rd2rk

Works on mine. Since I never use the mic input, all the related settings are default, as they'd be after you did your factory reset. Assuming it's not your board (or whatever you plug the XLR into), because you've tested the mic directly connected to it, you may have a HW problem. Time to open that ticket. If you live somewhere that allows you to call support, I'd do that. The ticket process can be really frustrating for this kind of problem.

The Powercabs let you use Helix cabs or IRs (FRFR) and the coaxial speaker design sounds different from the separate HF/LF drivers of most other FRFR cabs. You can use the custom speaker emulations or the raw speaker without the HF driver (like a regular 1-12 cab). That said, stereo is VERY cool. I have a PC212+ and like it a lot. However, either the PC212+ or a pair of PC112+ are expensive, vs a pair of FRFR108 or FRFR112, and despite what some will say, sound just fine. I have a FRFR112 that I use for bass. The issues of long-term dependability/road-worthiness/DSP configurability are the main reasons why you might want to consider the much more expensive Yamaha or QSC offerings over the Headrush cabs Another possibility is one or more traditional 112 or 212 cabs with the new Celestion FRFR speakers. (5) Celestion's F12-X200 + F12M-150 Full Range Live Response Speakers - finding the right rig for YOU! - YouTube

Mine sounds fine with your configuration. Don't know if it will help, but the attached file came from IK Support. Install it here: C:\Users\your user name\AppData\Roaming\IK Multimedia\AmpliTube 5. Then reboot and restart AT5. settings.properties

Make sure you have 3.11 FW and HX Edit 3.11. Follow the update instructions EXACTLY!

Are you using L6 Link? do you have a second AES cable run from PC1 to PC2?

Attach your preset and I'll check it out on mine.

What @waymda said. You might also want to reconsider what you're using as a playback system. Running your bass into a guitar amp/cab won't work nearly as well as using a proper bass amp. OTOH, a decent quality 12" FRFR powered cab can work well for both guitar and bass.

You split the signal chain at the end (after all your FX), put the cab/IR in Path A after the split, and use the main L/Mono Out (balanced) to FOH. If doing this, set the "Volume Controls" parameter in Global Settings>Ins/Outs to PHONES to prevent accidentally changing the FOH level. Then take one of the FX Loops (unbalanced) to the amp Return instead of using the main L/Mono out as you would in a simple 4cm configuration. If you need to use the HXS volume knob to control your amp level, you do the opposite and send the FX Loop (unbalanced) to a DI for FOH. Or, instead of a split, if you don't need the Volume knob for the amp level, you could put a Send before the cab/IR and use that for your amp Return. Either way, you use the combination of S/R Block and Amp Block (bypassing one or the other from a FS or with snapshots) to determine whether you use an HXS amp (bypassing the physical preamp straight to the amp Return) or the physical preamp (bypassing the HXS amp). That is, HXS Amp ON with S/R Block OFF) or HXS Amp OFF with S/R Block ON). If you're using both FX Loops for external FX, you trade the HXS for an LT, Floor or Rack, which have more routing options.

What, no light show? Lightweight! ;-) But seriously, kudos to you for pulling this all together. From my own just-for-the-heck-of-it dabblings with Ableton, trying to do something similar in a one man band context, I know that this is no small task. The more complex the configuration, the harder it is to track down that one little glitch that always seems to sneak in just when you think you've got it nailed. ROCK ON!

There isn't a "boost ON" feature in the PC+ Input circuit. To get the best input level on the PC+, you need to set the Helix Output high enough to get the PC+ Input LED in the yellow, with maybe occasional flashes of red when you really dig in. This has to be done with the lead boost ON, else when you hit the boost switch you could easily distort the PC+ Input. It's not an "OPTION", it's fine tuning the preset for use with the PC+. It's essentially the same thing that the FOH tech does with the preamp attenuation knob on your channel, which is why it's critical that he knows that the signal he's getting is your LEAD level, so he doesn't go cranking it up during your rhythm parts, then gets all upset when you hit the boost switch. Getting this right is the difference between a PRO sound tech and one of the waitresses' drug addled unemployed boyfriends. :-) The disadvantage to using the XLR Out from the PC+ is that level, while independent of the PC+ Volume knob, is still dependent on the Helix Output level. If you give the PC+ input a 3db boost, that's what the XLRs get. Using the method outlined above gives you totally separate boost levels to the PC+ (3db) and the FOH (5-6db).

