rd2rk

The Fractal AXEFX series have a feature like that, a simplified view that hides the DEEP EDITING stuff. What you're asking for is a NEW FEATURE, and there's nobody here from L6 to hear you. Go here: https://line6.ideascale.com/a/login Do a search before posting, and vote for all the similar suggestions made by users who didn't search before posting.

On the Kemper, deep editing and IRs are irrelevant, as all of that is baked into the profile. If you don't like the profile, and the simple tone stack doesn't do it for you, you look for a different profile. Whereas on Helix or AXE you search for the best Preset for a certain sound, tweak it to perfection, then audition thousands of IRs for the perfect final sound. I prefer Helix because it's more like real world stuff, but I've never had an opportunity to try a Kemper. Helix and AXE use different methods, but MANY A/B comparisons have demonstrated that they can be made to sound virtually identical. The UIs are very different, but if DEEP EDITING is your thing, AXE is the way to go. I use and like Helix, but I WANT an FM9 too, just because. In Europe, AFAIK (I'm in the U.S.), Thomann prices are what it is. For AXE capabilities, ask at the Fractal Forum: Fractal Audio Systems Forum This is the HELIX forum. L6 provides FREE updates and upgrades to the Helix/HX/PODGO models, and will do so until AT LEAST the products reach EOL. Your real question is "Which is best for me?". There's only one way to KNOW, and that's to buy and try. Or base your decision on internet opinions. For much more fun and informative reading and comments from real L6, Fractal and Kemper designers/employees (they don't hang out here), go to the Digital and Modeling Forum on The Gear Page.

I think he's asking for a new feature that would allow, a completely different selection of blocks to be assigned to the footswitches per snapshot. @rignum - there's no one here from L6 to hear your request. Go here: https://line6.ideascale.com/a/login Please search before posting a new request, and vote for all the similar requests posted by users who didn't search first :-).

On the Bypassed Effect/Block, set Snapshot Bypass to OFF (ACTION, page 2, knob 3 on the HXS, in HX Edit right click the Block and uncheck Snapshot Bypass).

To what cruisinon2 said, I would only add: Keep the speaker vertical, preferably on a SHORT stand - around chest (not ear) level. This prevents bass coupling and allows for the widest hi-freq dispersion. Use whatever "Voicing" sounds best, with the speaker EQs set FLAT. Adjust as necessary for the room (if not using Global EQ for that, or in conjunction, as required). This is not a big deal, but unless I was running a separate out to FOH from Helix, I'd use an XLR cable - sturdier connection, balanced, better noise rejection. Not a big deal unless you're getting a lot of noise on a specific stage. You can always use the 1/4" to a DI to FOH (most sound guys will have spare DIs if you don't have one). Again, not a big deal, just something to think about.

Rock On!

If you're happy with your current setup, sure. If not, try the second solution. MIDI is not a mystery to me, and I'm happy to help. How are you doing your drones now?

There was an issue with not loading a specific snapshot after a PC message, so they added a "wait" time. That could be what caused the problem for you.

I just realized that I solved all but your last requirement - playing over a steady synth sound. The only way I know of to do this is to use a FS to send a MIDI ON note message (latching) to a real synth. It sends OFF on second press. The SY1 doesn't have MIDI. So, unless somebody has a better idea, either get a MIDI Synth Module to add to your rig, or use a laptop with a Standalone Synth or a DAW/VST HOST with VST Synth plugin. One advantage of this setup is that you can create more sophisticated loops than the Helix Looper allows, and do all sorts of crazy stuff. I'm not really a synth guy, but in the course of working on this for you I had all sorts of fun creating loops with the guitar/synth, sending drones to a second Synth plugin with footswitch generated Notes, then adding pads on a third, all from Helix! Crazy what this thing can do! I need to play some simple blues now, before I start having acid flashbacks!

