rd2rk

Might be helpful to describe EXACTLY your cable routing in 4cm, and attach a preset (not a screenshot) that behaves this way in that mode.

If you're worried about "boomy", get a short PA stand. That's what I have my FRFR112 on and it's not "boomy" at all.

It's entirely possible that they DID make some guitar specific adaptations to the Headrush version vs the Alto version, but the support group isn't allowed to be more specific. Seems a silly way to go about it, considering how many people want to know. Anyhow, I'm happy with my FRFR112, sounds great!

Why is a guy demo-ing a guitar speaker without having someone actually play a guitar through it? Why SAY this is different than the TS312 without actually running music through both? This has to be one of the stupidest AND most useless YouTube reviews EVER!

Probably because it's so hard to find a brick'n'mortar store that has both. Also, I suspect that the difference would be subtle, hard to quantify in a store setting, and easily EQ'd. My suggestion would be to try the cheaper alternative (the TS312 in your area). If it sounds good, buy it. That is, after all, the real bottom line - does it sound good to YOU?

The back of the stomp is clearly labelled OUTPUT LEFT/MONO.

If preamps were not ever a factor in coloring the sound, there would only be one brand of preamp used in all mixing boards. Sound gurus argue endlessly over the characteristics of one preamp over another. Indeed, if it made no difference, why leave it out? That said, the only way to REALLY know is to A/B a TS312 and a FRFR112. Heck, throw in one of the more expensive brands with DSP. For your ears, it may turn out to be worth the extra money. The Yamaha DXR series is very popular. As for using it as a PA speaker or general purpose monitor, as long as you're not plugging a mic straight in, it should work fine. The gist of my discussion with the Alto/HR staff was that the ONLY difference is the missing preamp. Over at Gearpage someone speculated that there was a difference in the crossover or speaker, but since Alto/HR refused to confirm that, and the published specs are identical (at least they were when I researched it), who knows? All I can tell you is that the FRFR112 is loud as hell, stands up well to bass, doesn't seem overly boomy (see my rec about getting a stand), and sounds great with guitar. I'm happy. BTW - don't know where you got your prices from, but at GC they're both the same price.

I've had the FRFR112 since it was released. Sounds great with guitar and bass. Replaced Alto TS210. The only difference between the FRFR112 and the Alto TS312 is the lack of preamps for direct mic connection (and the Headrush LOGO). This info was extracted with great difficulty from the Alto/Headrush support team, and I documented that painful conversation both elsewhere on this forum and over on Gearpage. Despite the somewhat misleading hype on the Headrush website, it really is a great sounding speaker. EDIT: I highly recommend getting a short speaker stand (not the normal full height stand). Without the DSP that adds $300-500 to other speakers of this type, getting it off the floor makes all the difference.

I think all he wanted to do was be able to jam along. Recording streaming audio on a separate track is one of those functions that require a separate AI with additional Line Inputs. There are ways to do it with the Helix alone, but they all require modifying every preset he'd want to use like that.

Patch changes are made using PC#s, not CC#s. Depending on the synth, you may also need to send Bank Change (MSB) messages. To prevent the Helix from sending default PCs, in Global Settings-MIDI/Tempo, change the MIDI PC SEND setting to OFF. Then use Command Center to assign custom Bank and Program Change messages to Instant Commands to send what you want when you load Helix Presets.

Because he stuck to his principles, today when you buy a book of stamps, you're guaranteed to be able to use them in the future, regardless of how much the price goes up. In another country, he might've been imprisoned for his act of protest. An American Hero on multiple levels!

An unopened box is no guarantee that an item was either unblemished or totally functional when it left the factory. Even with best intentions, QC is done by imperfect humans. The Helix I bought from an online retailer came in a unopened box. It looked and functioned perfectly. For a few months, then it didn't. I sent it in to Line6 for warranty service and it was returned in 1 week. It has functioned perfectly ever since. Before I got the Helix, I had the HD500X. During that time I went through a phase where I searched for the magic of tube amps. I went through 8 different amps, both new and used. All the used ones performed flawlessly. Two of the four new ones I tried were defective out of the (unopened) box. Many hate on GC, but they stand by their guarantees. As do Amazon, Sweetwater, ZZounds and Line6. Bottom line - some tape on a box is no guarantee of anything. Unless you're concerned that as a used item it might have cooties, don't sweat it. Also - what gunpointmetal said.

