rd2rk

I can feel your frustration with this. I currently have 5 audio interfaces. Focusrite Scarlett is my MAIN AI, the rest are built into Line6 and IKMM HW. I have NEVER had this much trouble getting one to work in ANY of the DAWs I've used over the years: Cakewalk; Ableton LIVE; Reaper; Studio One; ProTools; Cubase; Mixcraft; FL Studio - I think there's a couple more that I just don't recall right now. Every one of my interfaces have their own driver (including the two that have died over the years - M-Audio and Roland). If the DIRECT MONITOR button is not the fix, give this a try: Here's a link to DL the actual Behringer Drivers for the UM2. Since this is not an official Behringer site and I do not have a UM2 I can't test them. https://bit.ly/64_Bit_Driver_Behringer Here's a link to where the driver link came from with instructions for installing and using them. He's using a different DAW but combined with my instructions you should be able to figure out the parallels in Cakewalk.

You said that you recorded dry guitar, so the signal is obviously getting to the DAW. Why it's not being processed by Native is the question du jour. Did you get the proper drivers installed? On the BACK of your UM2 there's a switch called DIRECT MONITOR. This should be OFF (OUT).

It MORE than lives up to the "hype". In fact, the real deal sounds BETTER than Native (IMO). They're SUPPOSED to sound the same, but they don't. I have a Helix Floor, HX Stomp, and Catalyst 100. All great! If you want something at an "intro" price, look into the new POD Express.

Download and install the BEHRINGER ASIO Drivers. Behringer | Downloads ASIO4ALL is a third party driver and is NOT the best choice for a number of reasons.

During RECORDING/MIXING it is not important to disable the BIG KNOB. As I said, that is mostly a PERFORMANCE preference. In Helix Global Settings>Ins/Outs set "VOLUME KNOB CONTROLS" to whichever Outputs your speakers are connected to (NOT MULTI!). In your DAW set the TRACK INPUT/INPUT ECHO switch (different DAWS call it different things) to OFF. During RECORDING you'll hear the Helix with DIRECT (ZERO LATENCY) monitoring. You control the playback level of any pre-recorded tracks from your DAW with the TRACK levels in the DAW. The BIG KNOB does not affect RECORDING LEVEL. During PLAYBACK/MIXING you are not PLAYING, so the BIG KNOB simply controls the Output Level of the MIX, which is controlled with the TRACK LEVEL controls.

Screenshot from TGP. IDK who NICK is.

IDK what your attachment is, it's a .php file and Windows doesn't read them. If it was a screenshot, save it in one of the standard formats like .jpg. Refer to my screenshot. On the TRACK, #7, the RED square with the YELLOW dot" That's the TRACK RECORD switch. If you hover your mouse on it it should say "RECORD=ON". The YELLOW square to the right of that, #8? That's the always confusing "Input Echo" switch. If you hover over it it should say "INPUT ECHO=ON". If the Input Echo switch is not ON, all you'll hear is the dry guitar signal. Up top, the section with << and >>? That's the TRANSPORT (like an old-fashioned tape recorder). The GREY square with the RED dot is the RECORD switch.

The SEND Block has a Parameter called "DRY THRU". Leave that at the default 0db to allow the signal to pass through (or adjust as needed for your connected gear). Set that to -120db to PREVENT pass through.

Frelling robot censor has a dirty mind!

If you think of Reverb as the sound of the space you're playing in, then you want Reverb to be POST. OTOH, IN THE BEGINNING there were amps without FX Loops, and the famous Fender Reverb Tank went between the guitar and amp input. So, if you want lollipop Dale Surf music sounds, place it PRE. I generally think of Delay as part of the "ambient space", like Reverb, so I put it POST. OTOH, David Gilmour was fond of the big washy sounds he got by putting both Delay and Reverb PRE. Up until recently, anyone who played through a Marshall or Fender amp with Delay had the Delay on their pedalboard. Think Joe Satriani "Surfing with the Alien". Unless, of course, the Delay and Reverb was added by the recording engineer in Post. So, the definitive answer is that there is no definitive answer. The joy of digital and the genius of the Catalyst and it's Edit app is that it takes mere moments to move the Delay from Pre to Post and back again, a simple twist of a knob to reconfigure Delay Time an Mix for each position and, no matter what you do, the Magic Smoke will never escape! Here's a tip. You can EASILY A/B any configuration. Start on Channel A. Set it up any way you like. When you're happy, DO NOT SAVE! Just switch to Channel B and repeat. You can switch back and forth and the settings will not be lost between Channels. When you've decided, easily SAVE to any of the 12 Channels (presets). Don't like anything and want to get back to the original configuration you had on that Channel? Just switch BANKS. Nothing you do on a Channel is SAVED until you CHOOSE to SAVE it, and the original configuration is restored by simply switching BANKS. As for getting a "Blues" sound, that's entirely in your head. For Buddy Guy I'd use the CRUNCH (Voltage) with low GAIN, add ROOM Reverb (POST) to taste. Use a Strat of course. For "Satch Boogie" same amp with a lot more GAIN (or 2204MOD), cranked BOOST and a Digital Delay (POST) and HALL Reverb (POST). Ibanez shred type dual HB. Again, the brilliance of the Catalyst is that you have actual knobs to twist, just like a REAL amp! You only really need the APP for deep FX parameters. Experiment and HAVE FUN! Final thought - You DID install the latest update with the new amps, right?