I have two solutions for you. The simplest one first: Guitar>LT Input>A/B Split>PATH A>Guitar FX>>>>>>>>>>>>>>>>>Mix Block>Output PATH B>LT FX Loop1 Block>Synth FX>^ Use the IN/OUT jacks on the SY1 (not the SY1 FX Loop) with the LT FX Loop set to INSTRUMENT. Path A will be carrying the guitar signal with FX, Path B will be carrying the SY1 signal with FX. In Path B, you can put the FX Loop anywhere - first, last or in between for FX before and after the SY1. The mixing happens at the Mix Block. The SY1 FX Loop is unnecessary for this configuration, unless you have a third FX Processor that you want for the SY1 signal only. The better way to do this would be to dedicate each main path (1 and 2) to guitar (Path 1) and SY1 (Path 2). In this configuration, you'd use an external A/B Box, take A to the LT Guitar Input, and B to an LT Return (Return 1 in the attached example) . The Input Block on Path 2 would be the Return (1) from the A/B Box. The SY1 is configured as above, only using FX Loop 2 in Path 2. You'd set the levels for the mix separately at each Output Block. I've attached an example preset to illustrate what I'm talking about. I have the "mix" assigned to Exp Pedal 2. Toe Down is mostly Guitar, heel down is mostly synth. The actual max/min synth level sent to your LT is set on the SY1. Just the mix is adjusted with Exp2. Advantages: Stereo FX for both instruments More DSP for both Instruments Ability to use parallel processing of FX for both Instruments - delay combined with reverb sounds MUCH better this way IMO Disadvantages: Added external A/B Box - you've already got the SY1, a small A/B box shouldn't be a problem A/B boxes have 1M input impedance, which defeats the automatic impedance function of the guitar input. Not an issue unless you MUST use those few FX that require loading the guitar pickups at a lower impedance for "classic" tone. Can be worked around by adding an eq with a hi-cut before the "classic" effect. FYI - I don't have an SY1. I used Reaper with ReaTune set to send MIDI to Dimension Pro, and put Reaper (using a Scarlett AI) in the FX Loop 2 of my Helix Floor. Essentially the same configuration as what I described for you to use with the attached preset, just trickier in that I created a faux SY1. LWYLIE.hlx

What will you use to trigger the SY1?

It's called a MIDI feedback loop. Two devices sending each other messages that trigger return messages that trigger return messages.....eventually there's a buffer overrun or some such geeky thing and one or both units freak out. Use a MIDI Monitor to make sure that when you send a message, the receiving device doesn't send back a message that triggers another message.

He lives over on TGP now. I think he bought a QC, in which case he's waiting on the editor. "SOON".

Disconnect everything from the HXS. Not just turned OFF, disconnected. USB too. If it still makes that noise with NOTHING, not even USB (just the analog Outputs), connected, then you can try a Factory Reset, and if that doesn't work, re-install the v3.11 FW. If that doesn't get it, you can try contacting support, but if it's out of warranty and not some recognized defect, you're probably screwed.

There's nobody here from L6 to hear your suggestion. Go to Ideascale: https://line6.ideascale.com/a/login Do a search on "TUNER" and vote for all of the suggestions for this (pretty sure there's more than one) posted by users who didn't do a search before posting.

No, BUT.... In Global Settings>Switches you can configure the device to automatically return to Stomp Mode after selecting a Preset. You can configure (in ComandCenter) any of your (unused) Stomp Mode switches to select a specific Snapshot or Preset - no need to switch to Snapshot Mode or Preset Mode. So, in Stomp Mode you can go directly to any Snapshots you have set up in that Preset, or directly to any Preset, and use the remaining switches for on-the-fly changes to the Snapshot/Preset. Without adding an external MIDI Controller, that's what you have to work with.

Have a good look at the CommandCenter section of the manual. Every time you load a Preset or a Snapshot, a number of commands defined in CommandCenter are automatically sent. These are called "Instant Commands (IC)", and are set using the "Lightning Bolt" icons. In addition, any Toggling CCs or Notes assigned to Footswitches are also sent. If you assign Program Change messages to the ICs, you can assign different PCs, CCs or Notes to different Snapshots, which will be sent when the Snapshot loads. I'm not familiar with the TAE, but your question implied that it has presets that themselves can be used to initiate actions on the TAE, such as sending Channel Change messages to attached amps. Depending on the amp, that might be an analog switch or a MIDI message. Helix can also do this, so you need to decide which functions need to be controlled from which controller. Helix can send commands on multiple MIDI channels, so if the TAE is on MIDI Channel 1 and the amp is on MIDI Channel 2, separate commands can be sent to each using the ICs. Here, I would need to know specifics as to what EXACTLY you want to accomplish on each device, and what types of messages are required by each device to accomplish those goals. I'm off to work now and won't be able to respond until Sunday, so take some time to peruse the manuals and think about what you want to do. Also, get a MIDI Monitor program so you will be able to tell what EXACTLY is being sent from/to each device. There are several free programs available, depending on whether you're on a MAC or PC platform (I'm a PC guy). Google is your friend!

