rd2rk

Don't see how that would be a problem.

drby - I don't see a problem. Do you get the same noise without the OD in the circuit? Are you running everything from the same EMI/RFI FILTERED power strip? In this whole discussion there seems to be a confusion of terms - a ground loop is NOT audio feedback, two different animals. IF your noise is the same as borz666, and he solved it by disconnecting a ground, by all means try it. Short of inserting a device that does the same, I got nothing. I am wondering though, why 3 people with 3 different Attenuators are having the same problem? If it's an issue of Attenuators having noisy Line Outs (3 different units????), might a simple DI/hum-buster device like this: https://smile.amazon.com/Premium-Direct-Injection-Audio-Box/dp/B0027V760M/ref=sr_1_5?crid=2MPP4NQFUHHL6&dchild=1&keywords=hum+eliminator&qid=1611158814&s=musical-instruments&sprefix=hum%2Caps%2C204&sr=1-5 Solve the problem? At $9.50 it's not much more than a cable you'll be damaging in the name of a cure. I have one of the above devices and, though I didn't get it to solve a noise problem, just for the convenience of using an XLR cable for a long run from a 1/4" only device, it does have both a ground switch and attenuator so you wouldn't have to use both loops just to match Inst Send/Line Return Levels (not a feedback or hum issue, just level matching). Sorry I couldn't be more help.

Instead of making me guess, then moving the goal posts until I luck onto what you're trying to do, describe EXACTLY what your goal is including every physical speaker that you'll be using anywhere in (or out of) the configuration, future recording plans, etc. State EXACTLY how you have it wired (point to point) with what kind of cables (TS,TRS,Insert), and include a copy (NOT a picture) of your preset. With the above information, I'll be happy to help.

Are you familiar with the concept of "Moving the Goal Posts"? The attached preset works like this: Guitar>HXS Input L/Mono>Pre Amp FX>HXS FX Loop Send L>Amp Input>RL Line Out>HXS FX Loop Return L/Mono>HXS Cab/Stereo FX>HXS L/R Outputs>FOH/Interface You may have already figured this out, I've lost track. borz666D.hlx

Please see the previous thread for a new version, and delete your post here to avoid confusion.

"Rd2k, I haven't tried that patch yet (too busy home schooling the kids) , but I'm not using the HX as an audio interface. I use a Focusrite. I'm goin out of my HX stomp main outputs into channel 3-4 of my Audio Interface. So I looked at that last patch you sent me but it seems after the send you're injecting the signal back earlier in the path?? Not sure how thats going to work" See my previous post for a new version and instructions.

By default, USB1/2 from the Computer is routed to HXS Outputs 1/2, which then goes back to the amp, which goes to the computer, and back to the amp - FEEDBACK! The Track Input Echo switch in your DAW needs to be OFF to prevent this. Attached is a version of the preset I sent borz666. It reflects your end requirement of 4cm and the Line Out from the RL going through a cab to the computer. Norwood.hlx

My i7 laptop will get down to 64samples without glitches. There's approx a 5ms difference between my Helix (12.8ms) and my Scarlett (7.6ms). Doesn't bother me either, and I also play both Keys and eDrums as well as guitar.. Some people claim 2ms bothers them. Just thought I'd put it out there in case you're one of them.

If you never play through VSTs (you only direct monitor from Helix) then it doesn't matter, Helix is fine. If you plan to play through VSTs (guitar, KB or eDrums) then the Babyface likely has better RTL (Round Trip Latency). You can measure and compare using a program such as Oblique Audio's RTL Utility.

I was unable to find any data to support this claim. Please provide a link to those specs.

Look at the picture in the manual. See the box labeled Effects or Rack effects? That's your Helix. So, no, isn't going to work.

Consider this part of my reply: And how it relates to this part: Your amp's overall tone is a result of the interaction between your PREamp and your POWERamp. With a non MV amp like yours, turning up the PREamp to that magic "Sweet Spot" makes for a VERY LOUD amp! THAT'S why MV amps came about in the first place. Ideally, you want two things: The best sound you can get out of the amp (the SWEET SPOT) combined with The best sound for the Preset, which is best realized at PERFORMANCE LEVEL. Once upon a time, PERFORMANCE LEVEL was whatever level the amp sounded best at (the SWEET SPOT). It's been a LONG time since I played anywhere that allowed for a 50 watt amp at it's SWEET SPOT. IT"S TOO LOUD! You NEED a Master Volume. Just because the Helix Volume knob is at UNITY when fully cranked, does NOT mean you need to create your Presets at that setting. You need to create your Presets at PERFORMANCE LEVEL. Get the best balance between your PREamp and POWERamp, then use the Helix Volume knob like a Master Volume to bring the overall level down to PERFORMANCE LEVEL. THEN create your Presets. Balance your Presets and S/N Ratio using the Output Block Level and/or Gain Blocks at the end of the signal chain where they don't affect amp tone or gain-staging within the Presets. IOW - use the Helix Volume knob as a replacement/substitute for your amp's non-existent Master Volume. Jason Sadites has done a number of excellent videos on gain-staging, check them out.

