rd2rk

This is one of those "extra 5%" things and, as cruisinon2 said, another rabbit hole. I'll pass.

It's just cosmetic, it works as you stated. A DAW is a complicated piece of SW, and vendors should try to avoid needless confusion. Blaming L6 for a badly written driver when they're the only vendor with a problem is the kind of thing that drives users to other products.

A combination of the two approaches will likely be ideal for OP, but if I had a bad back, I'd have definitely gone with the Rack!

Windows doesn't have an ASIO Control Panel. That's a program provided by the device's creators, in this case, L6. You may be thinking of the Windows, Sound Panel, but that has nothing to do with ASIO. Typically, an ASIO panel will show the device's buffers and other settings, while the Preferences screen in your DAW shows the Input/Output configuration. Below are screenshots of Cakewalk and Reaper: And the ASIO Control Panel and Windows Sound Panel in LIVE If you open the HX Stomp Control Panel from Windows Control Panel you'll see it's the same as the above, provided by L6:

Your MIDI controller is set to send the CC in "Momentary" mode. Switch to "Latching" mode. That will send the ON message (127) on the first press, and the OFF (0) message on the next press.

For someone like the OP who has a bad back, your suggestion has merit. However, the number of steps and difficulty of getting precise settings quickly with the expression pedal, while do-able in a pinch, is still less than ideal in a live performance situation. What OP doesn't realize is that there are a LOT of parameters, and a MIDI controller with 128 rotaries would be a nightmare both due to size and trying to remember which knob controls what parameter. Combined with the inability to make Global assignments making it necessary to program the controller for each preset.... I speak of this problem from experience. My first amp sim was Amplitube, and even with a BCR2000 it quickly became apparent that it was a fool's quest! Hopefully, HX Edit on a big screen tablet will solve his problem.

Baby step method. Set the 1/4" out to LINE. Set the BIG KNOB to 1/4". With the Master on your 6505 all the way down and the BIG KNOB on the Helix all the way down, Connect the 1/4" Helix Out to the 6505 FX Return. Start with a NEW PRESET. With your guitar plugged into the Helix Guitar IN and the guitar volume up, strum while turning the BIG KNOB up. Hear anything? No? Is the BIG KNOB all the way up? Still nothing? A) EXCELLENT! Your Helix is now at UNITY output. Keep strumming while turning up the Master on the 6505. Hear it now? Yes? With the 6505 Gain (pre) off, add an FX Loop Block and the cable from the HX FX Out to the 6505 guitar input. Strum while turning up the 6505 Gain knob. Got sound? Good! You can crank the Master on the 6505 and turn down the BIG KNOB on the Helix till you get a reasonable level. Rock out! If, however, B) with the Master all the way down, you can hear your guitar as you turn up the BIG KNOB, that means that your Master on the 6505 is before the FX Loop, and will only be useful in full 4cm configuration. This would be very unusual, the master is usually post FX Loop. If, after doing the above, you still have problems, I don't know what to tell you. My Egnater's Master is post FX Loop, and all is groovy. Maybe somebody on here who has a 6505 can help. Good Luck!

When, in real life, would you rapidly switch between two effects continuously for 20 seconds? My bet is that the problem is in the switches themselves, not being designed for such senseless abuse. In fact, listening closely, I can HEAR the switches not fully activating when the "fail" occurs.

Here's a screenshot of my Preferences, and a Control Preset based on the LIVE (PC) Template. All I did was add a button to record a Loop and Overdub it. Live (PC).hlx

OK, apparently I wasn't clear. The Q setting defines the frequency range. a low Q setting is like a small hill or depression, covering a wide range. A high Q is like an icepick, a very narrow range. The gain setting determines how high is the hill or peak, or how deep the depression. The idea is to set a narrow frequency range (high Q), then cut the gain so that it's a very deep hole in the frequency range. Then you sweep the actual frequency from it's lowest point (20hz) to it's highest point (500hz), until you hit the frequency that's causing the problem. By selectively and deeply cutting the level of the frequencies from 20hz to 500hz, you've covered the entire bass frequency spectrum. You can repeat the process in the mid-range. If you've still got a low or mid frequency rattle in the speakers, your problem is elsewhere. Defective speakers? Don't forget when you're done testing to reset the gain levels to 0. Good luck!

Define "turning everything down"? Did you follow the procedure I described?

Record a loop that contains the offensive frequencies. Turn the Low Freq all the way down, turn the Q up to 7 or 8, turn the Low Gain all the way down. While the loop is playing sweep the Low Freq slowly till you find the offensive frequency. Adjust Low Q and Low Gain till it sounds good.