I have the PC212+, so since you didn't specify. In your case, if you want stereo at the board and mono to the PC112+, you should split the Path into two outputs. That way you can have MONO FX to the Digital Out, and Stereo FX to the XLR Outs of the Helix, with the Helix XLRs connected to the board. Gives you total control of the details of each signal - Stereo/Mono FX, cabs/IRs, EQs, etc. Be aware that, unless you're doing your own sound, most FOH techs will resist using two channels for your stereo guitar FX, and in most venues, stereo FOH doesn't sound all that good anyway. It makes the audience experience more dependent on where exactly they are in the venue, and complicates the FOH tech's job. Also, when you disable the BIG KNOB for your stage level (it should always be disabled for FOH), you have to run back and forth to the PC to change your stage level. While there is theoretically a very slight difference in tone between extreme settings of the BIG KNOB, it is virtually undetectable to mortals. Only those cursed with GOLDEN EARS can hear it. :-) Just be careful that the MAX level you intend to use doesn't drive the PC+ input into the red. A workaround for this is to use an expression pedal set in Command Center to CC#7 (requires a MIDI cable between the Helix and PC+). Max the BIG KNOB and set the Output levels of your presets for best signal to the PC+ (in the yellow, occasional flashes of red ok), then use the expression pedal to control the PC+ Output remotely.

Use Snapshots to control what's happening on the TAE, and which HXFX effects are ON/OFF when you load the preset, parameter changes of the FX, etc.. Use the stomps to turn effects ON/OFF on the fly, and control parameters not already being controlled by Snapshots - a parameter can only be assigned to one controller (snapshot or stomp) at a time.

If you're taking both PC+ XLR outs to separate channels on the board, then yes, as the signal that enters the PC+ from Helix goes straight to the XLRs (or through the Speakers/User IRs). That's also why the Volume Knob on the PC+ does not affect the XLR Outs. That level is controlled by the Output of the Helix. A Mono effect outputs dual Mono, not stereo. IOW - although the Paths are stereo (R/L) the signal on the Left of the Path is the same as the signal on the Right of the Path. That's why, for instance, there's no MONO Ping Pong Delay.

Helix footswitches don't have a "2nd tap" function, and I doubt that's going to change, but you can post the suggestion here: Login | IdeaScale The way I do this is to assign a FS to the Output Block Level, set MIN at 0db and MAX at whatever.

Separate Send/Return Blocks not necessary: Gtr>LT Gtr In>effects(mono)>FX Loop1 LT Send1>Amp In Amp Send(mono)>LT Return1>effects(stereo) LT 1/4" Outs>Amp Stereo FX Returns Kinda confusing the way they have the FX Loop marked on the Orange.

Now THAT makes sense! Thanks! I'll tell TGP guy! EDIT: So, if you assign a different CC# than the one used by the Helix for FS emulation, it will toggle the FS as expected using 127/0. IT WILL NOT ACTVATE THE SECONDARY FUNCTIONS ASSIGNED TO THE PHYSICAL FS!" I just tried it using CC#112 with 127/0 values, and it worked as I described. The Block toggled, and the secondary function of the physical FS (changing a level elsewhere) was NOT activated, but using the physical FS behaved as expected. So you can use both methods at the same time.

So, L6 has NEVER followed the MIDI standard of 127/0? They understand the difference between toggling and simple CCs in CommandCenter. I'm surprised they don't respect the standard on the incoming side. Seems silly. Oh well! I don't use it that way, (though the FCB1010/UNO2 script I wrote makes that assumption, I'll have to add a note to the documentation), but there's a guy over on the TGP HXS thread who's using a BOSS ES-5 who's gonna be really bummed out!