rd2rk

I STRONGLY SUGGEST THAT YOU READ THE DIEZEL VH4 MANUAL!!! Section 3.2 contains a VERY detailed explanation of the FX Loop functions! Up until now you've been flying paper airplanes. You're trying to move to an F-35! READ THE MANUAL! VH4&VH4S_Manual_05062024.pdf If I understand you correctly, you don't want any effects (such as modulations - phaser, flanger, trem/vib) BEFORE the DZ Preamp. All you want is some time-based effects between the pre and power amp. Sell the Helix, get a couple of TC Electronics Hall of Fame pedals (delay/reverb) and spend the difference on wine, women and song. If you'd prefer to continue to under-utilize your Helix (still better than the above TCE solution), take the SEND 1 from the DZ into the Helix Input (INSTRUMENT LEVEL) and the Helix Left Mono Out (INSTRUMENT LEVEL) to the DZ RETURN A SERIAL. Place your time-based FX blocks in the signal path between the Input and Output. I'm going to assume that you are playing HEAVY METAL music. Maximum GAIN. For the sake of clarity, if you are using both reverb and delay, place them in PARALLEL. When all of your delay repeats are drenched in reverb (as when the FX are in SERIAL) your sound turns to MUD. The simplest way to do this is to split the Helix signal path (RTM) and place the Reverb in PATH A and the Delay in Path B. You can then use the LEVEL and MIX controls in the individual FX blocks and the MIX Block (where the two paths merge back into one) to fine tune the FX to taste. Your wiring remains the same UNLESS you want to mix the un-effected DZ Preamp signal with the effected signal from the Helix. In that case you would use the RETURN A PARALLEL instead of the RETURN A SERIAL and control the MIX from the rear panel FX Loop Parallel VOLUME control. Did I mention that I STRONGLY SUGGEST THAT YOU READ THE DIEZEL VH4 MANUAL!!!? If, at some point, you decide to take full advantage of the capabilities of your Helix, read the Helix manual's section on "Four Cable Method" (4cm). Even METAL music uses things like WAH (Kirk Hammet?), flangers and phasers. Just sayin'.

Been a long time since I've allowed Cakewalk on my system, but from what I recall, I would: Change the DRIVER MODE to ASIO - not sure if related but better than WASAPI re latency. Keep in mind that ODD numbered channels go LEFT, EVEN numbered channels go RIGHT. IOW - USB Channel 1 is the Helix LEFT channel, 2 is RIGHT. OK, I was curious what's new in Bandlab Cakewalk land, the new SONAR version, so I installed the FREE version. Set DRIVER MODE to ASIO. Track Input to Helix 1+2 S. Set up a simple Helix Preset - Amp+Cab, Ping-Pong Delay, Stereo Room Rvb. As you can see below, it's recording in STEREO.

I'm not going to re-type my explanation/refutation of your nonsense assertions. If anybody believes this guy, tag me and I'll link to the LENGTHY discussion that he hopes nobody is skilled enough at SEARCH to find for themselves. The short version - there's a SWITCH. In one position it IS attenuated. In the other position it is NOT attenuated. It's an OPTION. The long version explains the reasoning.

Still trying to sell that BS? You realize that post is 10 months old? Getting desperate for a sale? Got a Katana on CL that won't move? Still rockin' my Catalyst. Still sounds great. Of course, I know how it works... I've explained it to you multiple times, you just don't want to hear it. No matter how many times you say it, you're still WRONG!

On the Helix HW there's a Global setting in PREFERENCES called SNAPSHOT EDITS with the options to RECALL (edits are temporarily SAVED until you switch presets) and DISCARD (edits are NOT saved). It appears that in NATIVE the default is DISCARD and I don't see any way to change it other than to uncheck SNAPSHOT BYPASS, but then changing the SNAPSHOT back to the unmodified version won't restore the block's SAVED state for that SS. Your best bet is to set block ON/OFF status PER SS.