As long as you want the streaming audio from your computer on all the outs, that'll work. Don't forget to set the default output device in the Windows sound panel to Helix. Another thing to consider is using a small mixer to make output level matching easier. I use a $50 Behringer Xenix502. I take the 1/4" Outs from Helix to the line inputs on the Xenix, then take the speaker out from the computer to the other set of Line inputs (or the CD/Tape input) on the Xenix, and the speaker outs from the Xenix to my monitors. In the Windows sound panel I leave the Default output device set to the computer's sound card (instead of the Helix). I leave the Big Knob on the Helix maxed (0db), and use the Xenix to control all the levels, including headphones (attached to the Xenix on my desktop). If you use a DAW and VST plugins (Amplitube, etc.) instead of Helix (for processing), the DAW will map to the Helix separately from the streaming signal. You set up a Helix preset without amps/cabs, using whatever pre VST effects you want from the Helix. For instance, S-Gear has no overdrives, so I setup the Helix Plugin preset with a Wah and an overdrive. Just remember to use that preset with DAW/VSTs, or it'll sound awful! That's my simple desktop setup. In my studio I use a Focusrite 18i20 (lots more Ins/Outs) as soundcard AND Mixer, but that's a whole 'nother topic!

First, I don't have a KPA. But I'm pretty good at MIDI and manuals. Bottom line: As long as you can make due with 125 presets, you're good with Bank 1 (MSB=0:0, LSB=CC#32 Value=0, PC#s 0-124). That's 25 Performances with 5 slots each. If you need more........ Here's the details, hopefully more clear than the manual. Step 1 - MIDI Channel KPA default is OMNI. That means it receives on ALL Channel. Helix default is Channel 1 If the KPA is the only MIDI device you're using, you shoiuld be OK with the defaults. If there are more than one MIDI devices downstream from the Helix, you probably want to set them to different Channels, and specify the Channel/device that the MIDI command your sending is intended for when you set it up in Command Center. Step 2 - KPA Performance and Slot Bank # - MSB always = 0 LSB always = CC#32. The Value = (Bank# -1). Bank 1=0; Bank 2=1; Bank 5=4. Performance/Slot# This is selected using Program Change Numbers (PC#). Within a given Bank you have 25 Performances with 5 Slots (+3 - see below). There are 128 possible MIDI PC#s, 000-127. The formula to find the PC# for a specific Performance and Slot is (#Performance * 5) - 5 + (#Slot - 1). Bank 1 Performance #1 Slot #1 would be: MSB=0 LSB=CC#32 Value 0 1*5=5 5-5=0 0+(1-1)=0 Performance #1 Slot 1 = PC#000. (Helix uses 0-127). Performance #25 Slot 5 would be: 25*5=125 125-5=120 120+(5-1)=124 Performance #25 Slot 5 = PC#124 Here's where it gets to be fun. Performance #26 Slot 1 would be: 26*5=130 130-5=125 125+(1-1)=126 Performance #26 Slot 1 = PC#125 Performance #26 Slot 2 = PC#126 Performance #26 Slot 3 = PC#127 BUT THEN Performance #26 Slot #4 would be: 26*5=130 130-5=125 125+(4-1)=128 ERROR!!!!! Performance #26 Slot #4 is in Bank 2! NEW FORMULA - (#Performance - 26) * 5 + (#Slot - 4) To get Performance #26 Slot #4 you have to start over by sending LSB #32 with a Value of 1 to select Bank 2. THEN: (26-26)*5=0 0+(4-4)=0 Performance #26 Slot 4 = LSB #32 Value 1 PC# 0. PITA? You betcha! Only piece of MIDI equipment I've ever seen that requires a calculator (or a pre-printed spreadsheet?)to figure out how to load presets! Bottom line: As long as you can make due with 125 presets, you're good with Bank 1 (LSB=CC#32 Value=0 PC#s 0-124). That's 25 Performances with 5 slots each. If you need more, HAVE FUN! WARNING!!! By all means, check my math. I've only had one cup of coffee, and this is giving me a headache!

