rd2rk

Global Settings>Ins/Outs>USB in 1/2 Destination = 1/4

IDK about L6, but IK has such a robot for that purpose. I can't imagine that L6 does it by hand. AARGH!!!

Per the JNC vid - yep, other good reasons to separate them. Keep it simple or get as complex as you want, Helix does it all! Notice that he demo'd the "fad" I mentioned - putting an OD between. Sounded like crap to me :-P!

I do not recall where I read it, which is why I specified "it is my understanding". I THINK this was discussed in a major thread about impedance curves that ran on TGP in the D&M forum a couple of years back. Unless you prefer the way it sounds with FX between. A while back there was a fad where people were putting ODs between. Made no sense and sounded like crap to me, but whatever floats yer boat!

I don't have the Rack/Controller, I have the HXS with the ME SP-1 (the one with two output jacks designed for the Rack and HXS). I created a preset: SS1 SP-1 FS goes to SS2. SS2 SP-1 FS goes to SS3. SS3 SP-1 FS goes to SS1. In HX Edit I did a simple copy/paste. The copy works fine. I did a "Save As" copy. The copy works fine. Attached is the preset I made. Does it work properly on your Rack? dav1dmaes-1.hlx

The unhelpful answer is "whatever sounds best - no rules here in the digital wonderland!" If "feel" is important to you, it's my understanding that the speaker impedance curve is baked into the amp and specifically matched to the cab that L6 uses in the full amp+cab block. As long as you use that cab, there's no other reason to care about separating the amp and cab. I couldn't tell you if having the matching speaker impedance curve really makes a difference, I don't notice it and have always used whatever cab/IR sounds best. EDIT: placing time-based FX in an FX Loop (between pre and power amps) is not the same as placing them between the power amp and speaker (as in Helix). Generally, I put the cab/IR at the end of the path that goes to FOH (XLR) and nothing between the split and the 1/4" out to my stage amp's Return, (currently my Catalyst which is in 4cm). Think of it this way - much great music was made before FX Loops, with ALL FX between the guitar and amp input. In the studio, most engineers take a DI to the board and add FX in post. I can't tell the difference, can you?

First, I'm not a professional, and this is not a forum for professionals. Second, blaming your self-chosen TOOLS is unprofessional and immature. Third, if you whine a bunch of BS on a public forum you should expect to be called on it. Lastly, I also made real world practical suggestions for how to get the results you desire. That IS professional. If your feelings are hurt by any of that, it's your problem. I'm not at all sorry. As I said, suck it up buttercup.

You spent thousands on a computer and interfaces that won't do the job you need them to do and you blame WINDOWS and ASIO??? Get real! You didn't do your research prior to your purchase. You still don't have a clue how any of this works! ASIO does not create excessive latency. Unless you also wasted a lot of money on an Nvidia video card (though that's necessary if you're doing ToneX captures, in which case you need 2 video cards and enable the one whose functions you need), you should be able to get <>2ms latency from that computer. What does the video card have to do with audio? Geek stuff, google it. You bought an RME interface because "IT'S the BESTEST in the WHOLE WORLD!" If you'd bought the Digimax with ADAT and the RME with ADAT (you didn't specify the models, it matters) you could use them together and with ANY OS and have all the I/O you need. As for the limitations of the Stomp XL, if I needed to carry 4x8 sheets of plywood I wouldn't have bought a KIA. The Helix Floor and Rack have SPDIF connectors (also AES/EBU on the Rack). That's how I connect my Floor to my Scarlett 18i20. I have no shortage of I/O (and ADAT for expansion) and get 7.6ms RTL (below the generally accepted 10ms threshold of perception), mostly because my computer is an ancient i7 laptop. If it mattered (or even if I just had that kind of money - being retired has drawbacks) I'd spend a bunch on a high-end box like yours. You screwed up. Suck it up buttercup! So, when you get over being pi$$ed at me here's what you do - dump your fancy interfaces and get something like I suggested. Make sure it has ADAT connectivity for future I/O expansion. FWIW - most people who buy those high-end AIs do so because of the pre-amp specs. Reality - humans can't hear the difference between an RME pre and the pre-amps in Focusrite or even BEHRINGER interfaces. Golden-eared producer types MAYBE, but everybody else is FOS. Same goes for 2ms vs 4ms latency. To get a DI input for re-amping with Native or whatever place a SEND block first in the signal chain. Or, if you don't need the auto-impedance function, just get an A/B/Y box. Or, if you can swing it, get a Floor or Rack+Controller. Then you can send processed (mono) and DI signals on separate digital channels.

To use your existing interfaces, get a MAC and set them up as an aggregate device. I hate MACs. This is how I do it: Amazon.com: Focusrite Scarlett 18i20 3rd Gen USB Audio Interface, for Producers, Musicians, Bands, Content Creators — High-Fidelity, Studio Quality Recording, and All the Software You Need to Record : Everything Else There are many similar interfaces, take your pick.