Hello, and Welcome! First things first. This is a user-to-user support forum. NOBODY from Line6 hangs out here. If you want them to see your suggestion post it here: https://line6.ideascale.com/c/ But FIRST, do a search. This has been suggested MANY times. Now for the reality portion of our broadcast. Digital Igloo (Eric Klein, Chief Product Designer) has stated that the L6 product philosophy, at least in part, is that if somebody else is already doing it, and doing it well, they're not going to do it. Fractal does it (I think). Positive grid has been doing it for, like, 10 years? There's probably others, that's just 2 off the top of my head. Here's my view - I don't care. There're enough great sounding amps in Helix that I don't feel the need to invent new ones. Also, the design team has been coming up with new and original amp designs since the POD Bean days. I'd rather see them spending their development dollars doing more of that, and maybe original effects? Anyhow, do post over on Ideascale because you're right, you're not the only one who wants that. But search first and VOTE for all the others who got there before you!

Please see my step by step with screenshot post. The "browser" window on the right side of the screen just indicates that Helix Native is installed on the computer and Cakewalk found it. Now you need to put the VST on a TRACK per my instructions.

Hi APSRN! Welcome to the Wonderful World of Digital Music Madness! I haven't used Cakewalk in many years (prefer Reaper), so it took me a bit to get this configured properly. Hopefully I've properly documented the steps. Open Cakewalk. Go to FILE>NEW. The default should be BASIC. Name the project NATIVE and SAVE (click OK). Go to EDIT>PREFERENCES>AUDIO. In PLAYBACK AND RECORDING>DRIVER MODE select ASIO. In DRIVER SETTINGS click the ASIO PANEL. If it doesn't appear ALT-TAB until you find it. The SAMPLE RATE should auto-detect from your AI's Driver (probably 44.1k or 48k - don't worry about it). Set the BUFFER SIZE to 64. Later, when you're playing, if you get clicks/dropouts/other weird noises come back here and try 128. **The BUFFER SIZE determines the Latency. Round Trip Latency (RTL) is the amount of time between when you PICK a note and when you HEAR it. Lower is better, but how low you can go is dependent on your computer's power, mostly processor speed. You should also google Windows Audio Optimization for DAW and configure your computer accordingly. Go to DEVICE. Refer to the above screenshot. My Audio Interface is a Focusrite Scarlett. Select ALL of the Input and Output options for your AI (1-2). Click APPLY and then OK (3-4). Follow the numbered steps. 5-In the FX slot, right-click and select INSERT AUDIO FX>Uncategorized>Helix Native. 6-In the INPUT Box select whatever your AI calls USB 1 (or whichever input your guitar is plugged into). 7-Activate the TRACK RECORD button (won't record until you activate the TRANSPORT RECORD button at the top of the UI below the MENU BAR). 8-Activate the INPUT ECHO button. You should now be able to play and record if desired (by clicking the TRANSPORT RECORD button). Questions?

The BIG KNOB The BIG KNOB up full is 0db - neither boosted nor cut. That level control is in the digital realm BEFORE the DA converter. I researched this a bit and found some stuff on high-end stereo/audiophile sites. The answer has to do with a lot of mumbo jumbo tech speak that amounts to this - if you reduce the level from 0db in the digital realm it does something which might cause your dog to not approve of your tone, but you likely won't hear it. The real reason to lock your BIG KNOB - disabling it in Global Settings by assigning it to an unused output - has to do with preventing accidental output level changes in live performance. If you have it set low and FOH sets your levels based on that and somebody kicks it, or you drag your cable over it and it suddenly goes to 10 the FOH tech will NOT be happy. If it's controlling your STAGE level your bandmates will not be happy. In either case, if it goes to zero in the middle of your big solo, that's gonna suck. Calibrating your monitors My KRK Rokit6 manual says leave it on 10 and adjust your levels at the source. Works for me!

First, WELCOME and just FYI, this is a user-to-user support forum. Nobody from L6 hangs out here. You should post this (very good) suggestion here: https://line6.ideascale.com/c/ I'd vote for it! Now that the boilerplate is out of the way, Helix has a Global EQ which can be setup to accommodate the F-M curve. It is very manual and needs to be set for each situation/level change, but it's very easy to use.

I don't use a MAC so I can't help with the specifics of the programs that you use. All I can say is that my FCB is currently connected to my system via USB but what I'm about to describe also worked when I connected by DIN through a MIDI interface. I set up a track in Reaper to receive MIDI from my FCB (iConnectivity MIO DIN/USB), pass it to my Helix via USB with MIDI THRU enabled, and on to my Powercab via DIN. Works perfectly with bothe Program Changes and CCs. Do you have USB MIDI set to ON in Global Settings?

