rd2rk

What manual ? Oh, you mean the PILOT'S Guide for the HARDWARE! Somebody at L6 thought the Editor was so simple a caveman could figure it out. NOT! OK, on a Reverb the high and low cuts allow you to fine tune the tone of the Reverberations. The OUTPUT is the level of the signal coming out of the effect. The MIX controls the amount of the EFFECT vs the DRY signal. Wet/Dry would make more sense to me, but nobody asked... If you mix the effect higher than the dry signal it might make the signal sound quieter or vice versa. If so then you can use the LEVEL to compensate. I don't watch many YT vids, half the time they're clueless. Feel free to ask questions here!

Time to contact support! Try to call them if you can, always works better for me than a support ticket.

$5 for a patch cable or $2000 for that thing. That's an easy choice! BUT if you've got the dough, Pete Thorn LOVED these things!

If all you need is A100/B100 just use an A/B Split. Otherwise you're screwed. The MP-500 is about as minimal as a MIDI controller can get.

If you're using both loops for the SpecT in stereo then you're kinda screwed. You'll need to tap dance the RD/amp On/Off vs a one-switch toggle. You'll also still need to use the RD's Output to balance against the Helix amp as I described and use the Output block for the level to the PC+. You just don't have the I/O with the HXSXL to do everything you want. I think the full-fat Helix is still on sale...

Just to be sure - the Cat's LOOP is enabled, the switch is on FX Loop. To test your FX Loop, patch the send to the receive, If there's no sound there's a problem.

I'm not sure I understand what you're after with the "ambient" mike, but if you also want the guitar signal going to the IEMs with the MIC signal, place a SEND at the end of the guitar path and a RETURN at the end of the MIC path, then patch the SEND jack to the RETURN jack. Make sure the SEND has DRY THRU set to 0db (or whatever works best).

Turn off everything but the amp & cab. Set the amp the way you want it re the MASTER. Now use the CHANNEL VOLUME to level the output between the amp on and amp off. Put the Revival Drive in an FX Loop at the beginning of the signal path. Assign the FX Loop Bypass and the Amp Bypass to the same FS. Save the preset with the FX Loop (Instrument Level) ON and the amp OFF. They'll toggle each time you hit the switch. You can also use the same FS to change the Auto Impedance settings if moving the RD to an FX Loop changes the tone by loading the PUPS differently. Now use the Revival Drive's OUTPUT to balance the levels between the RD and the Amp. If using the RD's Output is unsatisfactory for some reason you can do the same with the FX Loop Return Level. Now you can level everything else in the chain. Once the gain staging is set up, use the Output Block Level to get the proper level to the PC+. NOTES: Sometimes putting a GAIN pedal in a loop introduces a SMALL bit of loop noise, so you may need to add a noise gate after the FX Loop. When you run your guitar into a tuner, unless that tuner has a True Bypass it can load the PUPS at 1M and essentially disable the Auto Impedance feature. Is the Helix tuner really THAT BAD?

Set the Output of your MIC Path to SEND 1/2 or 3/4, then take that to your IEM system. If your guitar signal chain is identical for both FOH and your monitors, you don't need to split the Path, just set the Output Block to MULTI. As to requests, sorry, nobody from L6 hangs out here. Post feature requests to Ideascale: https://line6.ideascale.com/c/

I don't have a Ditto, but I set up a Looper preset on my HXS and wired it this way - works perfectly.

Is the Loop activated in the Cat's Settings? You need the app to check this. Does the Looper need to be recording to hear it's input?

All I can say is to examine how I've got it configured. As for CC#80, since it's MOMENTARY it always sends Value 0 after Value 127, so it shouldn't ever trigger on Snapshot changes, only once on Preset Load.

Yes. To keep the new features/presets you need to restore only your custom setlists, not the previous version's backed up Factory setlists. If you've co-mingled custom presets with the factory ones you can do a full restore, export the ones you want to keep, perform a reset to get back the new stuff and then copy the exported custom presets back, preferably to a USER Setlist to avoid that in the future.

Driver Conflict Disabling Core Isolation Switch - Microsoft Community Hub

If you're using the AU version (MAC) or the AAX version (ProTools), yes. If you're using the VST3 version then you can do everything EXCEPT Program Changes.

There's versions of PingPong in both Stereo and Legacy. Trinity is Stereo, Tile is Legacy.

THIS^^^ A quick look at the manual (5150III) indicates that it expects INSTRUMENT level. Most modern amps expect that.

Bump the ticket?

That should work but be aware that some bus-powered AIs are noisy.

