codamedia

Everything is automated when you add a WAH block. The Helix will auto assign it to EXP1 and set it so the TOE switch engages/disengages it. If you have attempted other methods, I'd suggest you start from scratch and let the Helix do it automatically... it can't be any easier and no steps are left out. Just to make sure.... you do know that it takes the weight of a human to engage that switch? It is nearly impossible by hand without leverage... especially on a new(er) unit. Stand on the toe of the switch.... and lean into it. You should see the EXP1 and EXP2 lights change when it engages. If the light is not changing then the toe switch is not working, or you are not applying enough pressure to engage it.

In the global settings, make sure the expression pedal is set to "global". If you have it pulled back to 80% in one patch, the next will load with it still set at 80%. If your presets are still jumping in volume then you need to balance your presets so they are all equal. There is no shortage of ways to do this on the Helix but the two most common are the "Channel Volume" on the amp model, and the output level in the output block.

A few things to try.... Make sure the global I/O settings match the I/O on the looper. If the looper is instrument level, set the ins/outs on the HX the same.... if the looper is LINE level, set the HX as such. If you know you have the right, and the volume drop persists, make sure your looper doesn't have "output/input" levels that are out of wack. Still not working? Make sure your patches are unity volume. Each effect on/off should be the same (or very close) volumes... if one of those is weak (or strong), you need to compensate for it with the effect level - just like you would on a pedal.

The point of Morning Glory is transparency... IMO, the most transparent overdrive currently in the Helix is the Tee-mah (Timmy) so I would lean that direction. The morning glory is based on a Bluesbreaker pedal, and there is "currently" nothing of the sort in the Helix. I hate to even bring this up, but the 2.8 update every is anxiously awaiting will have a KOT (King of Tone) included which is another variant of the Bluesbreaker. That may provide the answer to the problem.

Global Settings > Preferences > Snapshot Edits By default that should be set to "recall"... try changing it to "discard" and see if it makes a difference.

I guess if you run the HD500 in 8 FS mode... I always ran man in 4/4 mode (4 patch/4 effects). In that case I would never assign an "always on" block to a switch.

The wording "footswitch slots" is misleading.... I think you mean "effects blocks". Yes, the FX loops require the use of an effects block, but with the Helix you get 32 of them compared to 8 (+amps) on the HD500 so it's not nearly as limiting. If you actually mean "footswitch".... neither unit forces you to tie the FX Loop to a footswitch - that's up to you.

Yes... but with a couple of caveats. The 1st generation Variax guitars (including the 600) do not separate the tunings from the tones, you have to save a tuning with a tone. EG: If you want all five position of a strat available in a specific tuning, you have to save each pickup position with the alternative tuning - ultimately consuming 5 more slots. IMO.... I usually only need a couple different tunings on a specific tone (eg: tele bridge with an open G ala Keith Richards, or a Drop D on a Tele Bridge and on an Acoustic). Therefore, I only use a few extra slots for special tunings. Another caveat is that you need to use Workbench to alter (create) any tunings, you cannot do it from the guitar itself. Therefore you need a Variax interface (or older compatible POD), a VDI Cable, and a computer. The software itself is a free download. Once the sound is stored in it's location, you can recall it from the guitar.

I just want to point out to the OP that although these two comments look like they contradict each other, they really don't. My initial comment about getting above 80db to minimize Fletcher Munson goes hand in hand with mid scoop comment from amsdenj. When you get acquainted with how the tones scale when you turn up/down you get better and preparing your tones at lower levels. I really should have said "I test my tones at 85db - 90db"... because I prepare them at much lower levels... I just put the final touches on them at stage levels.

I setup my live tones in my home studio using 2 sets of monitors. One set are 2 way studio reference monitor(s) with 6.5" woofer, the other is a set of 3 way consumer grade speakers (from the 80's) with a 10" woofer. When I get my sound working on both of those... it translates very well to FRFR, PA, stage monitors, headphones, etc... etc... It's the same approach I take to mixing music on those same speakers. When it works well on both, it works well pretty much everywhere. All of my live tones are set up at 85db - 90db... which is really loud in a small room, but pretty average (almost quiet) on a stage. The trick is getting the tones above 80db so the Fletcher-Munson effect is minimized. If you don't set up your tones at live volumes you may add too much lows/highs and the guitar could sound thin/weak in a live setting. Please note.... how I setup my studio tones is very different, I am only talking about how I setup my live tones with the above statement.

This is the phenomenon when one is louder than the other. I suspect the amp is simply louder than the method you are monitoring the helix. If you are comparing the Helix to an Amp then It's a flawed experiment until you know what the amp is doing. Try the same thing, but replace the Helix with an AMP and MIC for track 2. Then do it again... ignoring the dry input and just recording the AMP/Mic in Track 1, and the Helix in Track 2. In all of the experiments don't just "look" at the distance between the tracks.... measure them. The distance will be skewed by zoom levels, a proper measurement will tell you precisely how many "ms" you are experiencing regardless of zoom levels. Don't be fooled by your eyes!

