codamedia

Thanks for clarifying... I am quite familiar with the Rockman... I'll go back to my initial suggestion.... Setup a preset on the HD PRO that only has a LOOP block in it and make sure the loop is turned on. Put the Rockman in the loop... Loop send > Rockmount Input Rockmount Output > Loop Return Every time you go to that patch, you will hear the Rockman without any processing from the HD

Setup a preset on the HD PRO that only has a LOOP block in it. Put the Rockman in the loop... and make sure the loop is turned on. Every time you go to that patch, you will hear the Rockman without any processing from the HD other than any input/output settings you are using. Actually... once you have it setup like that, you could add it to ANY preset in the HD by simply adding the loop block. The options are numerous. EDIT TO ADD.... After reading your post again, now I am really confused. You have an HD PRO, a POD HD and want to know how to connect your Rockman? What exactly are you wanting to do here?

Each frequency range has it's own Q value. EG: The low Q Value only effects the LOW frequency range, etc... A 10 band is good for tone shaping, but not for the precision of notching. The parametric will be your better choice for that. As you also say... you can use both. First notch (to correct/control) then shape the tone. That is my assumption as well... If that is the case, then my steps should work fine. I hope it all works out for you.

Ian Crichton is a wonderful player... very precise, clean and articulate. The technique he uses is a big part of the tone... it changes with his right hand picking/pinching/muting technique at every turn of the song. This ones a pretty simple setup.... Revv Red is a good starting point.... I just inserted it with the default settings and never changed anything Place a "modulation > plastichorus" before the amp. Leave the default settings but lower the mix to about 30% Place a "delay > simple delay" after the amp. (settings are ballpark... adjust to taste) Time - 425ms Feedback - 35% Mix - 25% Please a "Reverb > Ganymede" at the end of the chain. Default settings with the mix lowered to 25. Again... adjust to taste. He has some great full tone swells in the song... for that you may want to add a volume pedal just before the delay and reverb... but after the amp. I didn't spend much time on it, but I picked up my Les Paul to make sure I had a bridge humbucker and played a few lines... it was darn close with just those settings. As I say earlier though... for authentic tone you need to pinch/mute a lot of chords and notes... just playing the part is not enough. Pinching add's harmonics that are not possible by gear... and Ian uses it right out of the gate with the opening chords then even more so with the single note lines.

I am pretty sure the Helix and the HX Stomp use the same encoder knobs. Might want to double check with Line 6 before ordering.... https://www.fullcompass.com/prod/525523-line-6-30-45-0049-edit-knob-for-helix If you want a 3rd party knob with a set screw... measure the shaft width and buy any knob that will fit. 1/4" shaft is common, but I'm not 100% sure that is correct in this case. I have seen reports that these knobs are secured with a small dab of adhesive. If they are coming off easily... I would assume the adhesive has let go. If you go to take one off and it is being difficult, be careful. You don't want to damage the encoder itself.

Why doesn't the HX supply enough signal to the AER... that doesn't seem right to me. There is no "amp sim" in the HX so the tone might not be exactly what you want (yet) but there should be plenty of signal. Check the global settings... make sure the inputs are set to "instrument". If they are set to line, your guitar will not have any signal. The outputs should work fine set to "instrument" but if you need more juice.... just set it to LINE and it will push the AER harder. NOW: Back to getting a decent electric tone out of the HX Effects into an Acoustic Amp. Download the free ALLURE IR SPEAKER PACK from Line 6 install the IR's on the HX Effects Insert an IR block near the end of the effect chain... experiment with different ones for different tones. That gives you speaker emulation... which is half the battle of getting good electric tones..... Now insert some common "amp style" controls on the HX Effects Gain block EQ Compressor Overdrives... Reverb etc... etc... Those are all optional just suggestions... use what you want to shape a tone. I've done this several times and it works fine. It's not as easy as an Amp Sim, but it is flexible and can sound very good.

A notch filter is just a parametric with a tight Q.... the Stomp has the perfect tool for you... a parametric EQ. The parametric EQ has 3 bands (essentially 3 notch filters) plus a high and low roll off. Each band has a specific range of frequencies... but you should be able to find 2 that overlap enough to cover your needs. The Q control is critical... you will want to keep this "tight". The higher the value, the tighter the Q. By default the EQ will load with a fairly wide Q for tone shaping, but for a notch filter I would start around the half way point... then adjust as needed, probably increasing the value even more. I find with Banjo (I dabble with 5 string) I also like to utilize the low cut... and raise that to about 400hz. This stops my banjo from shaking violently as the tech turns up the volume :) YMMV depending on the tone you are after. I don't need rich low end, you might! As for the phase invert.... there isn't a direct switch for it, but when using a parallel path the merge block allows you to flip the "b" polarity.I don't know how the LR Baggs implements it... but if it's just a phase reversal on the output (common) you could try this... In your chain, drop one effect to the B path In the split block, change it from a Y to a Split A/B and route ONLY to the B side In the merge block Set your A level to it's lowest setting possible. this is just a precaution to make sure no signal is bypassing the B path Now you can invert your entire signal by changing the "B Polarity" as required.

