rd2rk

Investing in a better forum SW for it's unpaid support staff would be a terrible drain on Yamaha's profit margin.

Take the L/MONO OUT from the HXS to the HXFX Input. Match the LEVEL settings in each device's Global Settings. On the HXFX, after the effects, create a split so that each path has a separate Output (see page 36-37 of the manual - Rev C). Take one of the HXFX Output(s) to the power amp, probably Line Level. Put an IR Block on the Path that you'll use for FOH.

Concerning the "Amber" LED level. You want your loudest snapshot - likely the LEAD snapshots - to be hitting amber. The other snapshots will necessarily NOT hit amber, otherwise they'll be as loud as your LEAD snapshots. Judge by ear how much lower they should be. Remember that amber is the indicator to hit to prevent the loudest sounds from overdriving the Powercab Input. It's not an absolute, lower than which everything sounds like crap.

I used a York Audio Deluxe 112 (Mix 01 - 57/121) and it sounded just fine (PRS S2 Custom 24 with VB/HFS pickups;2021 Squier Affinity Strat). I didn't hear anything that shouldn't be there. If anything, what I hear is a preset that sounds strident in my living room, but will probably cut through nicely in the mix/live. FWIW and totally unrelated (maybe) to your issue - I noticed that you're using the MASTER to level your snapshots. The Deluxe doesn't have a MASTER. The Helix default of 10 is intended to model the Deluxe as it is ITRW. I'm not sure what effect reducing the MASTER has, I've just always used the Channel Volume for leveling, as L6 intended. Just sayin'. You might also try running the Reverb and Delay in parallel. I find that running them in series reduces clarity, as there's reverb on every delay repeat. Matter of taste really, YMMV.

No. You're just assigning a FS in STOMP mode to toggle a Snapshot, it doesn't switch modes.

In CommandCenter, just set up a Stomp to go to that snapshot. Set it so that PRESS selects the Snapshot and HOLD returns you to the PREV Snapshot.

Also, while it might not be noticeable (maybe desirable?) with that type of effect, the FX Loop itself adds 2ms of latency. If the effect itself is digital, that adds another 2ms. You can also control the mix of the two reverbs at the MIX Block.

If you create an "aggregate" device which incorporates both ASIO drivers, you should be able to take the input from Helix and route the output to the Scarlett. There are drawbacks which I can't address because I'm a PC guy, maybe some of the MAC folks will address that. My question would be "WHY?". The 8i6 (IIRC) has SPDIF. If you take the signal from the Helix SPDIF it eliminates that AD/DA conversion. If it's solely to use the Helix ability to output a DI (unprocessed) track for re-amping, you can incorporate a SEND Block at the beginning of the FX chain and wire that to the Scarlett analog inputs. What do you hope to accomplish?

Major impediments to learning guitar with emphasis on articulation: 1 - Failure to take lessons from a live human (vs internet), preferably one who performs in a genre where articulation is all. 2 - Failure to start on an acoustic guitar. Focus goes to the electric aspect vs manual skills. 3 - Compressors and high gain amps. 4 - FX in general. 5 - GAS, FOMO, peer pressure. I started playing at 10yo (I should be a LOT better than I am!). Starting on a gigantic Harmony arch-top f-hole acoustic, I took lessons at an old-time neighborhood music store that employed teachers who performed in multiple genres (mostly jazz & classical). Among other skills, my teacher insisted that I learn proper hand placement, alternate picking, muting with ALL parts of BOTH hands (not just palm muting), playing scales and exercises using all 4 left hand fingers AND, when necessary, thumb over. I didn't know I was learning CAGED, but cowboy chords were immediately followed by "orchestral" (bar) chords. He also taught me how to get different sounds by picking at different places on the string, and introduced me to the concept of string bending. This was 1960, so r'n'r was still considered "Devil Noises", but my teacher was a musical liberal. After Mel Bay Book 1 he showed me the "Guitar Boogie Shuffle" (I-IV-V) and "Rebel Rouser" (Duane Eddy - employed string bending). Before we got to proper finger picking I joined a band, playing Bass. I found a Bass teacher (music schools didn't have ELECTRIC Bass yet), who INSISTED that I NOT use a pick! The only PROPER way to play Bass is with fingers! UNLESS - you're after that "special" percussive effect. Another musical liberal. Nowadays "whatever works" is the rule, and galloping HM basslines are much easier with a pick. My point is, while there are certainly great self-taught guitarists, for most kids, a proper teacher is essential. the trick is finding one who doesn't kill the joy of music. It also helps if your parents can't afford (or refuse) to buy you all that "electric crap". If you really want it, you'll get a job and develop a work ethic, but that's a rant for another day!

