rd2rk

Absolute simplest way: I'm assuming here that your amp's FX Loop is INSTRUMENT Level for use with normal guitar stompboxes vs studio grade rack fx which are usually LINE level or provide a switch for INSTRUMENT/LINE. In Global Settings>Ins/Outs set Helix FX Send/Return 1 to INSTRUMENT Level. Take the amp's FX Loop SEND (using shielded 1/4" cables - normal TS guitar or guitar fx patch cables) to Helix RETURN 1. Take Helix SEND 1 to Amp's FX Loop RETURN. Load up the attached demo preset. Note that the INPUT Block is set to RETURN 1 and the OUTPUT Block is set to SEND 1/2, and that the OUTPUT is panned HARD LEFT so that the entire signal goes to SEND 1. bverdon.hlx

The "best" sounding FRFR (a meaningless marketing term) for anything is so subjective as to be a pointless discussion. See TGP for dozens of such. I have a PC212+, HR FRFR112 and Rokit 6 studio monitors. They all sound good for different things and at different levels. The "best" sounding FRFR speaker is the one that YOU like best for YOUR application in YOUR listening environment. Which means that YOU would have to try them ALL to know which is "best". I know, not the answer you wanted. I mostly play my Helix through my Catalyst100 without IRs. If I played more "metal" I'd get a closed back cab and separate amp. For as often as I play that style, running the XLR Out from the Cat with emulation OFF into the PC212+ with speaker emulation (not FRFR) sounds good enough. YMMV.

I've spent a LOT of time in forums, trying to help people who, if they took the time to RTM BEFORE they bought something instead of relying on YT videos to inform their purchasing decisions, would have saved themselves a whole lot of frustration - never mind money! People hate reading manuals, I get it. These days, most people hate reading in general. It doesn't help that many manuals are poorly written. Line6 manuals are not perfect, but they're better than many - looking at you, BOSS. From the Helix manual: Snapshots A camera icon appears in the upper right corner of the screen. Its number indicates the current snapshot. 1 - What are Snapshots? Snapshots are presets within a preset. Imagine you have eight pet octopuses, all slithering around your amp and pedalboard. Instead of tap-dancing on your pedals (and accidentally stepping on a tentacle), you shout, “Okay, gang—here’s the verse... now!” and your octopuses switch some pedals on, switch other pedals off, and tweak all your amps and pedals’ knobs to make the best possible settings for your song’s verse, all seamlessly with spillover delay and reverb trails. Then you shout, “Ready for the chorus... now!” and your octopuses instantly tweak everything for your song’s chorus. That’s the power of snapshots. The only thing your octopuses/snapshots can’t do is rearrange your pedalboard or swap out an effect or amp for a different one (unless both effect blocks exist in the same preset). Each preset can have up to 64 parameters assigned to Snapshots; hence, eight octopuses with eight tentacles each. The octopuses can remember eight separate groups of on/off statuses and setting tweaks per preset; that is, Helix has eight snapshots per preset. Each of the eight snapshots in Helix stores and recalls the state of certain elements in the current preset, including: • Block Bypass—The bypass (on/off) state of all processing blocks (except Looper), independent of any footswitch bypass assignments. NOTE: The bypass state of blocks is automatically stored and recalled per snapshot. Optionally, you can exclude a block’s bypass state from being affected by snapshots—see "Snapshot Block Bypass On/Off" below. • Parameter Control—The values of any parameters assigned to controllers (up to 64 per preset). • Command Center—The values of any instant MIDI CC, Bank/Prog, MMC, CV Out, Qwerty Hotkey, and HX Looper messages, plus the state (dim or lit) of any CC Toggle, CV Toggle, and Ext Amp messages. See "Command Center" • Tempo—The current system tempo, if "Global Settings > MIDI/Tempo" > Tempo Select is set to “Per Snapshot.” (By default, it’s set to “Per Preset”) Depending on how you set them up, snapshots can act as eight variations of the same tone, eight drastically different tones, or any combination thereof—all within the same preset. A single preset’s snapshots may accommodate all the various tones required for a song in many cases. IMPORTANT! Snapshots make it easy for multiple blocks assigned to the same footswitch to end up in unexpected states. For example, if FS2 toggles between Delay (ON) and Reverb (OFF) blocks and a snapshot turns the Reverb on, FS2 will suddenly turn both blocks on and off together.