1 - add a GAIN block at the end of the chain set to the amount of boost you want and toggle it ON in that SS. 2 - set the Output Block Level to Snapshot Control and add the desired boost amount in that Snapshot. Remember to set it to the default in the other Snapshots.

Need more info. What EXACTLY are you trying to do? How EXACTLY do you have Command Center configured? How EXACTLY are you wired? Are both devices set to the same MIDI Channel?

That should only work if you're already in the proper Setlist. As long as that works for you, cool, but if it was me I'd want to know what was causing the problem in the first place.

While we're waiting for @datacommando, a couple of things. I've assumed that you are using the Reaper MIDI Editor to hand enter the MIDI events vs using an external controller to RECORD the MIDI events. There may have been some confusion over that. Try this. Place a MIDI Monitor on the Native track to see EXACTLY what is being sent to Native from the MIDI track. Take a screenshot of the MIDI Monitor so we can see exactly what is being sent. While it LOOKS like you have the Event List correctly configured to change to Setlist 3, maybe in this case confirmation might help track down the problem. *If your MIDI Monitor doesn't diisplay in decimal by default, see if there's a switch to make it do that. Translating from HEX is not a big deal, just annoying. EDIT: Factory 1 is by default Setlist 1 - CC#32 Value 0. User1 is by default Setlist 3 - CC#32 Value 2. The screen recording looks like it's starting in Setlist 3, then switching to Setlist 1. In both Setlists it's landing on Preset 10. This is not what your screenshot of the Event list is telling it to do, so something else is going on. Please follow my suggestion re the MIDI Monitor screenshot.

The clip light indicates that the PC's Input circuit is clipping, not the modeler's Output. *** That signal level (the modeler's Output) is what goes to FOH from the XLR. The PC's Volume knob has no effect on the level to FOH, only the PC's speaker output. IOW - the PC's XLR out is the same level as running the XLR direct from the modeler to FOH. LINE level is higher than MIC level, so to get the hottest signal to FOH use LINE from the PC. Some less than quality boards and some less than competent engineers might think that's too hot. It should not be a problem for a modern board and a basically competent engineer, but what can you do? If the SOUND GOD says it's too hot, switch the PC's Output Level to MIC. The INPUT LEVEL setting on the PC is used to compensate the signal from the modeler to the PC's INPUTS (analog only, no effect on the digital input). If it's set at 0db and the modeler's output can light up the clip light, you're good. If the modeler's Output Level at MAX won't light the Clip LED you turn up the INPUT LEVEL to compensate. That won't affect the XLR, but you may need to set the XLR Out level to LINE to get sufficient level to FOH. I can't imagine that a dimed Powercab can't handle stage levels unless your band's drummer is channeling Bonham with a stadium sized kit and the other guitarist is diming a 100w full stack trying to outgun the bass player's SVT fridge. If this is your normal scenario, your Powercab might only be a small part of the problem - you might need a good audiologist! *** Clean signals are less compressed than distorted signals - the dynamic range is wider. The MOMENTARY PEAKS are what triggers the Clip light, but like any noise floor phenomenon, it's easier to HEAR the nasty digital distortion on an already distorted signal. OTOH, if the clean signal is ALWAYS in the clip zone you SHOULD be able to hear it, I sure do! - it really is NASTY! While this doesn't appear on the XLR, it WILL be apparent on the USB. Try cranking it up and recording it in a DAW.

Ummm... We're talking about the Line 6 POWERCAB. Not PERSONAL COMPUTERS. Context is everything.

Yes, I'm aware. As I said, I didn't know that Reaper could run the AU version even on a MAC. I have used the AAX version with ProTools, but I hate ProTools and, TBH, having the HW Helix, I only ever use Native for re-amping. But FWIW - changing SetLists and Presets works fine in ProTools with Native AAX.

