rd2rk

It's true that you should use the preamp models with a proper guitar amp for a true FX Loop. You should use the full Helix amps for a straight Helix signal chain. Part of the reason for this is that the impedance curve for the cab is baked into the power amp portion, and that affects both the tone and "feel". That impedance curve is based on the cab that's modeled in the amp+cab option. Helix doesn't separate the preamp from the power amp simulation, so you can't get a true FX Loop in the traditional sense. The closest you can get is to use a full amp (not amp+cab), then put your time based FX between the amp and a separate cab. The impedance curve remains optimum (for the modeled cab) even with the cab separated by those FX. Not a perfect solution, but it is what it is, and any impedance curve is better than none. We're all hoping for separate power amps in a future update, as well as selectable impedance curves to accommodate using other cabs/IRs, the way that Fractal does it. NOTE 1: the above-mentioned impedance curve models the physical interaction between the power amp and speaker. There're in depth discussions about it over on TGP. NOTE 2: Once upon a time, amps didn't have FX Loops, and ALL FX, when playing live, went into the front of the amp. If you use the amp+cab model, it's like when a recording engineer adds FX in post. It sounds different, but try it both ways, you might like it better one way or the other. Remember that in modeling there's no rules except "If it SOUNDS good, it IS good!".

Why, just the other night I was playing my acoustic guitar and A STRING BROKE!!! WHAT UTTERLY ABYSMAL TRASH!!! This problem with strings has been known for many years. You'd think that between D'Addario and Ernie Ball they'd fix this in a future update!

Here's what you do: Perform a Factory reset. After you've completed the reset, if it fails again, then contact support (maybe you got a bad one, it happens). I've had mine for going on 3 yrs. What you describe has happened 2 or 3 times, but each time a simple reboot solved the problem. It's a computer. Sometimes it glitches. If you think that other similar products never glitch, you're living in a fantasy. TAKE A DEEP BREATH! Those of us who've been around long enough remember that gig where we heard a POP, turned around and saw the magic smoke escaping from our tube amps. Sometimes accompanied by flames! THAT SUCKED! No CTRL-ALT-DEL for that!

:-) Everybody posting at the same time, saying the same thing! :-)

No. Re-read my post. Why would you want to deal with latency while recording? Why would you want to cause that in order to use Native, when you can have the exact same preset on Helix and record with zero latency? The only real reason to use Native in your rig is for re-amping a DI (USB 7) track. Also, keep in mind that if you're recording a track, any track, processed or DI, and you have the Track Monitor button in Logic ON, that will be playing back through the Helix and combining with your direct (zero latency) output, slightly delayed. That would definitely make it sound weird.

Why would you want to use a preset on a physical Helix at the same time as a preset in Native? If the only reason is so you can use the same footswitches to control both, you're going about it wrong. First, if you're listening to both sounds at once, you'll get a delay between them caused by latency on the Native end. Second, your Helix switches aren't going to control the corresponding switches in Native unless you assign them MIDI messages in Command Center and set the switches in Native to respond to those messages. Solution: Create a Blank Preset on your Helix. In Command Center assign MIDI commands to the switches/exp pedals. In Native, assign those MIDI commands to the Blocks you wish to control. This way, one Helix Preset is used to control any number of Native Presets. Yes, each Native Preset will need to be assigned MIDI separately. Yes, there will be latency. Better Solution: Create your presets on your Helix so that you can monitor your playing DIRECT (no latency). Record two tracks - one processed (from USB 1/2) and one UNprocessed (USB 7). You can then use the UNprocessed track to REAMP the take through whatever Native preset you want. If, on your Helix, you assign MIDI to the switches/exp pedals, then assign that same MIDI to the blocks in the Native preset that you're using for reamping and record the MIDI from Helix along with the processed (USB 1/2) and UNprocessed (USB 7) audio from the Helix (3 tracks, 2 audio 1 MIDI), you can then route the MIDI track along with the UNprocessed (USB 7) track into Native for an exact copy of your performance, with a totally different sound, which you can use combined with or as a replacement for the original PROCESSED track. IDK about Logic (I'm a PC guy), but doing this in Reaper is really simple.