The should be able to get the levels under control within the HX Effects... But the noise? Is it a hiss/white noise you are hearing? If so, you may have received an earlier HX that had a known issue. Take a look at this thread... the "artifacts" they are referring to is excessive hiss. https://line6.com/support/topic/32964-hx-effects-audio-artifacts/ Those units should be eradicated in the wild, but it is always possible a few still exist on the shelves or in the used market. My original HX Effects had this problem... and Line 6, along with my distributor (I'm in Canada) worked with me to solve the problem. If it is hiss you are hearing, I would suggest you open a support ticket with Line 6. They will help you get it sorted out.

When I used amps I learned young that the tone I heard on stage was not the same as the sound the crowd hear. For the most part (when possible) I always kept my amp volume lower and monitored through my monitor mix. This taught me how to dial in my guitar tones for the audience, not just for me. Making the transition to modeling was very easy for me... and something I've sort of been doing since the 90's with an original Sans Amp at the end of my pedal board. Before the Helix I was still balancing between modeling and amps.... depending on the gigs, and depending on the musicians I had to work with. Since I got the Helix I have NEVER brought an amp to the gig. If the monitor system is adequate, that's all I use.... if it isn't good enough (or non existent) I have a full range setup I roll in. Nobody notices or cares that I don't use an amp anymore... and the calls keep coming for gigs.

IMO.... get the Stomp, but keep the HD500x. Best of both worlds. You can utilize the HD500 for effects, I/O and as a midi controller while integrating the amp modelling and additional effects from the Stomp. If you go strictly to the stomp you may find yourself needing to add a footswitch or two and an expression pedal but the HD500 (and a little midi setup) will take care of all that. It would be a very powerful combination.

Not to pile on... but the Helix is not the only multi effects unit to suffer from this audio gap when changing presets. They all do it to varying degrees. It's one of the reasons the Helix has "snapshots" while others have "scenes". Embrace the change... I can't speak for everyone but once I got used to using snapshots I found it much more flexible. They take a little more time to setup (initially) but I find them much faster and easier to maintain. Presets: Loads a pedal board layout and amp(s) choice... Snapshots: These are your tones created within that layout. Stomps: Manual on/off control of a select number of effects within that layout.

Sorry, can't be done.

Those that mix Coke with their Jack are forever banished from the green room :)

Even though I am a very happy LT user... the riggers of a "one man show" will require the additional I/O options of the floor, so your choice makes perfect sense.

Find a wireless that has the range and features you need/want, then do some research on that unit. Be careful if you are using anything with active pickups (including acoustic pre-amps)... as stated above a few times, some wireless systems do not play well with those.

That seems right to me... but since I don't use an HX Effects anymore I can't verify it. The merge block certainly looks right to me. What exactly isn't working right? Are the paths/outputs bleeding into each other? Is it the actual signal or just some effects? If it's just some effects, make sure you are running MONO effects as I believe stereo effects may ignore the pan rules at the merge block since their intent is to use both outputs.

You may want to try a different amp than the jazz chorus. I seem to recall a thread with the same (or similar) problem and the Jazz Chorus seemed to be the worst amp culprit of the batch. (edit to add: I just found the thread referencing the JC120. I know the input pad is not an option for you on the stomp, but you might want to take a look at this thread... https://line6.com/support/topic/41618-guitar-input-pad-does-you-or-doesnt-you/) Just for the sake of being complete I need to ask the obvious. Are you keeping the DRIVE turned down, and CHANNEL VOLUME up on the amp model? It does sound like clipping. Does it still happen if you don't load any amps or effects? It is never my intention to come across as such, I apologize if it did this time.Without proper emoticons on this forum it is difficult to convey intent... the smiley was meant to indicate "friendly banter".

Warning... If you own a first gen Variax (500, 300, 600, 700) then there are a few "gotcha's" to watch out for. Helix to Variax communication is ONE WAY. You cannot chnage the model on the Variax and expect the Helix to store/recall that change accurately. You must set the model on the HELIX. If you want to change models per snapshot (as opposed to pre preset), you may want to set snapshots to "discard". Because of the problem described in #1, leaving it set to "recall" could cause unwanted confusion is you ever change models on the guitar during usage. Setting snapshots to discard always reloads the correct model every time you choose the snapshot. The Helix can only load the factory guitars, and the ones you store in Custom 1 and Custom 2. If you save any modified guitars over their original locations (eg: modify the tele bridge and save it over the original tele bridge) the Helix will not load your modified version, it will only load the original factory version. (the modified version will still be available from the guitar itself) Alternate tunings from the Helix do not work with a 1st gen variax. You must store your alternate tunings in one of the custom locations and recall those guitars when needed. These problems will not apply to a JTV, Standard or Shuriken Variax.

The amps can't be in "parallel" ... they should be in series, the way a real amp would be setup. IMO... just create your patches with an amp block already in place..... just turn the amp block off when you save it. If your DSL goes down, you just need to activate the amp block and your are already good to go.

+1 That is a very important point to make! Further to that... if the tones being created are intended for live use then I would also recommend that you create the tones at a similar volume. All of my tones are setup around 85db - 90db which is really loud in my home studio, but they translate extremely well to the FOH and Monitor systems.

I saw LRB about 10 - 15 years ago.... obviously long before the Helix entered their lives. There sound was impeccable... just like listening to the recordings. That cannot be done with amps blasting off the stage.... stage volume discipline is a must. They had several Marshalls on the stage at that show, but obviously they kept them to a dull roar :) It doesn't surprise me that they are using Helix now... it's a logical transition and I don't doubt that it sounded great!