If you've configured the preset as I described with HP set to monitor XLR you should be hearing what you're asking for. Attach your preset and I'll test it to see where you're going wrong.

You get nothing for nothing...tell me, who can you trust?

A lot of these people are going to sell their Helix and get a HR MX5 or NUX or one of the other simplified modelers and be lots better off than with the stuff we used at the beginning of the modeler era. Good on them! Me being optimistic: Some of these greatly inexperienced people will keep their Helixes and AXEIII's and, thinking outside the box created by traditional FX usage (or completely by accident), are going to create wondrous tapestries of never before heard sounds! What would it be like to have been a fly on the wall when Adrian Belew plugged in his first FX box?

DI has stated that the next gen of L6 modelers has been on the drawing boards for a while, but there's still room for new features in the current Helix, so no rush. AFAIK, the Helix line are still the best selling modelers, so I don't foresee them going out of business anytime soon. In the fullness of time, the next gen will arrive, and it will be AWESOME!

At this point, the contest has become "Our modeler is so real that it's realer than real!" The THIS vs THAT vids on YT have been showing for a while that, IN THE MIX, even the "Golden Ears" can't reliably tell the difference between a Helix and an AXEIII.

HELIX - The Perpetual Uselessness Machine!

As you know (you've been here a while), nobody from L6 hangs around on this forum. Anything you hear here would be unfounded speculation (good band name!). You might not be aware, but L6 people DO hang out on the D&M Forum over on TGP. Digital Igloo (Eric Klein) has commented on this several times, every time someone posts pretty much exactly what you did, which is often. You might want to go over there and check it out if you're really interested.

Insert popcorn emoji.... :-) OK, this is boring, headed back to the 550 page QC joke-fest over on TGP for a good laugh.

Path 2A no Cab Sim to Digital. Path 2B with Cab Sim to XLR. Before the split, place a send and use it to connect to your amp/cab instead of the main 1/4" out. If HP are set to monitor XLR, everything before the split will be in your HP. The same signal will be going to 2A as to 2B. I would think that's what you want. Am I misunderstanding the problem?

Nope, you've got it right. There's no advantage to using the HW for re-amping. That method was only really of use before Native was released. EDIT: or if you find yourself in a situation where the computer you're using does not have Native.

If you're using TS cables and FX Loop L, then the SEND from your amp should be connected to RETURN L/MONO. 100% MIX is correct, 0.0db SEND/0.0db RETURN (defaults). Your amp has a footswitch that controls the BOOST and FX LOOP. The footswitch must be connected to activate the FX LOOP. From the manual: Note: The Origin effects loop has been designed as a true bypass circuit so your signal path is not affected when the loop is not in use. To activate the effects loop you must plug your effects into the send and return outputs and insert the supplied footswitch (PEDL-90016). Using the footswitch you can then turn the effects loop on and off.

There's a small amount of noise in the FX Loops. If you're using external FX that add GAIN, they'll amplify that noise. Also, in 4cm, some amps' FX Loops add their own noise. Sometimes something like this can help: AmazonSmile: Compact Mini Hum Eliminator Box - 2 Channel Passive Ground Loop Isolator, Noise Filter, AC Buzz Destroyer, Hum Killer w/ 2 1/4-Inch TRS Input and Output for 2 Mono / 1 Stereo Signal - Pyle PHE300 : Musical Instruments AmazonSmile: Compact Mini Hum Eliminator Box - 2 Channel Passive Ground Loop Isolator, Noise Filter, AC Buzz Destroyer, Hum Killer w/ 1/4" TRS Phone, XLR Input/Output, Uses 1:1 Isolation Transformer - Pyle PHE400 : Musical Instruments