TBH, I was wondering how you got Preset Changes to work at all. I didn't even know you could run the AU (MAC) version in Reaper, I thought that only worked in Logic. Since I'm on a PC I tested this on my physical Helix. When I try it in Reaper it doesn't work because Program Changes on VST/VST3 are not supported. @datacommando- you're a MAC dude, can you help this guy?

Your .mov link isn't found and your attachment is .php which is not supported. In the MIDI Event Editor go to ACTIONS and select "Insert bank/program select event. Enter the LSB (that means CC#32) VALUE (SetList#). Enter the Program #. If that doesn't work attach a screenshot of the Reaper MIDI Event Editor. Below toggles between two setlists and presets.

CC#0/32 are the MIDI specifiers for a BANK(SetList in Helix speak) change. A VALUE is required to specify the BANK/SetList#. Some devices use CC#0, some use CC#32, some respond to either. CC#32 tells Helix that the VALUE provided is the BANK/SetList#. You then follow with a PC# to specify the Preset in the specified BANK/SetList. CC#32 Value 0 = SetList 1 CC#32 Value 5 = SetList 6

What did they say when you opened a Support Ticket? ??????? They haven't stopped, there just hasn't been one lately. They're a little busy with Stadium, but there WILL be updates. https://www.thegearpage.net/board/index.php?threads/helix-3-9-wishlist.2714547/post-42223469 Take a positive view. Open a Support Ticket. Even if it's out of warranty, they've been known to help anyway. For all you know it could be a known issue with a simple solution. TIP - be positive when asking for help. Nobody likes a negative Nancy.

The MODE switch is always available. In PRESET MODE you can have ALL PRESETS, ALL SNAPSHOTS, any combination of PRESETS, SNAPSHOTS and/or STOMPS 4 each TOP or BOTTOM. The UP/DOWN switches can be BANKS, PRESETS or SNAPSHOTS. You can swap the UP/DOWN functions to DOWN/UP but you can't disable them in PRESET MODE. In STOMP MODE, if you have the full-fat Helix (not LT), then you can set it so that you have 10 STOMPS and no UP/DOWN switches. Using Command Center you can set switches (in STOMP MODE) to switch SNAPSHOTS, MOMENTARILY switch Snapshots (PRESS/RELEASE), or use one FS to go to any Snapshot from any other Snapshot ("stacking"). Example - FS1 in SS1 goes to SS3, in SS3 FS1 goes to SS8, in SS8 FS1 goes to SS6 etc. Using the PRESS/HOLD setting you can go to either of two Snapshots from one switch. You can also switch PRESETS, control external MIDI devices, swap channels on an amp, control a DAW, lots of other stuff.

I'm not sure what you mean. To create a MOMENTARY Snapshot you need to use Press/Release, but the RELEASE to get back to the original SS needs to be on the Target SS: SS1 FS1 Press>SS2 SS2 FS1 Release>SS1 You cannot, in another SS, go to SS2 and have the RELEASE of SS2 set to go back to THAT SS because it is already set to go back to SS1: SS3 FS1 Press>SS2 SS2 FS1 Release>SS3 Whereas: SS3 FS1 Press>SS4 SS4 FS1 Release>SS3 will work fine. If this does not describe your issue, attach an example preset with specifics re what you are trying to accomplish.