Attached is an example of how I do it. The FX Loop and Helix Amp are next to each other, assigned to FS5, saved with one ON one OFF. This toggles between the physical amp (Egnater) and the Helix amp. I use the full amp model, but you can use a preamp model if you prefer. FX before that are before both amps, FX after are after both amps. FS11 is a clean boost for leads. Trainwreck.hlx

The terms GAIN and VOLUME are often used interchangeably, but they are not always the same. Anytime you change the DISTORTION (overdrive/gain) or VOLUME (OUTPUT LEVEL) of anything in a signal chain it affects everything downstream. If you lower the VOLUME at the FX Loop SEND, you lower the LEVEL hitting the DRIVE at the ODR1. That lowers BOTH the ODR1 DRIVE AND LEVEL (VOLUME). If you raise the LEVEL on the ODR1, then lower it with the FX Loop RETURN level, you're getting the same DRIVE, just at a lower VOLUME. If you then add a GAIN (fixed VOLUME - what L6 calls VOLUME is actually a Volume Pedal) Block after the FX Loop RETURN, you're simply restoring the VOLUME that you lowered at the FX Loop RETURN. That accomplishes nothing. Leave your FX Loop SEND/RETURN Levels at 0db. Set your ODR1 LEVEL (don't forget SPECTRUM!) at the optimum setting for the best results at the next effect in the signal chain, then adjust the following FX as appropriate. The OUTPUT LEVEL of each effect affects the necessary settings of the following effect for optimum "sound quality". You may need to use EQ Blocks, as "sound quality" is as often a function of EQ as Input Level. The whole signal chain is EXTREMELY interactive. Search this forum and Google for "Gain Staging".

The answer to all of these questions is "Try it!" If it SOUNDS good, it IS good.

Yep, he said that. I saw it. DI said it. He said "More Reverbs coming..."! We heard it there first (as usual)!

Helix Floor Exp Pedal works fine. Feels good. I'm not gigging it, but I've used it most every day since 2016. If I used my HXS out of the house, I'd get a Mission in a heartbeat (FCB1010/UNO2 works fine for home - has lots of buttons, too!). FWIW - for me, the choice of Floor or Rack comes down to this - are you playing at the kind of venues where you'd fear for the well-being of your $1500 Floor, vs your $450 Floor Control ?

Rock On!

Yes, the XLR-1/4" Inputs are processed. You'll want to use the FLAT STEREO preset. The "spread" sounds great for guitar, not so great for HiFi. It is, after all, just aural trickery. IMHO, overall, it sounds like A$$. To be fair, to test I just took Spotify from my PC soundcard, no EQ. Not the best audio to start with. YMMV. EDIT: After sitting here listening for a while, my ears have kind of adapted to it. If your wife is not much of an audiophile, you just might be able to trick her... ;-)

Attached example preset. In Global Settings>Ins/Outs set the BIG KNOB (Volume Knob) to anything other than XLR. That will provide a steady UNITY (0db) signal to FOH. You probably want XLR Outputs set to MIC, but if the signal isn't hot enough change it to LINE. You probably want SEND/RETURN 1 and 2 set to LINE. If it's too hot for the SDPS, set them to INST. You'll use physical SENDs 1/2 for stereo to the SDPS. The MIX Block (after the amps) is panned HARD L/R. That puts your amps on separate paths. The Reverb/Delay are stereo, but in parallel because I don't like Reverb on every delay repeat, it gets muddy. After the Stereo Send 1/2 Block (signal to SDPS) there's a Dual Cab, which maintains your Stereo signal to FOH. There's no Stereo IR Block, so if you want to use IRs you'll need to put the Reverb/Delay in series, split the path after the SEND 1/2 Block, and use 2 IR Blocks with the MIX Block panned HARD L/R. EDIT: All amp and fx choices are more or less random, with stock settings. It probably sounds like a$$. wphillips.hlx

Try the RETURN Level (NOT the SEND Level) of the FX Loop.

Edited previous post.