Take the L/Mono Out to your stage monitor. That gives you volume knob control of that. Place a CAB or IR Block on Path B and split the Path so that Path B uses Outputs 3/4. Take a 1/4" cable from the SEND Out to either the board (if close) or a DI Box (if over 20' away). That gives you a steady output to FOH. Example attached. mikeabbs67.hlx

Wrong forum. Nobody from L6 hangs out here. If you really want the L6 folks to see your suggestions post them here: Log in | Line 6 Ideas (ideascale.com) Search first so as not to dilute the vote. Post your ideas separately. I, for one, NEVER vote for multiple ideas in a single post.

Main outs of what?

Did you perform a factory reset AFTER the fw update?

HX Send to your amp's input too hot (distorting the amp's pre)? Lower the SEND level. HX Return distorting, but you like your amp's pre settings? Lower the RETURN level. Level disparities when switching between HX amp and your amp's pre? Adjust as necessary per the above. (don't forget the Helix amp's Channel level) Other?

See ya later alligator!

Mine is used like that with my Catalyst (switches banks/channels via MIDI), with ToneX, with whatever plugins I feel like using in a given day and, oh yeah, all by its lonesome with its own amps and cabs. As for the onboard fx pedal I'm going to say yes. I have a 535Q that is backup along with my HXS. Once you get used to having the two chains linked for a nearly infinite # of fx (vs what, 8 on the HXFX?) you'll wonder how you ever managed.

Actually talking about the noise perceived by @sdahe. Helix FX models are pretty accurate. If a configuration is noisy with HBrs, a SSS Strat, especially without a RW middle PU, is gonna be REALLY noisy! My first test was with my PRS, which has pretty high output PUPs. There was noise in HB mode, but that got REALLY loud in single coil mode. After you described your guitar I tried it with my HSS Strat, which has much lower output PUPs. The noise was much diminished, but definitely there in positions 3 and 5. Overall, though, I like the preset much better with the HSS Strat. It's a nice sounding GP rock preset!

I tested it with HBrs. I didn't bother with my Strat because... YOW!

The only hum I hear is on the Crunch and Heavy snapshots. In both of those the Minotaur is engaged with the GAIN dimed. Just like ITRW, an OD with the GAIN dimed is gonna be noisy. In the HEAVY snapshot the 808 is stacked in front of the Minotaur with its GAIN at 0 but its VOLUME dimed. Noisy times 10. Again, just like ITRW.

No Helix I know of has internal speakers. Do you mean the stock cabs? Some people love the new cabs, some will only use IRs because... ? As discussed above, if you monitor through a guitar amp and you like the way the cabs/IRs sound through it, go for it.

Most people who use a guitar amp as stage monitor don't use an IR on that output. Most people who use an FRFR as stage monitor do use an IR on that output. I prefer to hear the amp (Helix or real amp) in my HP with an IR, so I set my HP to monitor the XLRs because I go into a guitar amp return for stage monitor and have the IR/CAB on the XLR to FOH. Multi covers it all but as you said, the output is higher because it's a mix of all outputs. You can use to HP volume knob to control the level, but do you WANT a mix of IR and no IR signals in your HP?

You're actually using a HX Stomp? Press VIEW so that you see what Mode you're in. If you only see SNAPSHOTS then press the PAGE> button until you get to the MODE you want. If the unit is really stuck, then perform a Factory Reset by booting while holding FS 2+3. You DO have a BACKUP, right? (computers 101) If not try doing one with HX Edit. If that doesn't work...

Helix is a guitar amp and FX modeler, one of (if not THE) best. It also has limited capabilities as a MIDI floor controller. It is NOT a Swiss Army Knife. Between this sort of thing and the looper fanatics, there are too many users who want to make it a Swiss Army Knife. I'm NOT one of them. I am opposed to using Helix resources for anything other than making it better at its intended purpose, the best guitar amp sim and FX modeler. Maybe small enhancements to its MIDI capabilities, but not at the cost of consuming major HW resources, support and developer time.

The HR FRFR speakers don't have a preamp, as they are not intended for PA use, so this is not accurate. The Volume knob is just a straight-ahead volume knob.

1 - You want a consistent signal to FOH. In Global Settings>Ins/Outs set the XLR Outs to LINE and BIG KNOB CONTROLS to something other than XLR. This will provide a UNITY SIGNAL (Out = In) to FOH with no chance that the BIG KNOB setting getting accidentally changed will cause FOH to want to kill you. 2 - Create your presets at or near performance level (at least 90db), then make sure that all of your presets have the same output level so that the really soft ones won't get lost in the mix causing FOH to turn you UP so that when you load the one that's way louder than the others it causes FOH to want to kill you. The way I level my presets is to take the signal into a DAW (I use Reaper) and put a level meter (I use the JS Loudness Meter) on the track. If you set all of your presets' output levels to between -18db and -12db (pick a level and stick to it!) that should make any FOH tech happy. If you have access to a decent PA, create a few representative presets and test them. My above recommendations might be too conservative, or too hot for IEMs. If your HR FRFR will be your stage monitor, take the 1/4" L/Mono Out to it and set BIG KNOB CONTROLS to 1/4" Out. 50% sounds about right. If you're using it to create your presets from the XLRs at UNITY then use the Volume knob on the FRFR to set the room level and use a db meter (phone type will work) to get the level in the room up to AT LEAST 90db so that you're over the Fletcher-Munson effect.