "usually" because there could be panning laws at play... I do not know how Line 6 implements those... if at all. I have no inner knowledge of how L6 has created those splits... but normally panning laws would not be implemented for this usage.

Humility goes a long way.... let's not get into a p***ing contest about which one of us has more experience, please!

Split Y is sending 1/2 signal to each path. Split A/B is sending combined signal to each path. In no way are these "the same thing". The difference it subtle, but it is real! If you don't believe me... humor me. Set the Split Y to "Left 0 / Right 0" rather than panned hard left/right. VOILA... it now sounds exactly like the Split A/B because it is doing exactly what the split A/B does!

USB midi requires a host... you cannot connect it directly from one device to another, unless one of the devices acts as a host. Unless I am mistaken, neither the Stomp nor the LPD8 is a host device so a computer, tablet, or dedicated host device would still be required to finalize the connection.

@SaschaFranck.... Just to re-iterate, I am not against what you are suggesting. You don't have to convince me of Auto Save or Global Blocks. I was just playing devils advocate, I find it beneficial to view things from more than my own perspective. EG: There are multiple posts here about people that cannot wrap their heads around the "discard vs recall" settings for snapshots... and now with 2.8 many people struggle with the concept of "snapshot bypass". I have no doubt that global blocks will help you to the fullest and I would also enjoy them, I also have no doubt that global blocks would cause incredible amounts of confusion to many other users.

The obvious answer is that nobody has uploaded any yet! Custom tone is driven by users, not by Line 6 itself. There are several Rush tones for the Helix.... just not the Stomp. Did you purchase "Native"? It's worth the $99 just for the ability to load presets from the entire line.... strip the unneeded, then export in Stomp format. HINT: if you don't own Native yet.... Black Friday/Cyber Monday is fast approaching. It might be worth the wait to see what L6 may offer.

Many multi-fx have an "auto save" feature.... any changes to a preset are automatically saved without the need to press save. Just like a pedal board and amp, every change you make is DONE! This can be a blessing, this can also be a curse - either way, it's the users choice to have it on or off. The Helix offers this on snapshots, but it doesn't retain those changes at the preset level. I'm sure this is a feature request that could be added relatively easily if enough people supported it. I do not disagree with the concept of Global Blocks... nor do I disagree with your comment about quick adjustments. BUT - (devils advocate here).... I don't see how Global Blocks offers the solution for quick adjustments. In either case, you have to bend over, scroll, adjust, and save (unless auto save is implemented)! Not to mention.... what happens when that global block change screws up the 25 other presets that use it? IMO... this is not easy for Line 6. Introducing one solution always has the potential to introduce 10 new problems, not the least of which is human confusion causing error. Whether it be Auto Save, Global Blocks, etc...etc... these support forums will be a lot more congested as people can't figure out what is going wrong, then feature requests begin to flood in for more versatile ways to protect one from self inflicted wounds.

No Christmas songs until "at least" December 1st!!!!!! :)

Keep in mind you would rarely, if ever use a 100% IR signal. Usually you would blend in just a little. Generally you are not trying to sound like a different instrument, you are just trying to capture some of the qualities of that instrument. Acoustic IR's will usually come with certain info that is required to understand the tonal quality you are adding.... * Model of the instrument * Microphone used * Microphone placement (bridge, sound hole, 12 fret, etc... etc...) * Microphone distance. As you can see... the IR is not just the instrument... it is also the mic choice and placement. Example: Let's say you have a $300 Yamaha guitar with a Piezo pickup. Now add an IR of a Martin D-18 with a Royer 121 placed 12" off the bridge. Blended in nicely, that could give the inexpensive Yamaha a really rich tone, not possible with Piezo alone! @amsdenj provides some great advice and info above. One piece of advice given should not be overlooked.... every IR will sound different with every guitar it is used on. You have to experiment to find one that gives YOUR GUITAR the quality it might be missing.

There is nothing subtle about the CS-1... but I guess that is it's charm. The CS-1 is a completely different beast when compared to other stomp compressors, including the other two real BOSS Models (not on the Helix)... the CS-2 and CS-3. In the pedal world I love what a CS-2 does to the signal... and find the CS-3 usable, but a little too squishy for my liking. If you put a CS-3 Sustain on full.... that is about where the CS-1 begins in regards to "squish".

You are already obsolete. There are plenty on these forums already discussing the 3.0 update :)

I did find a 3 oscillator synth in the STEREO section as well that could be tracked by the guitar, but it is bizarre to say the least. There appears to always be lingering overtones... octave jumps, and notes that follow even after you stop playing. Even when I break it down to just one oscillator I can't get it to behave. I know my way around synths, but I've never encountered anything like that before. It doesn't do anything I am expecting it to do. This could all be user error at this time... I just don't have the time to play with it right now.

I have never played with the oscillators on the Helix (oscillators would be required).... but unless I am missing something they are fixed notes trigged by footswitch, not by the notes on the guitar. That would make this very difficult. That would seem like an odd implementation... I need to look into this further to see if I am missing something.

I'm not sure if the Helix will send/receive the tempo as a fixed value... I'll defer that to someone else. But the Tap Tempo should work fine... Have the other player assign his tap tempo to MIDI CC#64 value 64-127...Your stomp should recognize that midi command as an external tap tempo.

It should be as simple as that. The one thing you may want to check is the level of your amps loop, then set the Stomp I/O appropriately. Some amps are instrument level loops, some are line level.

^^^ This ^^^ You can dedicate your stomp to the fundamental tones, then supplement it with the additional effects. You'll get more footswitch control, better midi implementation, more effect blocks to work with, etc.... IMO, an HX Stomp / HX Effects combination is almost ideal for a modular setup.

The pedal should have an Allen key adjustment.... and there should be an Allen key included in the packaging. Adjust the tension to your liking.

That should work perfectly. Just leave the trim set for the other player then lower your global EQ level so it works for you as well. It is strictly my opinion, but I think you are boosting far too much (+12db) at that global EQ.... bringing that down would be a good thing in the long run. PS: I now understand why it's an issue going back and forth... having "in ear mixes" at play. Thanks for clarifying that!

It's no wonder your mixer has to have the trim lowered as much as it does. That is a massive amount of output! YMMV, but I keep my XLR set to mic level and disengage it from the volume control. I use the Global EQ in reverse... when a tech requires a lower signal at the board, I turn on the global EQ and set it to about -6... but will adjust to give them the signal they want. Level is level.... removing it at point A to add it at point B doesn't change anything. IMO... The trick is to balance your signal throughout the chain (often referred to as gain staging), then run the outputs at normal levels with normal settings. If you have anything set to the extreme (IE: Global EQ adding 12 db of level) something is not right.

The TILT has a frequency shift control that can take care of things like this. The default setting is a great starting point and would work for most, but it's there when you need it. Just to clarify.... I don't find the Tilt to be a replacement for good hi/lo pass filters.. I use it mostly to simulate the mic placement. It's just another tool in the bag of tricks.

Really? Adjusting the trim causes problems for the sound technician(s)? I'm at a loss for words...