Default Preset Bank 3 Channel B. Preset NAME is ELMSLEY. AMP is CHIME Group 2. I changed the default Effect 2 REVERB to DELAY.

First thing you need to do is get the app connected to your computer. You didn't show the upper right corner, but "Default Preset" usually indicates that your USB connection is not happening, else you'd see the name of the preset (BANK/CHANNEL name) in that location. Is the GEAR ICON in the upper right corner flashing? if so, check your cables and make sure that you're properly connected.

If you're talking about the PRESET NAME at the very top of the screen, yes, that will remain the same as all you're doing by turning the Amp Selector Knob is changing the AMP in that PRESET. That PRESET NAME will only change when you change PRESETs by changing the BANK or CHANNEL. If I'm still not getting it, make a screen shot and SAVE it in PAINT with red arrows/numbers pointing to the specific areas of the UI that you are referring to in the text.

Define "not possible". Are you restoring them from the BACKUP you made BEFORE performing the update and the RESTORE procedure is failing? Any ERROR messages?

I'm not sure what you mean by "automatically map" a custom setting? Here's how it's done to accomplish what I think you're trying to do: After setting "MIDI PC Tx" to OFF in Global Settings>MIDI/Tempo, go to your Preset, open CommandCenter and set an InstantCommand (the lightning bolts) to send the desired PC# on the desired MIDI Channel (the channel your effect is set to RECEIVE on). Anything assigned to an "InstantCommand" (IC) is automatically sent when the preset loads. Thus, no extra switch involved. You can combine InstantCommands with Snapshots (SS#). For instance, suppose when you load the preset you want your effect's slot #3 to load (SS1). In SS1 you set IC1 to send PC#3. PC#3 is sent when the preset (SAVED on SS1) is loaded. In SS2 you want to load your effect's Slot #7. In SS2 you set IC1 to send PC#7. PC#7 is sent when you select SS2. NOTE: In Global Settings>Preferences there's a setting called "Snapshot Edits". When set to RECALL you do not have to save the preset between Snapshot Edits. For instance, you can change the IC setting in all snapshots and simply SAVE the preset when done. If set to DISCARD you have to SAVE the preset BEFORE editing the next Snapshot or your edits will be lost.

Amp Type will show as whatever amp is loded in that Channel (A/B). For instance, in the new Default Presets, Bank 3 Channel A is the CHIME, Channel B is the ELMSLEY. There's no Elmsley on the Selector Knob. Channel A shows Group 1 below the Selector Knob (CHIME). Channel B shows Group 2 (ELMSLEY). Refer to the Pilot's Guide for the respective Group1/Group2 amps.

The best procedure is to create the preset on the HXS, export it, then import it into Native. You now, IN THEORY, have the identical presets on the HXS and in Native. So, using the HXS as your AI, you record the HXS preset on Track 1 with the Input set to USB 1/2 (HXS Main Outs). At the same time you record the Native preset on Track 2 with the Input set to USB 5/6 (HXS Direct/Input). IN THEORY the tracks should be identical. Why does the DIRECT track (Native preset on Track 2) sound muffled compared to the HXS Preset on Track 1? It's not a difference in db levels (LOUDER is BETTER). That happens at your ears, and (of course) you've levelled the playback output. It's not pickup loading (In-Z). That happens at the HXS Input, not in Reaper or Native. IOW, it's not a problem at either end of the signal chain. I did this with the simplest preset possible - nothing but a bass amp/cab. I repeated it before posting this just to be certain that nothing had changed in the latest Native update (3.71) since the last time I tried this. Nothing has changed. What to make of this? Use the HXS for LIVE playing. Use Native for re-amping, where you actually WANT a different sound for recording. Or, waste valuable hours of your life trying to EQ Native to sound identical to the HXS.

The FW (firmware) update is done using the Line6Central Application. DL and install that first, then connect your Cat and turn it on. L6Central will detect the Cat, report the installed FW and ask if you want to update it. FOLLOW THE DIRECTIONS EXACTLY including the post-update Factory Reset (back-up your existing presets if you want to have them to re-install later). Then DL and install the Catalyst Editor apllication.

I'm not at all sure what all you're doing, more complicated than I've time to figure out, but here's a simple bottom-line reality for you to start with. If your FX SEND is connected to SOMETHING you need a SEND BLOCK in your signal chain. If you want the signal to return from that SOMETHING you need a SEND/RETURN Block or separate SEND and RETURN Blocks in your signal chain. If you use separate SEND and RETURN Blocks you probably want the DRY THRU parameter of the SEND Block set to -120db UNLESS you want a MIX of the DRY and EFFECTED signals. My HXS/ToneX signal chain is: Gtr>WAH>HXS Input>HXS FX> SEND/RETURN Block (Stereo if you're using 2 ToneX)> Send L (TRS to Dual Mono if 2 ToneX)>ToneX Input(s)> ToneX Output(s)> Return L(L+R if 2 ToneX)>HXS FX> HXS Main Out(s). Your SEND/RETURN Global Settings should be INSTRUMENT (ToneX In/Out are BOTH Instrument Level). Hope that helps.