That thing has more switches than the space shuttle! I had a look at the manual. I THINK you want to take an INSERT cable (TRS>dual mono) from the DLX SEND to the HXS RETURNs. A simple Stereo FX Loop Block should be all you need in the HXS signal path. Then use the "Full Parallel Amps" configuration. The HXS Outs to DLX RETURNS should be good. HOWEVER - If I'm reading the schematic correctly, the DLX RETURNS enter the path just before the REVERB and POWER/CAB sections, and the tap for the 1/4" Outs (where the CAB BYPASS switch is located) is between the REVERB and POWER/CAB sections. The XLRs are fed directly from the POWER/CAB section. You CAN'T defeat the Cab on the XLR Outs, and the CAB BYPASS switch on the feed to the 1/4" Outs also bypasses the POWER section! IOW - that configuration (1/4" Outs) is intended for connecting the DLX to the FX LOOP RETURN on a guitar/power amp and physical cab (DLX PRE ONLY, with POWER/CAB BYPASSED), or a 1/4" Line Input on a board (POWER section and CAB ENABLED - same as the XLRs). It doesn't appear to me that you can use the complete DLX PRE/FXLOOP/POWER AMP EMULATION without the CAB EMULATION. The only workaround I can see would be to use something like a MOOER RADAR, which has both power amp emulations and IRs. Sort of defeats the whole purpose of the DLX. This gadget is one reason I still have a tube amp! :-)

There's not enough info here for me to be certain of what you're doing, but IF I understand the problem: Assuming that the the Returns are configured as RETURN (Global Settings>Ins/Outs>Return Type=RETURN), have you placed a Stereo Return L/R Block in the signal chain?

Using AXE I/O as AI: This is the way I'd go. The features of the AXE I/O sound nice. It probably has better latency than Helix. Your Z-tone feature won't work properly unless your guitar is connected directly to the AXE I/O. You don't need to run your guitar into Helix if you just want to use it for MIDI. Just take the MIDI OUT DIN from Helix to the AXEI/O MIDI IN. Take the Line Outs from the AXE I/O to the Katana RETURN jacks. When you want to use Helix without Amplitube just connect either the L/MONO 1/4" or XLR to the AXE I/O Line IN and set the dial to DIRECT. Using Helix as MIDI controller ONLY: Wired as above. Configure Amplitube to use AXE I/O as MIDI controller. Helix BASE channel is 1 by default. Check to be sure. The attached example preset was created a long time ago, but works fine with AT5. WARNING! If you assign a Helix FS to be a Toggling CC, when you load the Helix preset for the first time it automatically sends all of the Toggling CC assignments. This would be a nice feature, IF you could turn it OFF. Since you can't turn it off, what happens is that if they're all set to send ON, all the assigned FX in the AT preset are turned ON and vice versa. It can be used to advantage if you set each FS to send the message you want. If an effect needs to be ON, set that FS to send ON. That way, the FS is ready to send OFF on first press. Otherwise, everything is ON or OFF, you'll need to manually reset the FX in the AT preset (like using a real pedalboard), or it can take two presses to get the result you want. If you copy it (after your mods) to all of the presets in a Helix setlist, you can customize each preset to work with the specific AT5 Preset so that you get faux 2-way communication. FWIW - the FCB1010 with the UNO chip allows all of this to be configured per preset. The messages are sent on preset load ONLY if you want that. Using the UNO chip has certain limitations (5 Stomps, 95 presets). Using the UNO2 Chip removes those limitations, but requires actual programming. Like, real code. It's not hard to do, and I've already created sample code for Amplitube, but it's not for everybody. Just sayin'. The Top Row is configured to control Reaper. You could change that to control the AT5 Looper/Recorder if you want, or reassign the Footswitches to CC#s as on the lower row to control more AT5 stuff. EXP1 can be used for WAH, and you could always assign MIDI to Exp2 to use that for something else. Be aware that the normal AT ON/OFF values (127/0, reverse of standard in most other amp sims) are reversed for the WAH (0/127) Toe Switch (who knows what IK was thinking), and if the WAH has a MODE switch it won't work because it's a 3 position switch. NOTE: AT5 has the WORST MIDI implementation of any version to date. They removed the ability to assign the BYPASS of the PEDALBOARD FX Globally, and the "OLD" Post FX no longer HAVE a bypass (that I can find). MIDI AT4.hlx

There's a problem with the way your PC is configured. I connected my Helix (USB implementation is no different than HXS) to my USB C hub which is connected to my laptop. No problems, works exactly like when connected directly to the laptop USB. The only difference is that my USB C hub is not part of a monitor. Check your drivers and Windows display and audio settings. NOTE: L6 advises against using a Hub, but that is only an issue when performing updates. Remember to connect your HXS directly to a mainboard USB port when performing updates.