I wonder what your boss thinks about your salary.......I think the L6 folks MORE than deserve theirs! BUT, you can probably get a cheaper "box" from one of those companies that reverse engineers other people's products and produces them with slave labor. Good Luck on "better".

Note on my previous replies: When I specify playing LIVE through a VST, I mean playing IN REAL TIME, vs monitoring a recording made or re-amped with a VST.

Define what you consider bad? It ONLY matters when playing through a VST. If you're not planning on playing LIVE through VSTs, then it's irrelevant. There is ZERO latency (apart from minimal DAC time which is the same for ANY digital modeler) when playing through a Helix. However, if you're recording and monitoring playing a MIDI keyboard (or eDrums) through a VST in your DAW, you want the highest quality, lowest latency AI you can afford, connected to the fastest, most powerful, most highly optimized computer that you can afford. Anything less is a compromise. My HXS, connected to my ancient i5/8gb Gateway laptop, running W10 and Reaper, at 48k/128samples (best that computer can handle without glitches) gets 20.2ms RTL. My Helix Floor connected to my i7-7500/16gb laptop running W10 and Reaper at 48k/64samples gets 12.5ms RTL. Same configuration with my Scarlett 18i20 gets 7.6ms RTL. In theory, either Helix (Floor or HXS) in 4cm with my tube amp and a G10 wireless would have approx 8.4ms total end to end latency (2.8ms per AD/DA conversion times 3). I can't hear or feel less than 15ms, but 20ms starts to get uncomfortable the faster I play, and I'm no shredder by any measure. I'm nowhere near good enough on drums or keyboard for it to matter. Steve Vai claims to be able to feel 2ms. YMMV. Again when direct monitoring your guitar through Helix there's virtually ZERO latency.

Yes. MIDI has nothing to do with headphones. If you're asking "can I hear my DAW playback through the headphones?" then Yes, because it IS a regular interface. If you're asking about latency when playing live through VSTs, (vs direct monitoring of your guitar as processed by Helix) this has been discussed to death. You'll get better latency using a dedicated AI, and you'll get MUCH better latency on MUCH MORE EXPENSIVE AI's. How much money do you have to spend? What you need to know is that you're asking for an opinion. Personally, I think anything connected to Steinberg SUCKS! That's an opinion (I used to own one, it sucked - crappy driver and terrible support). You might just as well ask "What's your favorite headphones?" because that has more to do with what you hear out of ANY headphone jack than the DAC. I guarantee you that YOU can't hear the difference in DAC between Helix and a $5000 Antelope AI. If somebody jumps up and says "I CAN HEAR IT!" Ask them how much they'll sell you their GOLDEN EARS for. Remember, the bridge required to maximize your purchase of those GOLDEN EARS is ON SALE NOW FOR A LIMITED TIME ONLY at my webstore www.send-me-your-money-sucka.com. BOTTOM LINE - Helix is a MODELER. It is also an Audio Interface sufficient to most home recording tasks, but it is primarily a modeler. If I want to play live through VSTs I go through my Scarlett 18i20, which gets MUCH better latency than the Helix (though not as good as MORE EXPENSIVE AI's), but the recorded results are NO BETTER. If you want a better Audio Interface with more channels, better routing and less latency than Helix, ask yourself the question I posed above - "How much money do you have to spend?" Yes, spikey, I AM cranky today!

When you did the update you followed the directions and did a backup, which included your Global Settings. Have you restored your Global Settings?

I see - the MAC version of "The Blue Screen of Death"! As the great Philosopher Stan Marsh said - "You know, I learned something today....." A beachball is not a lollipop. Profound!

This is a pretty innocuous thread to be inspiring people to block each other. We're mostly just having fun! Dissimulate....falsifiable.......Rubbery Slippage.....Dissimulate....falsifiable.......Rubbery Slippage.....

It's GOOD that he's not attempting to dissimulate OR demonstrate knowledge of Rubbery Slippage. That could be bad. Maybe even illegal! Dissimulate....Rubbery Slippage.....Dissimulate.....Rubbery Slippage...... This is the most funnest thread we've had in a while! :-)

You have to assign each Parameter to Snapshots (other than Block Bypass). You have to either set Global Settings>Preferences>Snapshot edits to RECALL (save the preset once when all Snapshot edits have been made) OR save the preset in each Snapshot before going on to the next Snapshot. Beachball??? Is that a Robot substitute for a prohibited word?