Split your paths so you have a separate signal for FOH (XLR from Helix, not from PC+) and digital for the PC+. To spare blocks, instead of using two gain blocks, use the LEVEL parameter in the Output block of each path, both assigned to the same FS. +3db for the digital out, +5 or 6 for the XLR out. You're probably already doing this, but don't forget to set the PC+ Input level (Helix digital Output level) with the boost ON. Likewise, during sound check, send the boosted signal to FOH, and be sure the sound tech knows that's what you're doing. You'll need an IR block for the XLR path, but that gives the option to use a different IR to FOH vs PC+, which often sounds better anyway. If you're already using the Path 2 split you may have to re-think things though. Consider a send block at the end with a DI to FOH for that. You can use the boost output level of the send the same way as the Output block level assigned to the same FS as the digital output block.

After further testing, I think the problem is related to the default action of the TS, which is to switch Exp Pedals. After all, you wouldn't want to have the preset change when using the TS to activate a WAH or Vol Block! So, maybe not a bug at all, just a conflict that should be resolved by disabling the custom functions on the toe switch (not user configurable). That's probably what support will tell you, along with "we'll tell the engineers", for whom a fix will likely be a low priority.

Confirmed. It works as expected using a regular FS. Possible that using the toe switch like that was not anticipated (it is a strange usage), so not tested for, and consequently a bit of missing code. While testing this I also noticed that if you set the Preset# directly (vs using the up/down arrows), regardless whether using TS or FS, when you hit ENTER it jumps down two numbers, requiring that you use the arrows. Time to open a support ticket. Make sure you're on FW and HX Edit version 3.11. It's the first thing they'll have you do.

Using an HXS you'd use the SEND as the output of Path B. Using two amps would be very limiting DSP wise. Be aware that using a wireless defeats the Input Impedance circuit by loading the guitar's pickups at 1M up front. Probably doesn't matter for bass though, as I don't think any of the bass fx are <1M input impedance, and the attenuated hi frequencies matter more on a guitar than a bass anyway. If you put your Helix in the backline, you might consider getting a MIDI Foot controller for up front control.

Not so. You can EQ each path entirely separately, using either Helix EQs or external EQs. . It looks like you modded the first sample I sent, not the second, which uses two separate paths. With two entirely separate paths and outputs, you can still EQ either path separately either using Helix EQs or external EQs or both. Additionally, since (in your alternative) all of your blocks are dependent on a single processor, your DSP and # of available blocks are limited. Also, since you've used the one available split in that path, you can't run parallel paths in each signal chain as I show in the attached. Bottom line, whatever works for you. The important part of my suggestions is the split and panned outputs. The example presets were not intended as definitive solutions, simply food for thought, and clearly, they accomplished that goal. Now you should look carefully at the attached example preset to see how to optimize the resources available to you. For example, I've split both paths and placed reverb and delay in separate sub paths. This is a common method of cleaning up a signal by not having the delay repeats reverbed into ambient mud. You may not NEED this right now, but, again, it's there as an example and food for thought. R Pre L Post3.hlx

To split the FX Loops you need to use an INSERT cable: 1/4" TRS to dual 1/4" TS. Use the LEFT (TIP) Send and Return to one amp, RIGHT (RING) Send and Return to the other. You'd need two S/R Blocks, one in Path A and the other in Path B, with the mixer panned as in the attached demo preset. Dual 4cm.hlx

Why would you want different amp/cab to FOH vs IEM? Just do this: R Pre L Post2.hlx

Path A has Fx, and goes out the L/Mono XLR. Path B has no Fx, and uses the RIGHT XLR. Any Fx you add BEFORE the split go to BOTH.

'fraid not. Since USB goes straight to the Main Outputs, you can mix the two, or by routing the Input to Path B and sending that out to the SENDS you can send the signals to two separate Output devices. But if you want the USB signal to use the HXS' FX, no.