It's not the cables. Turn on the Global EQ and use it to cut the bass.

Gain, same as on a real amp.

Yes, it will, both latching and momentary. It also appears that they've resolved the issue of Snapshots causing assigned notes to revert to C#3, though I'd have to spend more time playing with it to confirm.

1) Everything sounds great with Helix. YMMV. 2) Everything sounds like fizzed out chit. UNLESS you take the time to learn how to use it. 3) Yes. No. Maybe. YMMV. 4) If you think those things work, then yes. 5) If you'll sign a contract to purchase all of the leftover orange-purple-green-yellow-red fugly cabs that nobody but you wants, maybe you can make a deal. 6) Buy any color cab you want and a separate poweramp. Problem solved. There's a reason why most amp makers still to this day make their amps in some shade of black/brown/grey. Now get off my lawn!

Peter summed it up. The Win tablet is your only real option.

You obviously like the Marshall sound. Get the Marshall, HXFX, a reactive load box, and a HR FRFR112. BIG sound, more volume than you'll ever need, low volume practice, ability to match presets to FOH. Best of all worlds: DSL40cr = $750 HXFX = $600.00 2Notes Torpedo Captor = $250 HR FRFR112 = $300 $1900 - 20% (min) discount = $1520 If you need a WAH/Expression pedal you can get those for around $100.

Priceless! This is one of those "If only people would search before posting a new thread" subjects. Everybody should read this, and I'm Bookmarking it for future reference. Thanks!

Not a true metalhead myself, so depends on your personal definition and budget. Hughes & Kettner Tubemeister (several models, VERY MIDI), Marshall JVM410, EVH5150III all come to mind. Here's a link to a discussion on TGP: https://www.thegearpage.net/board/index.php?threads/midi-programmable-tube-amps.1759642/

I'm also a big fan of S-Gear. Better MIDI than AT4, though not as many features. I keep waiting for the update, which I know is going to be great!

Are you tracking albums in a studio for big bucks? No? Your 2nd gen Scarlett is just fine. With your guitar plugged direct to the Scarlett Instrument jack, guitar up all the way, grab a BIG POWER CHORD. Hit it as hard as you're ever likely to hit it while playing. Turn up the Input level on the Scarlett till the light flashes yellow (not red), then back off a notch. Now you're NOT overdriving the Scarlett input. In Amplitube, load your preset, then do the same thing with the Amplitube Input level. SAVE YOUR PRESET! Input and output levels in Amplitube are NOT Global. Now do the same with the Output level. Keep in mind that any changes to the amp's settings will affect the Output level. Beyond that, as far as getting a "good" sound goes, twiddle the knobs till it sounds good. Presets are a good starting point, but that's all they are. As far as Native goes, buying it upfront is outrageously expensive (like $399?). If you buy a Stomp, you can get Native for $99, or $69 if you wait for one of the periodic sales. Does it sound better than Amplitube? Get the Native trial and test drive it for yourself! The advantage to that is that Native sounds EXACTLY like the Helix hardware. As far as whether you want a tube amp or FRFR speaker, do you live in a house where you can crank it up? A tube amp with effects loop can sound glorious. Live in an apartment? Good studio monitors or something like a HR FRFR108 might be a better bet. If you decide on a tube amp, keep in mind that while the Helix Floor/Rack/HXFX (not stomp) can do simple channel switching via 1/4" TRS, amps with more complicated channel and internal FX switching might require MIDI to make it all work. If the amp has proprietary footswitch requirements (like the Vyper), RUN AWAY! Lastly, I don't know if the VYper has an effects loop but, if it does you're good to go! Worry about "tube tone" vs "SS tone" after you see what you can get out of Amplitube/Native/Helix.

Congratulations. Don't forget the duct tape.

IIRC, 1=1+2;3=3+4;5=5+6;7=7+8. When I asked Cakewalk support (pre Bandlab) about it they blamed L6. I pointed out that it's not a problem in other DAWs. "Bite Me" was their reply. Cakewalk was my first DAW, way back before it was bought by Gibson. I even bought into the "Lifetime Updates" six months before Gibson killed it. I switched to Reaper and was AMAZED how much better it was. When Bandlab revived Cakewalk I was thrilled. They haven't done diddly to improve it. Things that take 5 minutes to set up in Reaper or LIVE don't work in Cakewalk at all. The Cakewalk/Bandlab forum is a toxic cesspit. Do yourself a favor. Reaper is $60 with an unlimited trial. DO IT!

I guess what I don't understand is why you think that because a gasoline engine won't run on diesel, that constitutes a bug in the engine......