rd2rk

Maybe nothing, it could be my explanation. Without an 8i6 in front of me, and without knowing which DAW you're using, it's difficult. Let me try again. Helix Path 1 Output and Path 2 Input = DIGITAL. DAW Track Input = SPDIF 1/2. Choose a HARDWARE Output for the track. I use the highest available - 11/12. These are the Scarlett's SPDIF OUTS. DO NOT ROUTE THE TRACK TO THE DAW MASTER! Every DAW has a Track Monitoring switch. It may be called Input Monitor/Track Monitor or ? WHAT DAW ARE YOU USING? Set that to AUTO. I use Reaper but have several DAWs and if I have yours, I'll set this up there which will make this much easier to explain. In the Scarlett SW, set the SPDIF Outputs to the USB channels you've chosen for the DAW TRACK HW Outputs. Unmute the Playback Input and Output on the SPDIF Output on the Scarlett. MUTE everything else on the SPDIF Output. Connect your XLRs to the Scarlett's Inputs. Set the Helix Path 2 Output to XLR. On the Scarlett Output 1/2, set the Input to the Inputs that the XLRs are connected to. When you have other tracks in your DAW project that you want to play concurrently, they'll be using the MASTER, which is usually Playback 1/2 on the Scarlett. This is why you use a HW Track Output other than the MASTER. If you get feedback, it's probably because you're using a MULTI setting on the Helix Path 2 Output. That should be XLR. If that's not it, go through the Scarlett's Outputs and MUTE any inputs not in use until you find the culprit. I've attached an example Helix Preset and a screenshot of the SPDIF Output settings in the Scarlett Control. Let me know how it goes! VST.hlx

Put two amps (clean and lead) in the signal path. Set up two snapshots. Save the CLEAN snapshot with the clean amp active and the lead amp disabled. Save the LEAD snapshot with the clean amp disabled and the lead amp active. You can also place the amps (amp only, no cab, both amps active) in a split path with an A/B split and assign the split to snapshots - CLEAN snapshot = Path A with the clean amp, LEAD snapshot = Path B with the lead amp. Then place a CAB after the MIX Block. This can conserve DSP over using two amp+cab blocks.

Understand the difference between PRESETS and SNAPSHOTS. A preset is a complete configuration which INCLUDES snapshots. 11A-11B-11C are PRESETS. Each one contains a number of SNAPSHOTS - 3 on HXS, 4 on HXSXL and 8 on the full sized Helix units. A snapshot is a VARIATION of a preset. Only the details/block settings (on/off)/block parameters are different. When you load a preset there is a momentary audio drop as the old preset is unloaded and the new preset loads. Snapshots load INSTANTLY. To change routings you only need to create a snapshot with those routings active. RTM to better understand how this all works.

I meant the Helix emulation of the amp’s power section which is controlled by the MASTER parameter. This is probably not the problem, but at this point I’m out of ideas. Good Luck!

Again, what about the Helix Output Block meter? That really is the best way to tell if it's the Helix. What do you mean by "when I crank the amp all the way"? If you're cranking the amp's MASTER, then you could be hearing the natural compression of the amp's power tube emulation. Although, 15-20db does seem a lot. Does it do the same thing when you use the Channel Volume or the Output Block Level? I'm really just spit balling here. This is a behavior I've never seen anyone else report before.

Preset switching is the most basic MIDI function. If all the switch does is that, and that's all you need, why pay for more? At that level, what you're looking for is dependability. My entry into MIDI was the FCB1010, VERY cheap, 15 years ago? It still works fine. By default, out of the box, preset switching is what it did. With the UNO2 chip it can do just about anything you can imagine that you might need MIDI to do. That said, it's NOT what you're looking for. It's big, ugly, and even with the stock chip it does more than you need. The price of the BSLL on Amazon is $179. The MC6 is $229, and the Paint Audio MIDI Captain is $89. Which has the most dependable switches? I have no idea. If I was in your shoes, I would go for the MIDI Captain. If it feels like it has cheap switches, Amazon has a great returns policy. On the other end, I would be very surprised if the Morningstar MC6 wasn't the best. So, two bits of advice. First, stay away from Bluetooth wireless. Someone will jump on and say "Oh, BT is fine, I have no problems!" Not my experience. When you hit that switch on stage you want it to work, not have to re-pair between songs while the audience thinks "SO amateur!" I have the BOSS Waza-Air Headphones with the dedicated Airstep BW BT controller. It FREQUENTLY loses connection. VERY annoying! Second, the longer I used MIDI the more I needed/wanted it to do. That's how I went from the stock Behringer FCB1010 to the UNO2 chip. The Paint Audio MIDI Captain does most of what the much more expensive MC6 does and has proper MIDI DIN ports. It's WAY more capable than the BSLL. For $89, that's where I would start. I've heard good things about it over on TGP, and nothing bad.