Like This: R Pre L Post.hlx

Instead of sending the PC+ to FOH, take the feed from the HXS L/Mono Out (1/4" TS to 1/4" TS or XLR) or stereo if you prefer (1/4" TRS to dual 1/4" or dual XLRs). Import the attached "Suhr IR" to the PC+ (I modded it with Voxengo so it would import) and set the PC+ to USER IR (vs FLAT STEREO) set to that IR. Then pull the IR block with your normal Suhr IR down into Path B and separate the Outputs. Doing it this way got rid of the harshness (to my ears). OR, you could use a darker IR in the Path B IR Block, or try adding a PEQ in Path B. Either way, that'll give you a darker sound to FOH. I've also attached a modded version of your Preset as a demo of the above method. You had an FX loop that I couldn't see a purpose for, waste of a Block. EDIT: REMEMBER - your FOH speakers are ALWAYS going to sound different from the PC+ Hard Rock mod.hlx Suhr IR.wav

Attach an example preset and I'll run it through my system. Also, keep in mind that what doesn't sound good to you soloed, might sound perfect with the whole band. It's a well known phenomenon.

The default PC+ Preset to use with Cabs/IRs in the Stomp signal Chain is 000 - Flat Stereo. If you're using some other PC+ Preset, don't use Cabs/IRs on the Stomp. Doing a Factory Reset on the PC+ will get you back to the defaults, and everything should work properly from there. Remember that if you're using a PC+ Preset that calls a Speaker emulation, the PC+ XLR/USB Outs will send an emulation of the Speaker with an added mic emulation. To compare what's coming out the XLRs, record the output over USB (DAW needs to be set to use the PC+ as the ASIO device). The PC+ will always sound different in the room than FOH/USB.

Like I said above, I thought I read somewhere that it wasn't working right, so they pulled it till a future update. Not something I ever use, but, yeah, if it's documented it should be there!

There's two separate issues here. When you use a long cable, the impedance of the cable attenuates the high frequencies, and a buffer restores those frequencies to compensate. If the Input impedance of the buffer is 1M, then that's the way the pickups are "loaded", just like going direct into an amp's input, because the Input impedance of most modern amps is 1M. Because part of the tonal character of certain old pedals, mostly fuzzes and overdrives (facial fuzz, scream 808 for example), were less than 1M, putting them between the guitar and the amp input loaded the pickups differently, and that was part of their character. The Helix Guitar input has an analog circuit that allows the pickups to be loaded as though you had an actual analog pedal instead of the "virtual" Helix effect, if you set the Global setting to "First Active" and leave the preset set at AUTO. You need to be sure that the target effect is not after an active effect with a different impedance in order for this to work properly. But if a buffer with 1M input impedance (or any other real world effect with 1M impedance) is between the guitar and Helix , it defeats the purpose of that circuit. This is also true if you use a wireless, as the wireless loads the pickups at 1M. So, if you use any of the "classic" fuzzes and whatnot that are in Helix (and I THINK some of the older model amps), and want the "classic" tone of those pedals/amps, you don't want to use a long cable, which increases the attenuation effect, or a buffer with 1M input impedance, or a wireless. If you must use a long cable with a buffer or a wireless, your best bet is to not use the "classic" pedals/amps (unless you just like the way they sound despite the lack of pickup loading effect). If you use the virtual pedals that had 1M impedance ITRW, it doesn't matter how you connect the guitar. But yeah, with a long cable you want to use a buffer to make up for the cable impedance. Lastly, the analog impedance circuit is ONLY on the guitar input. The RETURNS are 1M. NOTE: the above explanation is probably over-simplified, and someone better at explaining it might jump in to clarify. There's a list of the impedances of the various Helix effects, which I've posted previously (Helix 2.90 Amp, Effects List - Helix - Line 6 Community). The Excel file is in my first post in that thread. There's a possibility that some of the info could be wrong, as some of those classic pedals had different input impedances in different iterations, and there's no real way to know exactly which ones L6 modeled. Also, it's from v2.90. There may be an updated version somewhere for the effects added since v2.90. Hope this long-winded explanation helps.