rd2rk

What "it"? Specifically? Never mind. Read the Release Notes and follow the directions. Summary: DL and install HX Edit 3.60. Run HX Edit with the LT connected and turned ON. Follow the directions. It matters. If you still have problems, come back and answer the questions re HW and OS. Specificity matters.

There's no Dumble in 3.6. It's a Grammatico, which was based on a Dumble.

If you know someone with a Win10 computer, you might be able to use that to complete the update. If not, yeah, support ticket time.

No clue. I tried the Dual Delay summed to mono through my Catalyst. Setting the Spread to zero and matching the mixes of the delays, it sounded good to me, but I don't know what you're after, so... From "The Big Book of Helix Tips and Tricks": Spread. With modulation blocks, Spread alters the modulation’s phase relationship between the left and right channels. At 0.0, the modulation signals are in phase. At 10, the modulation signals are 180 degrees out of phase. At 5.0, they’re 90 degrees out of phase. In simpler terms, higher values increase a stereo image’s width, so it covers a wider range between the stereo images’s left and right extremes. Lots of good stuff in there, a worthwhile purchase (get it at Sweetwater).

I should add (for those who consider traipsing through TGP to be as fun as rolling naked in poison ivy) that IMO the new Grammatico is the best thing L6 has done (next to Placater Dirty), my single-coil guitars LOVE the Elmsley, and the Russian Big Muff is just GREAT!

Not that Helix was DESIGNED to work that way, just that, from the inception of stereo, summing to mono never sounded "right". There's no doubt a technical explanation involving phasing and whatnot, but THAT'S the reason there's both mono and stereo versions of the FX.

It also may seem that way because this is more of a support forum than a "social" forum. Over on TGP there's much more discussion about the upgrade in general and the new Grammatico in particular.

You are SO right! What a HORRIBLE POS the Helix is! And what a terrible, inconsiderate company Line6 is! I feel SO bad for you! Tell you what - I'll give you tree fiddy for your trashy Helix, and even pay the freight! That should get you well on your way to the magical land of Fractal! Let me know when you're ready to ship... I'll be playing the excellent new 3.6 amps and editing the presets with my antique Win10 laptop. The HORRORS these capitalist pigs force us to endure!

If the solution makes you smile, that's all that really matters. If you ever figure out the solution to the original problem, do post back.

Happy to help!

Exactly. "If you're sending your signal to a stereo rig (your stereo monitors), just make sure that you don't use anything mono after a stereo effect." "If you're sending your signal to the Return of a guitar amp, you want to use mono FX throughout." "Mono>Mono>Stereo>Mono = Mono Mono>Stereo>Mono>Stereo = Stereo, but your first stereo effect is being summed to mono by the second mono effect."

That's not what I said. Mono>Mono>Stereo>Mono = Mono Mono>Stereo>Mono>Stereo = Stereo, but your first stereo effect is being summed to mono by the second mono effect. Most Helix FX have both a mono and a stereo version. If you're sending your signal to the Return of a guitar amp, you want to use mono FX throughout. If you're sending your signal to a stereo rig (your stereo monitors, just make sure that you don't use anything mono after a stereo effect.

If you're using a stereo effect followed by a mono effect, the signal is summed to mono. Depending upon the stereo effect, that could sound awful. If you're using mono effects into a stereo effect, there's probably a mono input, typically labelled L/Mono Input. Unless the stereo effect has a dedicated mono output (typically labelled L/Mono), the stereo output should be returned to both the Left and Right returns to get the benefit of the stereo effect. However, if you then follow the stereo Return Block with a mono effect or use only the HXS L/Mono Out, the signal will be summed to mono. IOW - keep it stereo from the first stereo effect to the stereo outputs and use both outputs to a stereo board or amp if you want the benefits of stereo.

You mean Customtone, right? Because I don't see any Catalyst presets in the Marketplace... Do the presets you're downloading have the file extension .catl6p?

Now we know why the 2266 is discontinued! How in the world did Marshall FU an FX Loop?!?

Could be his Marshall doesn't HAVE an FX Loop? Although, if that's the Vintage Modern 2266 it DOES have an FX Loop, so yes, valid question. Having an FX Loop in the attenuator makes it possible for any amp w/o a built-in FX loop to have time-based FX/ Reverbs after the amp. It doesn't place them between the pre and power amp sections, but IME that's not really essential. Also, he specified that the BCU's FX loop works fine with the HXFX delay (in his original configuration), so I don't think that's the problem.