Please attach a sample preset and pictures of your wiring, as what you are describing is not possible as described. When the HXS is BYPASSED, the sound WILL be dry, AS THERE ARE NO FX BEING APPLIED! And it WILL BE LOUD, as you have effectively plugged your guitar straight into a 50 watt power amp at FULL VOLUME! When the HXS is BYPASSED, you are bypassing your amp's Preamp section, going straight into the 50 watt power amp at full volume, therefore: "when bypassing the pedal, there is a huge discrepancy in sound........ when the stomp is bypassed there is a loud, clean, dry sound coming out, even if the drive/dirty channel on the amp is used." NORMAL! The amp's Preamp, where the Clean/Dirty Channels live, is BYPASSED by the fact that your 1/4" Out is wired DIRECTLY to the Power Amp IN (the amp's FX Loop Return), and there are NO FX being applied. BUT, with the HXS in normal playing mode (NOT BYPASSED), with the FX Loop Bypassed, you should be hearing whatever FX are ON in the signal chain, since the signal goes from Guitar>HXS Input>ALL FX both Pre and Post the bypassed FX Loop>1/4" Out>Amp FX Return. Again, the Amp's Preamp section is Bypassed, but since the signal is passing through the signal chain (HXS NOT BYPASSED), you hear ALL the FX. If that is NOT the case (dry signal despite having FX ON), then you are NOT properly wired for 4cm. It's possible, however, that you ARE wired for communication with extra-terrestrials, since I can't see any other explanation. IF, with the FX Loop ON, you can hear the FX that are BEFORE the FX Loop, AND the amp's Volume and Tonestack are functional, AND you hear the FX AFTER the FX Loop, THEN you ARE wired correctly for 4cm, and the condition you've described as occurring when the FX Loop is bypassed cannot be caused by the bypassed FX Loop! The ONLY difference between the two conditions (FX Loop ON/OFF) is that with the FX Loop Block bypassed, the amp's Preamp section is out of the picture, and the amp will be REALLY LOUD with the only control being the HXS Volume knob. Note that with the FX Loop ON, the amp's Preamp (and Volume Control) will determine the amp's overall loudness. If you turn up the Preamp Volume enough, it will be LOUDER than with the signal going directly to the power amp, because it's been PRE-AMPED. The ONLY reason for bypassing the FX Loop would be to use an HXS amp, WHICH THEN REPLACES YOUR AMP'S PREAMP in the circuit, and becomes the determiner of overall volume INPLACE OF your amp's Pre-amp. FWIW - Although my own amp has a proper post FX Loop Master Volume, I can duplicate your situation simply by running the MV wide open. THAT"S how I know that this all works the way I have described. -------------------------------------------------------------------------------------------------------------- MORE FWIW - "What I would like to be able to do is to find an alternative way of managing this volume discrepancy or avoid using the HX Stomp's volume as a master volume, as this would entail having to try it out depending on the setting the whole rig is played (rehearsal, concert etc)" THERE IS NO ONE SIZE FITS ALL SOLUTION TO BALANCING THE MYRIAD OF GAIN CONTROLS INVOLVED! Never mind factoring for REAL VOLUME vs PERCEIVED VOLUME. And THEN there's the Fletcher-Munson Curve. ----------------------------------------------------------------------------------------------------------------- All of that said - I really don't see the point of Bypassing the HXS entirely UNLESS you're using it in the complex pedal board configuration which is apparently your actual end goal, which makes the rest of this discussion purely academic. NOTES FOR USE IN THAT CONFIGURATION: By design, the HXS Volume knob is SUBTRACTIVE. That is, when turned fully clockwise, you're at UNITY GAIN. The OUTPUT is equal to the INPUT. In ANALOG BYPASS MODE the Volume knob has no effect, as the signal goes DIRECTLY from INPUT to OUTPUT, as though the HXS was not there at all. In DSP BYPASS MODE the signal is routed through the signal path but DSP processing is disabled - effectively, all FX OFF, but the Volume knob works.

If your controller can be programmed to send simple (non-toggling) CC#69 with a Value of 0 (SS1) to 7 (SS8) then you're good.

Actually, I think someone mentioned that Logic has a built-in MIDI Monitor. You might want to look for it.

You need to use a MIDI Monitor to prove what exactly is in the FCB. What editor are you using? If you're using the UNO_ControlCenter Editor (runs on MAC and PC, works with UNO OR stock chip) you can use the .lgp sysex, and it (ControlCenter) has a built-in MIDI Monitor that displays in Decimal (not hex like the Ed Dixon/Mtn Editor).