Global Settings-Ins Outs-USB in 1/2 Destination-Multi (or whichever outs you choose. With Helix set as your Recording/Playback Default Device in the Sound Panel (if you're using Windows) that should get streaming audio from YouTube, Spotify etc to the Helix and mix it with the processed guitar sound.

Rock On!

I'm attaching the test preset I used. Whammy is assigned to Exp Pedal1.

Works as expected. Have you got the exp pedal assigned to some other volume function?

Assign them both to one footswitch. Save the patch with one ON and one OFF. Each time you hit the switch they'll toggle.

I don't have Logic to test with, but I'm confused about your setup. If nothing is connected to the MIDI IN DIN (for control of downstream devices), then MIDI THRU is unnecessary. What is it that's connected to the MIDI OUT DIN, and what are you using it for in Logic? As far as I know, the DIN ports are always enabled. The OUT port will send any MIDI configured in the Helix (PC SEND, Command Center assignments), as well as passing any MIDI coming from the IN port when MIDI THRU is enabled. It shouldn't pass ANYTHING coming IN from USB. Try using a MIDI monitor OUTSIDE of Logic to see if you can reproduce the problem there. Maybe it's a setting in Logic?

If OP had asked "Can anyone think of a workaround" then this WOULD be (along with Gearpage) the right place to post. But he didn't! And this is NOT where the L6 guys take notice, nor is it a bug. It's a feature request, and THAT"S what Ideascale is for. EDIT: I'm not saying there's anything wrong with suggesting workarounds! That might, in fact, be more effective than Ideascale!

If that's what you need, the Apollo might be the right tool for you. If that's not what I need, the Apollo is just an overpriced interface. Horses for courses. But it's not about us, it's about ipran's needs, and I think we already agreed that it would be a waste to trade down from his (her?) UAD.

My point was NOT that only rich pros use (or can afford) high end equipment, nor that you always, or even usually, get what you pay for. My point was that high end pros NEED high end equipment, if for no other reason than as a selling point for the idea that their studio is better than someone else's. The point I (and others) was making was that the practical difference between the preamps in the $900 UAD and those in the $400 Focusrite are nowhere near as big these days as they once were. However, the difference in latency can be critical when using plugins. The difference in latency between my 18i20 and the Helix is almost as much as the difference between my 18i20 and a UAD. Just not so much that it bothers a hack keyboardist/eDrummer like me! I, too, am a ZZounds customer, 'cause when you WANT the best, or YA GOTTA HAVE IT NOW, and your tax refund is in the mail, ZZounds is great! For guitar-centric applications, the Helix is certainly sufficient. Add Reaper ($60) or SONAR (FREE!) and spend the difference between that and ProTools on a better interface when you need it! Then when you hit the Lotto, get ProTools...:-)

Wrong forum. This is where you go if you're serious about suggestions for changes and improvements: https://line6.ideascale.com/a/index Before posting a new idea, please search to see if it's already been proposed. If 100 people vote on the same idea presented 20 different ways, it looks like only 5 people care about it!

To sum up this lengthy thread: High level pros use high end interfaces like the Apollo. They also tend to have lots of money. Modern preamps vary little between the high end and the mid-range (Focusrite). If you've got the entry level UAD 2x6, and you're mainly using it to record guitar, it's probably a toss-up on the swap, and you'll lose money selling the UAD. If you've got a multi input UAD and/or you're recording plugin synths/drum programs you'd be losing a lot of recording and routing flexibility and the latency factor becomes an issue. Unless you're using the interface in a pro studio setting, you've already spent way more than necessary for the UAD vs a Focusrite and won't be able to recover that investment when you sell the UAD. So, bottom line. Keep the UAD, split your guitar signal before the Helix to get a clean track and do your re-amping with Native. The ability to do that ITB is about the only real advantage to using Helix as primary interface.