Neither of those have an FX Loop, so your options are very limited. G1Four - Line Out to Catalyst FX Loop Return/Headphone Out to Catalyst Aux In. Mustang GT40 - Headphone Out to Catalyst Aux In. The G1Four has Line Out which I assume is either an internal SW Switch (RTM) or it switches the HP Output Level to LINE when you use a MONO jack (vs the normal stereo HP jack - assuming that it IS stereo), so when connected to the Cat's FX Return with the MODE switch in FX Loop position you can use the Cat's POST FX after the G1's preset. However, the purpose of the Power Amp In position (bypasses all FX) of the MODE switch is to attenuate the input signal slightly (-6db?) to accommodate LINE Level signals, so in the FX LOOP position it may cause distortion. Probably not, but... Conversely, the HP Out from the GT40 MIGHT sound OK in FX Loop Mode (POST FX only), but since you'd need to use a stereo>mono adapter for the FX Return jack it may sound weird. Assuming, again, that the HP jack IS stereo. I looked up the specs on both of those and didn't see anything to confirm that the HP Outs are stereo, but I could have missed it. Be aware that while the Cat60's AUX IN is stereo, the HP Out on the Cat60 is MONO.

Not BT. Another popular wish.

Mine is an iPad. Catalyst Edit runs on iPad. Pretty sure it runs on Androids too. Why not HX Edit??? Maybe the next iteration of Helix will, but while mobile support for HX Edit has been requested on Ideascale since practically day 1, I wouldn't hold my breath.

True. Unless you have a Windows tablet. EDIT: I don't have a Windows tablet, so I haven't personally tested this, but why wouldn't it?

Place the SEND Block at the end of Path B (before the MIX Block in Path A) and set the DRY THRU to -120db. When the SEND Block is BYPASSED the signal goes through to the MIX Block on Path A and out through the MAIN Outs. When ACTIVE the DRY THRU -120db setting prevents the signal from passing through to the MIX Block/MAIN Out.

When you have multiple MIDI devices in a daisy chain, you want them all to have their own MIDI channel, else if they have messages in common you can get some unexpected results.

Ever tried to hammer a nail with a screwdriver? Two options: Two button footswitch: https://www.amazon.com/Hotone-Momentary-Footswitch-Controller-Switcher/dp/B08H1NQCGJ/ref=sr_1_1?crid=J1TSNH05CUPL&dib=eyJ2IjoiMSJ9.BpeqSGJ7kcr-grI2JhSjcQEnQJslzIXLN2DwW57gNH6gJvoO2iqjDnTSnsmEW2PFVDC6IIuMnXiI8HjF8Om3ZB0oRKxLMKIOlMRu0gEp-L5Sw9qBimvkLPupQN5IZAhRJHyr8JgaGTv6s1XPiR1BahYBv6-jujeLzKyd-m43iK3h6p5ok6yJLyfljrfGvZ-DKTFFpsQcTLSwkrKXHD55a1QzozuNi_z96aEVGdj_HY2vyuUNMWBBvxuCjYFNKgyICYEHESfJif2B3Qyu8nJBTp8jby7XiYsn32TWzHmaScw1caSFZ9YoQp_uKD2mHIhaXSr7unoTydphOoS9FHY3svuyM6PTMAeSLsFMHdvzwTc.5dPkwBF-Sd1YodFGh863ZjLy7ARLnZRTZMGw_u6gBcM&dib_tag=se&keywords=footswitch&qid=1737572197&s=musical-instruments&sprefix=foot%2Cmi%2C147&sr=1-1 OR Trade your HXS for an HXSXL.