Going all the way back to the BOSS ME-5 and ME-10 and another dozen or so different multi effects over the years.... I have always encountered a lag when changing presets and it has never been an issue for me. I've seen people suggest a BOSS is instant... since when? A colleague of mine has a GT 100, it's not instant! I've seen people say Zooms are instant... really? I own a G3 (and have owned a G5), it is NOT instant, and some changes are slower than others. How long is the lag in the HX Series? 200ms, 300ms? Planning your snapshots vs presets should not be that difficult to work around this. Need instant change.... work it into a snap. Have a half second or more to make the change.... you can do that with a preset. Disclaimer.... I use an LT & I have not walked a mile with the Stomp to witness it's limitations first hand :) I did own an HX Effects for a while and had no problems working around any lag with that.

IMO... the HX Stomp is already a perfect candidate for residence in an open top rack drawer. I can't imagine it would need more than a 2u drawer... and there would be room for other items in their as well.

The Helix has the ability to rebuild a preset if it's an older version.... therefore it is partially doing this already. I can't imagine that a "verify presets" sequence would be too hard to create. I can understand if there is no way to correct a bad preset... but it should be able to identify one without locking up. Another consideration.... The big helix units have a start up sequence that allows you to clear the existing preset... (6. Helix can now restore by clearing only the current preset instead of wiping out all presets. While holding footswitches 11 + 12) When a preset becomes corrupt and won't allow you to start the unit applying that sequence will clear the bad preset and put you back on track - minus that preset. Even if that were added to the Stomp and Effects it would save the user from complete restores and troubleshooting. The bad preset is just removed!

IMO.... Don't worry about recording direct with the Helix.... the benefit would not be worth the trouble. The steps below will still sound great, and give you everything you need! Stomp 1/4" mono output to the line input on the back of the ID4. If you "need" stereo.... connect the two Stomp outputs to the line input and DI input on the ID4. Adjust the "mic gain" and "DI gain" to balance the two sides. For direct monitoring, adjust the "input / daw" control accordingly. Set the DAW's audio device to the ID4. You will have two outputs and two inputs. Why do I say recording direct won't be worth the trouble? In step 2 above, you are hearing your Helix through the ID4 with zero latency. You are recording exactly WHAT YOU ARE HEARING? If you don't like the tone... change it so you do!

There are always limitations based on what the user is using.... and there are always creative solutions based on what the user is using. I don't disagree with your creativity... or "duncann's" creativity.... I do that too.... But keeping this thread relevant to the OP.... Op has a Helix Stomp Op has an Audient id4 Op wants his DAW to INPUT from the Stomp Op wants his DAW to OUTPUT to the Audient id4. What is the solution that works for the OP... not for each of us :) I'm not listing "my solution" because that is irrelevant to the op unless he buys the gear I have.

Here is a post I made in another thread... relevant here as well so I will just cut and paste. --------------------------------------------------------- Go to JAVA.COM and download/install the latest stable version of 32 bit JAVA When downloading Workbench from the L6 site, the older Workbench will not show as an option when you choose "Windows 10" as the OS, you need to set the OS Version to Windows 7/8. No worries, the version of workbench this search will display is the one you need for Windows 10. Install it! (Remember, you DO NOT WANT WORKBENCH HD! When installing Workbench.... uncheck the box what would install JAVA (you already have it step 1).

Other than the number of inputs/outputs no, I don't believe the USB acts much different. BUT - your Floor has "SPDIF" and you are utilizing it.... that changes things as the STOMP (and LT) do not have SPDIF. It appears you may be using a specific solution that works for you, but isn't necessarily the solution for the OP. Your workaround is very clever, but to accomplish it you need "SPDIF Out on the Helix" and "SPDIF IN on the second interface"... the OP doesn't have either luxury. If you want to experience the limits myself and rd2rk are talking about, and what the OP's problem is... try this. Disconnect your spdif In Reaper, assign Helix as the INPUTS In Reaper, assign your second interface as the OUTPUTS

On Windows... only one ASIO device can be used at a time. If you set the Helix as the Asio Device, then the DAW can use it as inputs, but it will also use it as the output. If you set another interface as the Asio Device so you can use it's output, then the DAW will only see that Devices inputs as well... not the inputs from the Helix (or HX Stomp) That is not a limitation of the Helix... that is a limitation of Windows. On a MAC you can aggregate devices and use them all.