Not getting that tremolo noise on mine. Are you using some other effect at the same time? Pre/Post? What are your settings?

Yes, it will work. How well depends upon what it is you need it to do. Simply switching presets? No problem. Bypassing FX? Not so simple: Ideally, you want a controller that sends messages when the controller's preset loads, the way Instant Commands work in Command Center. TBH, something like the Morningstar MC6 is your best bet for this, but not cheap. I don't recall if the LL will do that, maybe they've added that ability since I last looked into it. Changing Snapshots? Works within a preset, but loading a specific snapshot when the preset loads (other than the SAVED Snapshot)? Not possible, as it can only send one message at a time. Again, maybe they've added that ability recently. Re: # of switches - why not just send MIDI to do what you want vs using MIDI to activate a FS that then does what you want? Or a combination, making an 8 switch MIDI controller more useful? For example, a FS that performs multiple functions, parameter changes and such, could be directly activated with its factory MIDI CC#, while simple BYPASS functions could be assigned a custom MIDI CC. Anyhow, just some thoughts.

This is a user-to-user support forum. Nobody from Line6 hangs out here. If you'd like the L6 developers to see your wish, post it here: Http://line6.ideascale.com/ I'll vote for it, even though I'm totally happy with what's already in it and, actually, I am happy that you CAN'T do that because, having a Helix, I don't need it and find the limited # of amps a refreshing break from the options paralysis and endless tweaking that I sometimes experience with Helix - TOO MUCH of a good thing isn't always good! Sometimes I like to just turn on my Cat, put it in MANUAL mode, and just PLAY!

Not sure if it applies to the powerstage, but most amps will compress when pushed.

The only way I can see that happening is if there's a channel compressor on the mixer channel. If the LT was lowering its output, then that would be visible on the LT's Output Block meter.

Using shielded TS cables, connect the physical FX Send1 (or 2) jack to the pedal's input, pedal output to Return1 (or 2). Place the FX Loop1 (or 2) Block in the signal chain where you want the pedal to be. Leave the pedal ON and assign a FS to toggle the FX Loop Block ON/OFF or configure Snapshots with the FX Loop Block set ON/OFF as desired.

I'm not sure what you're asking. Instant Commands run when the preset is loaded and each time you change Snapshots. When you create an Instant Command (IC#), that IC retains that command TYPE in ALL Snapshots, but the specifics are set to defaults in the other Snapshots (SS#). Example - In SS1, IC1 is set to MIDI CC #5 on MIDI Channel 2. In all other Snapshots IC1 is set to MIDI CC #0 on the BASE Channel - the defaults for MIDI CC. IF, in Global Settings>Preferences>Snapshot Edits = RECALL, you can move through the Snapshots and set IC1 as required without losing the settings made in SS1. If Snapshot Edits is set to DISCARD, then you need to SAVE the preset before moving to the next SS or you'll lose the settings you've just made. If I'm not understanding your problem, please provide more detail.

The latest version should install and load just fine. It works just fine in PT for me. Uninstall the old version using the uninstaller. You MIGHT have to do a registry cleanup before installing the latest version.

Crickets.

No.

Try the attached example preset. Take your DRY signal from SEND 1. Use the DRY THRU of the SEND Block to determine how much of the DRY signal gets to the Stereo (WET) FX. If you need more volume there use the GAIN Block. Obviously, you'll need to adjust the settings of the WET FX to taste, I have no clue what you're after. Likewise, move the PITCH/DELAY Blocks as you please. mvk20.hlx

Yes, just go to the XLR Output Block and pull down the level. Don't confuse the GAIN settings for the MIX settings. The GAIN settings are used to optimize the signal to the mixer's pre-amps so that you can get the maximum MIX output without pre-amp distortion. The MIX settings are used for mixing your live shows. Keeping the RECORDING level in the -18db to -12db range allows headroom for processing (EQ, Compression etc) and mixing projects with large #s of tracks and many instruments of different dynamic levels.