Connecting L6 Link doesn't automatically disable S/PDIF - from the manual Page 25: Digital S/PDIF, AES/EBU, L6 LINK Choose the Digital Output type (S/PDIF or AES/EBU), Digital Output Level, and the desired Sample Rate in the "Global Settings > Ins/Outs". The Global Ins/Outs settings are not necessary for L6 LINK—also see "L6 LINK - Powercab Plus and DT 25/50 Amp Options" on page 25. That's confusing. If the Global>Ins/Outs>Digital Output is set to S/PDIF, then connecting L6 Link disables the HARDWARE S/PDIF Out, but as others have said, Digital Out Level only applies to the signal over USB to a DAW. You didn't specify your other reasons for wanting to control the Digital Out Level, but if you want to control the Powercab's audible Output Level WITHOUT affecting it's XLR and 1/4" outputs, connect a MIDI cable and assign whatever controller you want to use to MIDI CC#7. This will give you the equivalent of physically turning the Powercab's VOLUME knob, which is independent of BOTH the Helix and Powercab's XLR and 1/4" Outs. It ONLY affects the Powercab's audible output volume. EDIT: Your last post hit before I hit send. To control the level of the Powercab's XLR Outs, use the LEVEL setting in Powercab, and compensate the Powercab's audible Level using the VOLUME KNOB.

I dragged my guitar amp (Egnater) from the studio (the living room) to the office (dining room) where my HXS lives. I set up the Egnater in 4cm using FX Loop L (tip/black), and sent FX Send R (ring/red) to my FRFR112. Everything works. The Master Vol on the Egnater does not affect the FRFR112. The Path B FX do not go to the Egnater. I turned OFF the Egnater. I'm still getting the Path B FX on the FRFR112. This is using the preset that I just sent. The only possibility I can figure is a problem with either the Send Out or the insert (TRS) cable that you're using. That sounds unlikely, but it's all I can think of. IDK what else I can do. I have two completely separate signal chains. It sounds great, except that the two different Delays you're using are horribly out of sync. More troubleshooting on your end. Sorry I couldn't be more help.

Try this one: 4CM_Clean Start2.hlx

My original plan was to cause an International Incident. I seem to have succeeded. My work is done. I'm outta here!

So, you only intended to insult non-native U.S. Americans (that's 97.9%)? That makes it OK?!? Allegedly implies that there's a question. There's no question. I was insulted. And now you insult the other 2.1% by not including them as Americans. While some North American Indigenous People (the proper [PC] term) might wish they weren't, many are proud to be U.S Citizens, despite what the fourth estate might have you believe. The context of your insult is irrelevant, but how, pray tell, do you connect multiple devices when they're NOT in one location? While I have had great difficulty following your many adventures in this digital wonderland (that's humor, we all live in the digital wonderland), I got the definite impression that you had them all connected, one way or another, in some combination, at one time or another. It's possible that you got a defective HXFX. All I can say is that none of the problems you're having with the device are problems that I have been able to duplicate on my HXS, which, in terms of DSP and MIDI, is the same device. You should return it. BUT, if you have the same problems with the replacement, you need to consider user error as a factor. You seem to be confusing the NOUN project with the VERB "to project". No matter. I wish you the best of luck doing whatever it is you want to do. Seriously. As for Richie Castellano, I'm sure he'll be happy to help. Just ask him. Let us know what he says.

But you did, kind of: " i admit to have forgotten to mention that it is not the only cause why i use two Helix-units parallely, the other cause is that i can create this way far more sophisticated presets." It was entirely logical to assume from your further posts that your ultimate intent was to incorporate all four devices. When I joked about "The World's Largest Digital Pedalboard" you attempted to insult me by your (VERY insulting) crack about Americans, not even considering that my equipment might be in more than one location. Bottom line - I tried VERY hard to help you. The language barrier has no doubt been a hindrance to both of us. It has, perhaps, prevented you from seeing the humor that I've attempted to inject into what has, at times, been a contentious dialog. Anyway, I think it would be best if we all took a deep breath and let it go. I SERIOUSLY wish you the best of Luck with your project.

Insert eyes rolling emoji....

THANK YOU!

So, by "Mute" you mean that you BYPASS the S/R Blocks. Try what I did. Route the signals for both S/R Loops AROUND the FX. That is, left send to left return, right to right, no FX in either loop. If, as was my experience, the audio did not cut out regardless of the BYPASS state of the S/R Blocks, then the problem must be with the FX configuration within the Loops.