There is no elegant workaround. You need to route the processed signal 100% to Path B so you can disable direct monitoring, use USB3/4 to LIVE and have the output from LIVE arrive at the Main Outs unprocessed. That's it. You can try freeing up a Block in your presets by, for instance, combining split amp/cab blocks into a single amp+cab block. Bottom line, and I know this will sound harsh, but it is what it is - when the gear you chose to buy for the job doesn't do the job, you buy the gear that does. In your case that means upgrading to a full-fat Helix or using an external AI and an ABY box to get a DI signal into LIVE.

Only an HXS thing. The AUX In on Helix is just another input, without the auto impedance feature, intended for a synth connection? Does not bypass processing and only useful as a beginning of path input (can't be placed elsewhere in the chain or assigned globally).

"Thank you very much "rd2rk" for this very important information for me. So all I have to do is change the midi controller to be able to change the presets...! Do you have any advice for buying another midi controller (not too expensive)... and who works with Cubase? By the way, you didn't answer my question: what are PC messages for? Thank you again for your invaluable help." PC messages are exactly what you think. Originally, back in the days when MIDI was primarily used with the "new" digital synthesizers that didn't require physically "patching" cables to change sounds, PC meant "Patch Change". Over time and wider usage that morphed into "Preset Change". That's what it means today and it works fine with VST2 plugins, standalone computer synths and amp sims. When Steinberg dropped support for VST2 and replaced it with VST3 they changed the spec so that, while they CLAIM that it's still possible, it requires a lot of work on the part of the developers of the end-user programs. That has not been happening, and new technologies like AU (MAC) and AAX (ProTools) are taking up the slack. In order for other DAWs to use AAX they would have to license it from Avid and, you know, lawyers, money... or else they would have to develop their own new solutions which is apparently not easy. Why, you might ask, does Steinberg, who own both VST3 and Cubase, not develop a workaround for this problem? I think it's because they're lollipops. Here's a link to the Cubase Forum discussion of the issue: No Program Changes in VST3 - regrettable decision - Cubase - Steinberg Forums The corporate attitude is obvious in the posts by Arne Scheffler Your options are: Buy a Helix and use Native only for re-amping. Consider that Helix is also an Audio Interface and MIDI Controller, and can be configured to control Cubase functions such as the Transport - Start, Stop, Record etc. Buy ProTools and use Native's AAX plugin version. Buy a MAC and use Logic with the AU version of Native. Your Live Logic should work fine with Cubase for basic functions. The problem is that Preset Changes in Native via MIDI simply won't work in Cubase because of what I explained above and also because L6 chose to not create a VST2 version (VST3 is the future, baby, and everybody here uses MAC anyway). I don't know what's available/affordable in your part of the world. Look for a controller that allows multiple messages to be sent on a single switch. If floor space is not an issue you can probably find a used FCB1010. With the UNO chip modification it is quite capable of controlling most amp sims, and with the UNO2 chip it will do most anything you want (requires basic programming skills). If you're looking for an affordable, great sounding fully MIDI controllable amp sim to use in place of Native I highly recommend S-Gear (Scuffham). Not nearly as many amps/effects, but what's there sounds great. Join the forum and listen to some of the songs its users have recorded over the years. Amazing!

For simple monitoring, get a $50 mixer and plug the PC and MAC HP Outs and Helix Outs into the inputs with the monitors connected to the mixer. This is how I do it in the office with my HXS using a Behringer XENYX502. If you need to record those sources in a DAW along with your playing get an AI with 2XLR In for Helix and 2 Line in for the MAC. I use a Scarlett 18i20 in the studio with my Helix, but the Scarlett 4i4 (2nd gen at least - earlier had weak pre-amps) can be found used for $100-150. Behringer equivalents can be got for even less, but the actual HW/knobs/jacks are not as good IMO. YMMV.

You're right, the controls are there but dimmed out. There doesn't seem to be a way to pan Path B stereo FX hard L/R, just either/or. Weird. Actually it makes sense, the panning is done in HW. Just no way to control the levels separately.

Steinberg did not design VST3 to be used for Preset changes the same way as VST2, so that will be the case with VST3 in any plugin in Windows, not just Native. Per the quoted section of the Native Pilot's Guide, if you're using ProTools the AAX version should allow preset changes by MIDI. I don't use ProTools so I can't verify that. Snapshots should work fine. With a better MIDI controller you would be able to assign a simple (non-toggling) CC to just send CC#69 and the necessary value. You should be able to mimic that with your "Live Logic" by setting both the ON and OFF parameters to the same value, as I described, so that the same VALUE is sent every time the switch is pressed. If you haven't used MIDI yet in Cubase, IIRC it works like most DAWs - you create a MIDI track to receive messages from your controller, then point the OUTPUT of that track at the AUDIO track which has Native on it.