If you are on Windows there is no way to do this. I know someone will jump in and suggest "asio4all" drivers... but that is a solution I would not use myself. I never go direct with my Helix, I always take it through my mixer and interface. I don't see it as degrading a prestine signal, if it is changing the signal it's what I am hearing so I would never know :)

This problem is not normal.... The Helix does not distinguish between what is plugged in, it simply treats the signal it is sent. The signal from the Bass is obviously lower than the guitar.... apparently much lower. Make sure you test everything equally. Use the same input for both the guitar and bass... Use the same cable for both (eg: unplug one to plug in the other) Test "levels" with the same preset! One will certainly be louder than the other (no two guitars are the same level) but they should be within the ball park of each other. If you don't do this.... how would you know it isn't just the presets that are different levels. Compared to what? Have you plugged in another bass to see if it's the same level? Have you plugged your guitar into that bass amp to see how loud it appears? FYI: By design, the AUX input is much quieter than the guitar input is. RELATED: If you attempt a "return block" make sure the return is set to instrument level in the global settings. Please explain this one? If you hooked it up the way this sentence suggests you would blow your Helix into oblivion :) That would indicate an active bass. If there is a compressor near the front of the chain, maybe it is clamping down to hard on the signal. If wouldn't matter what you put in front of the compressor for volume, the compressor would just squash it even more.

The IR names are strictly for human understanding... The Helix (and HX Devices) only considers the IR location when loading. If you buy a preset that comes with an IR you always have two choices.... Load the IR into the exact IR location the preset is calling or Load the IR wherever you want, but change the preset to load the new IR location

If you tones are created to sound good at the FOH and in Monitors then they will work in a set of quality headphones/in-ears with no change, or very little change. IEM's should be fed from a monitor mix.... that mix should have some basic EQ on the strip. Any adjustments more than a couple DB here or there would indicate the preset is not as prepared for prime time as you think it is.

My helix goes direct.... all of the time. I hear myself through my monitor mix, and sometimes through an FRFR. I never touch the global EQ, I actually re-purposed it as a variable PAD for the XLR outputs. IME... If the stage monitors are EQ'd properly I know the Helix will sound good with no further adjustments. If they are not EQ'd properly - I'll ask for some adjustment on the channel strip. If I am using an FRFR and need anything other than flat, I'll do a small adjustment on FRFR itself. Those types of small changes can be done in the moment... even if you do use the global EQ. That tool (global EQ) isn't for tone shaping, it's a general case of "roll off a little here or there"... at most I can't see it saving more than 15 seconds in any given room. Just my 2 cents... :)

Absolutely. You will be limited to routing and DSP limits... but there are 32 blocks available. In the studio I'll create more complex paths with stereo and parallel options... I'll hit DSP limits long before I use up the blocks. My live presets however are just one long serial path that I keep in mono... I can get a lot more blocks loaded in those for quick options via snapshots & stomps.

DISCLAIMER: I do not own a stomp. I believe there are TWO Sends and TWO Returns, but they are labelled L/R instead of 1/2 like the other HX devices. I see they also label one...potentially as a AUX return. I am assuming each send and return/aux can be inserted as blocks independently. If I am wrong in this assumption then my suggestions below may not work. I also know that the L/R Sends share a single TRS output... you will need a splitter (Stereo (TRS) > 2 Mono (TS)) in order to send each send to a different direction. Now on to my suggestion :) ------------------------------------------ You say you have 3 blocks left... and that you only used 1 effects loop. That should leave one "send/return" pair available... so this is how I would approach it. This will all be done on a single path... keeping it really simple. The trick it to rid yourself of the notion that the Stomps "output" has to be used for the amp. Remember, a SEND is just another output that you can insert anywhere you need it. Insert the remaining SEND block after your last effect. SEND that signal to the amp and set the "dry thru" so no signal continues down the path toward the output. Insert the remaining RETURN block after that.... have the monitor mix fed to this return With one more spare block... optionally you could even add a reverb, EQ, or compressor after the return if you want to sweeten the monitor mix a little. The result.... the monitor mix (return 2) should be the only signal reaching the headphone output. Here's another trick you could use to make use of the last spare block mentioned in #3 above.... Move that spare block in front of the return Insert an amp block... or if you don't have the DSP power, insert a cabinet block of choice. Turn up the dry thru from your send block to allow your guitar signal to continue on to the amp sim. This will not effect the tone you send your amp, but it will give you an amp sim in the Stomp that you can BLEND with the monitor return. To adjust the amount of guitar in the headphones.... simply adjust the MIX control in the return block NOTE: This option is very handy if there isn't enough monitor mixes to allow you to get the guitar level you want/need in the monitors. You will hear the amp sim in the headphones, the FOH still gets your mice'd up amp.

No luck trying that on my end either.... I can toggle between effects... but the LED is either on or off (or on/dim depending on global settings) Are we all running a 2.8 variant of firmware? Perhaps this is something that worked on a previous version.... even if it wasn't intended?

I am pretty sure you just press the letter "d" to reset a value to it's default. There is a list of HX Edit shortcuts starting on page 28 of this HX Edit guide. https://line6.com/data/6/0a020a3f991d5a1de0bc033cb/application/pdf/HX Edit Pilot.pdf It may not be 100% accurate as it's a 2.3 guide and HX Edit is now 2.8x... but it might help a little.

What Variax model are you using? 1st Gen (300, 500, 600, 700), or 2nd Gen (JTV, Standard, etc...) I'm interested in hearing any responses... I once attempted this with my 1st gen 300 and HD500 and I encountered the same problem you are seeing. I'd be interesting in knowing if this is a 1st gen limitation, a problem that effects all Variax guitars, or if there is a work around.