This is a job for Snapshots. SS1 - Clean - Both distortions and cab OFF SS2 - Dist1 - distortion1 ON; distortion2 OFF; cab ON SS3 - Dist2 - -distortion1 OFF; distortion 2 ON; cab ON In each Snapshot you just set the Blocks the way you want them and SAVE the Snapshot. The Crossover Split can simply be left as is. If you want the Chorus to remain ON or OFF regardless of Snapshot, select it, press ACTION>Page Right>Snapshot Bypass OFF.

For what you want to do you should just turn it around (hope you bought it somewhere with a good return policy) and swap it for an HX Stomp. If swapping it is not an option, another relatively inexpensive rig would be to add a ToneX1 in the FX Loop of the HXFX. Stores 20 amp captures (three at a time active), thousands more available online (free and paid), and doubles as an AI.

OP hasn't been back in nearly a year. Maybe he'll see this and post an update? In the meantime, things to try: Make sure PC Edit is closed. Make sure that you're connected to a USB port on the MB, not a hub. Some computers have internal hubs, make sure yours isn't one of them. Try a new cable. Make sure you have the latest version of the Updater. Make sure your computer is configured to NOT EVER GO TO SLEEP!!! Follow all of the directions. Download the FW and do a LOCAL update. If you've already done all of that, do it again just to be sure you didn't skip anything. See if you can borrow a Windows computer. I don't have update problems on ANY of my L6 HW or SW. Just sayin'... If nothing works, open a support ticket or, better yet, if you're in the US, CALL support. There could be a problem calling due to the fires, but it doesn't hurt to try.

I just installed "Sound Recorder". It shows as "Voice Recorder". Is that what you're using? If so, the recorded level sounds right. Settings>Sound>Input should show the DIGITAL AUDIO INTERFACE (Helix or similar, I tested on my HXS). Settings>Sound>Output should show whatever your speakers are connected to. If you open Windows Sound Panel>Recording>Digital Audio Interface>Properties>Levels the default setting in my system is 100%. Windows Sound Panel>Playback>(default device)>Properties>Levels the default for the internal sound card is 80%, Helix is 100%. That's all you get with Sound Recorder, it's about the most minimalist recorder I've ever seen. There's no way to check the actual Input level in decibels. Edit: Helix Global Settings>Ins/Outs>third page there's a "Digital Out Level", but that only controls the AES/DBU (L6 Link) and S/PDIF. It does not affect USB out.

Proper recording levels (leaving headroom for mixing) are around -18 to -12db. What levels are you seeing?

Because it's not. You just can't admit that you're wrong. I've explained the logic multiple times and all you can say is "It shouldn't be that way". Obtuse. Google the word. I know that it's not, and you're the only one who thinks it is. Ergo, you are wrong about it being a flaw AND you are wrong about EVERYBODY (google the word) knowing it. That's called "doubling down". WTH is a sider valve???

As above, but... ears can be tricky, there's PERCEIVED volume (how your ears hear the sound) and actual SPL Volume as measured in decibels. Heavily distorted tones might be PERCEIVED as louder, but because distortion compresses the peaks, clean sounds might actually be louder when measured in decibels. The longer you spend on comparing by ear, the less accurate your ears become - called "ear fatigue". If you go this way, rest your ears frequently. Most modern humans have a smart phone. You can get an app to measure decibels. Not SCIENTIFICALLY accurate, but RELATIVELY accurate and sufficient to the task. You can also use a DAW. In addition to input meters most DAWs have a db meter plugin, or one can be DL'd. This is an even more accurate way than a phone app in that the signal is direct, and therefore not affected by ambient sounds. They also react faster. Someday someone will create an AI to level our tones and protect us from loud music. Skynet to the rescue...

I explained the design logic. Are you just being obtuse?