Terminology. The TRANSMITTER is the dongle that plugs into your guitar. The RECEIVER is the ridiculously huge box that plugs into your Helix input. The RECEIVER doesn't need to be in the middle of your workspace, it can be placed anywhere within the 20' reach of a standard guitar cable. Beyond 20' could be inviting signal noise but really, there's no out-of-the-way-line-of-sight place in your office where the RECEIVER can be placed? Also, if the RECEIVER+cable can be conveniently located using a rear input, just run the cable around to the front of the unit (using the right-angle adapter if it sticks out too far OR use a RETURN as I previously suggested. As to WHY the AUX input doesn't work with the Input Block set to MULTI, I see no explanation. Attach an example preset and I'll test it for "USER ERROR" but really, even if we get the AUX IN working you won't be happy with the result because, as mentioned, it will NOT give the same signal level as either the GUITAR IN or a RETURN. Another possibility - you didn't specify WHICH NUX wireless you have, but if it's 5.8ghz it will probably work better than the G10 re dropouts. If it's the dual-dongle version just connect the RECEIVER directly to the GUITAR IN or to a short patch cable connected to the GUITAR IN and set it on top (or velcro it to the side) of your rack. EZ PZ problem solved! In my "office" (my dining room table) I have a similar space problem. I have an HX Stomp there and I just plug the RECEIVER dongle directly into the GUITAR IN. When I was using a G10 I used the patch cable method with the RECEIVER on top of the monitor speaker.

I'm not sure that I understand. MULTI includes the AUX Input. You shouldn't need to set the Presets' input to AUX to use the AUX Input. If you DO select AUX, that disables all other inputs for that Path. The AUX Input is intended for use with active pickups, and your signal from the G10 will be much weaker than when you use the Guitar Input. It SHOULD, however, still work. I'm currently using a no-name 5.8ghz wireless because the non-replaceable batteries died on BOTH of my G10 units and I'm not spending $220 for a new pair of transmitters that are eventually destined for the dump with the ORIGINAL pair that in any case don't work as well (dropouts) as the PAIR of dongle style units (no big bulky base unit) that I got on Amazon for $60 (for the PAIR - $30 each and NO dropouts!). They work fine in the AUX Input and IIRC, the G10 worked fine there too (when they worked). IDK what sort of space constraints necessitate using the AUX input, but why not just use the right-angle adapter that comes with the G10 to go into the Guitar Input? EDIT: If you MUST use a rear input, use one of the RETURNS and set the INPUT Block to that RETURN. The RETURNS are 1M and will not attenuate the signal like AUX does.

The controller doesn't need to be "in sync" for Snapshot changes. The programmed switch will always send what it's programmed to send. If you're depending on an LED on the controller to tell you what Snapshot you're in, then I suppose that would matter, but most controllers are one-way. The MIDI Input is there to allow "chaining" MIDI devices - received messages are passed thru to the OUT/THRU port. It's possible that SOME controllers MIGHT be capable of being controlled by other devices, but the one I suggested does not have that ability. You would need to read the manual for any device that you are considering to verify that it has that feature. I had a quick look at a couple of the Morningstar manuals - MC6 MKII and MC6 PRO - and neither of those allow what you want, MIDI IN is only for passing messages to MIDI OUT/THRU.

I've no clue why you'd want to do that. New to MIDI? The main reason to use the "Snapshot CC Send" would be to record a MIDI track to automate a show. When you use a MIDI Controller for LIVE performance you just setup the controller to send the CC#69+Value (SS# - 0-3). Unless you switch banks on the controller, those switches will always send the proper message. Here's the MIDI controller I use. Cheap, powerful, easy to set up (mobile app), rugged, dependable, and widely available: Amazon.com: HOTONE MIDI Foot Controller Pedal Bluetooth Ampero Control 4 Button : Musical Instruments You didn't say WHERE in Europe, so...

The manual for your XYZ amp specifies that the FX Loop is PQR level. MOST modern amps' FX Loops are made for use with stompboxes/consumer grade devices. If the PQR level is -10db then that's what you've got. SOME amps' FX Loops were once upon a time made for studio/rack FX. If the PQR level is +4db, there ya go. If the amp has a -10db/+4db switch then set it appropriately for your gear.

Yes, that's what I described using the Snapshot Edits setting.

In Global Settings>Preferences>Snapshot Edits can be set to RECALL or DISCARD. RECALL retains the Snapshot changes until you switch Presets. DISCARD reloads the SAVED Snapshot configuration when you switch Snapshots. In either case, the changes are only permanent if you SAVE the Preset.