Couldn't help myself. I took the Output Block Level down from 0db to -12db and that put it right in the sweet spot. No, it has no effect on the TONE other than our buddies Fletcher and Munson. Just turn up your amp to compensate for that. If, going forward, you build your presets with the gain-staging rules I outlined, you may find that your presets sound better - or not! Just remember that the final Output Level to your mixer can be adjusted at the Output Block, and the Channel Level on the mixer SW GAIN page determines the proper level for the mixer, and when all of that is set properly the DAW Channel Input level should be about right.

Cross posting. I'll have a look at your preset tomorrow.

I DL'd the manual for your mixer. You have two "mixer" pages. "GAIN" and "MIX". GAIN is the equivalent of the INPUT GAIN KNOB on an old-school analog mixer like my Behringer. It is also the equivalent of the INPUT GAIN KNOBs on my Scarlett. This page is used to set the optimum Input Level for the mixer's pre-amps. The way you set these levels is to pull the Channel Level slider all the way down on the MIX page (no sound comes out), then play HARD with BIG CHORDS while pushing up the Channel Level slider on the GAIN page. When the meter hits the RED, pull it back just until it no longer hits the RED. This is the optimum level for the pre-amps. If that means that the slider is all the way down, that's OK! The knobs on my Behringer are BARELY cracked, and my Scarlett's knobs are always at zero. This is with an empty preset and the Helix BIG KNOB dimed (0db) and results in an Output/Recording Level of <>8db in the Scarlett SW and in Reaper. When I add any Amp+Cab (default settings) that takes the level down to <>-14 to <>-10db. The general recommendation for Input Levels in a DAW is between -18db and -12db. I've seen it as low as -8db, but that's pushing it IMO. Minor adjustments can be made with the amp's Channel Level. A couple of db either way will not have a major effect on the downstream FX. What is the Ideal Level to Record Tracks into a DAW? - InSync (sweetwater.com) Bottom line - don't worry about where the GAIN slider is set, as long as you keep it out of the RED you're good. Build your presets starting with the Amp and Cab. As you add FX, keep track of that GAIN Level. If an effect increases it, lower the Output of the effect and vice versa. NOTE: I use the IKMM T-Racks metering app in Reaper because it's easier to read than the Scarlett SW and default Reaper Channel meters. It also contains a LUFs meter. Reaper also has the FREE JS Loudness Meter which also has LUFs but isn't as pretty ;-) Yours has that cool segmented display, so you should be good to work off of that.

Yes.

All paths are stereo. Stereo blocks maintain stereo output. Mono blocks collapse the signal to mono. A mono signal is actually dual mono - the same signal on both the LEFT and RIGHT of the path. A mono signal into a stereo block restores stereo. Using the "PAN" parameter of the SPLIT and MIXER blocks is how you control the routing of stereo or mono signals in a path. Experimentation, especially when using headphones, will help you to fully grasp the ins and outs as explained above. HINT - the stereo Ping-Pong delay is invaluable when learning how it all works.

I have to wonder what kind of mixer you're using to have this problem. My studio mixer is a Scarlett 18i20. I tried several amp+cab combinations using default settings and even the clean amps (most dynamic/least compression) were only hitting <>-7.6db on the Scarlett and in Reaper. Next, I broke out my ANCIENT (had to search through the closet) Behringer Eurorack UB1002. I had to turn UP the Input Level to tickle the red light, and that was hitting the guitar harder than I ever do when playing. This has to be the result of something that you're doing in your presets. Attach one of the "problematic" presets and I'll have a look at it.

@quigster- please don't take our frustration personally. After Snapshots, the intricacies of the stereo signal flow are the most difficult thing about Helix to grasp or explain, and those of us who are regulars here sometimes get a little crazy trying to explain it. The preset I sent took me most of an hour to put together because I had to relearn how to do it, and I've had my HXS since its release and use it every day! Play around with my preset, study the panning techniques that I used, and it will eventually click for you! @datacommandohave a beer on me! If I still drank I'd be having TWO! ;-)