When you bypass the effect, the dry signal continues to be passed through the block. Use Snapshots so that you can have either or both fx on, but when they're both off the volume on the fx path is off. Try the attached demo preset. My Powercab is connected using L6 Link, so change the output as necessary for your setup, just don't forget to reassign the Output Block Level to Snapshots and set it to -120db (OFF) on the Dry Only Snapshot. Guus7181.hlx

I hooked up the FS to test this (I normally use MIDI) and I can confirm that this happens. Setting the FS to MOMENTARY does not change this behavior, it just causes the A/B function to require two taps. Open a support ticket.

The problem with this configuration is getting any desired POST FX (delay, reverb) to both the guitar amp and the FR12 without wasting blocks duplicating them on each path. Other than that, I would go the opposite way - use the SEND at INSTRUMENT level for the guitar amp. That way the balanced MAIN OUTS could serve double duty to your FR12 or, with a 1/4" to XLR adapter, go to FOH or, if your signal paths are MONO, both. Another option if your guitar amp has an FX Loop would be to use the same HX AMP for both. Using the SEND as above, place the HX AMP and all (pre and post) fx before the SEND and put the HX CAB (or IR) after the SEND. This way the AMP and all FX go to both, the CAB only goes to the FR12/FOH from the balanced MAIN Outs, and your stage sound is more like what the audience hears. The only "wasted" block is the SEND, no duplication. Another option like the above would be to do it the same way except pull down the CAB to create a SPLIT after the HX AMP/FX. Pull down the MIX Block to have the Path B Output be the SENDS (LINE LEVEL) which go to the FR12/FOH with the MAIN Outs (INSTRUMENT LEVEL) going to the guitar amp. This saves the wasted SEND block. The drawback being that if there's a long cable run to FOH you would need a DI to get the balanced signal, unless you can use the XLR Out on the FR12 which I assume is balanced, but it would have to be independent of the FR12 Volume control (your stage level) or the FOH tech would hate you. There're other workarounds I suppose, but I'm tired of typing...

IDK about Androids - I don't allow them in my house - but on my iPhone there's 7 pages of settings. Those are on the third page.

The speakers are tuned perfectly per the goals of the design team - to make them sound as good as they can with the 6 (now 12) different amp models that are included. The problem is NOT that the speakers are "badly tuned". It's that the developer's ears are not YOUR ears. You can make some of the people happy some of the time... I also use my Catalyst with Helix. The myriad ways in which that can be done, including with a ToneX pedal in another FX Loop, is incredible! What a wonderful world of guitar noises we live in! My first amp was a radio sans tuner with a 3inch speaker and a volume knob. Oh, and that hissing, screeching noise? That's not the amp. That's all of the neighborhood cats gathered in front of your house, sharpening their claws. Hope you stocked up on kitty treats! ;-)

IDK, could be the tech was preoccupied with something else - like, maybe, how close the fires were... Or maybe they just misunderstood the problem. If phone browsers can't DL the tones from Customtone they'll never be on your phone. Is there an iOS browser that allows that? That's really the only question L6 needs to answer. Could be that no one at L6 has ever tried to DL from Customtone onto a phone. I never did. Why they had a problem finding where the editor stores files - they're all MAC/iOS users. How often do MAC users do anything involving direct access to the file system? Does the average iOS user even know that it's possible? FILES>BROWSE>On My iPhone>Catalyst Edit>Presets FILES>BROWSE>On My iPad>Catalyst Edit>Presets Took a few seconds to find, and I'm a lifelong PC/DOS/WINDOWS user! Anyhow, at least you have the workaround.

Not if they're OFF. I've already explained the purpose of the attenuation in Power Amp Mode. IDK what the Kemper does, which is why I suggested that OP should RTM. Helix can be set to LINE or INSTRUMENT level, which I've also already noted. Adjusting volume is necessary with all audio devices - that's why they have VOLUME KNOBS. Use your Catalyst any way it works for you but stop spreading misinformation to new and potential users. Yes, it's misinformation. How do I know? Experience AND the fact that I'm active on MANY forums and NO ONE has ever said ANYTHING like the stuff you're saying. ANYWHERE!