Yes. Are you experiencing those problems, or just asking if they exist? RTM. The octopus analogy is very accurate. No. Export the presets to a folder on your computer to accomplish the same thing. No. And they change with every update. Another reason to back them up to your computer.

The wiring looks right. If you bypass the Send 1 Block and plug your guitar into the Marshall, does it sound like it did before my mods? If NO then go back to what worked before with the BCU Loop, but with my Send 1 mods (Guitar>HXFX Input>Send 1>Marshall Input). If the problem returns then there's something weird in that part of the configuration. If YES then I'm baffled. Plugging your guitar into the HXFX Input (set to INSTRUMENT) and activating the Send 1 Block (set to INSTRUMENT) then routing Send 1 into the Marshall input is really just like adding FX between the guitar and the amp input, there's nothing about that setup that should be causing the problem that you're hearing. It's virtually the same thing that I do with my Catalyst100/HX Stomp (or Helix Floor), the only difference being that the attenuator is internal on the Catalyst100. It (the Catalyst attenuator) comes after the FX Return in the signal chain, just like your rig.

@bbehrens - any word from L6 on that cab bug?

What's that "Analog Drive" thingy? Is that wired in? If so, take it out for now. I'm having trouble following your wiring, as the video doesn't show clearly what is wired to where. Can you set it up so I can see the patch bays of all the devices and which wires are going where?

Video won't play: Video unavailable This video is private I'm logged in to YT. Something on your end?

Global Settings>Ins/Outs Send/Return 1 = INSTRUMENT Send/Return 2 = LINE (assumes that the BCU FX Loop is Line Level - RTM) > indicates signal flow Guitar>HXFX Input>OD/Dist Blocks>Send 1 Block (Dry Thru -120db) HXFX Send 1>Marshall Input Marshall Speaker Out>BCU Input>BCU FX Send>HXFX Return 2 Return 2 Block (MIX = 100%)>Delay/Reverb>Send 2 Block HXFX Send 2>BCU FX Return BCU Speaker Out>Speaker

TL;DR - Cheap solution - get the Ampero Control. Pricier but MUCH more powerful solution - get the MC6. The MeloAudio MIDI Commander (and Harley-Benton MP100 - same device) will work fine. The main restriction has to do with CC Toggling. As far as I can tell, they will only toggle between the values of 0 and 64. This is sufficient for Bypass functions. BUT... suppose you want to toggle GAIN levels. You might want to set the MIN value to 50 and the MAX value to 90 (these are not direct percentages, you'd need to experiment with the Values to get what you want). You can't do that. If you don't think this would be useful to you then these might be viable solutions for you, and quite affordable (see below for the other caveat). The other restriction is that each switch can only send one command. Where this would be a problem is if you wanted to be able to substitute a different EFFECT for the one SAVED with the Preset. For instance, suppose you have the SAVED EFFECT as the DELAY, but you want to be able to switch to Phaser on-the-fly. You would need to send at least two commands - CC#58 Value 2 (selects Phaser) and CC#28 Value 127 (turns Phaser ON). You might also need to send CC#74 Value 0 to place the Phaser in the PRE position. These are all things that the Morningstar MC series (and FCB1010 with UNO2) are easily capable of, but that neither the MIDI Commander/MP100 nor the Chocolate can do. In addition, while the Chocolate can send two messages, it can't send them concurrently. You send them using PRESS/RELEASE or LONG PRESS. Also, I only watched a couple of videos, but it appears that the Chocolate, while it has an Editor App (the other two do not), there's no simple way to set up toggling - you need to use Hexadecimal commands. Do YOU speak Hex? I don't. It's not rocket science but it sure is a PITA! The last thing I want to mention about the Chocolate is that BT sucks. It's (IME) very undependable. I have the Waza Air headphones and bought the Airstep BW controller for them. It stays connected for a few minutes at a time. Sometimes longer, but then will randomly drop when I try to use it. Yes, this is with everything on the latest FW/SW versions and on both iPhone and an iPad. Undependable gear sucks. BT sucks except for MAYBE listening to music while jogging. If you are undaunted by the above rant concerning the viability of BT controllers, there's another option, the Ampero Control. This device has the advantage that it can also be hard wired with a standard 5pin MIDI DIN cable. It can also send up to 16 messages concurrently on separate channels (it can control multiple devices), it has a GUI Editor and it uses standard CC messages for toggling (no HEX!). This is actually the best device of the batch. I might even get one myself just because it's small. The only thing that's preventing me from getting one is that it appears to only be configurable via the BT App. That means that the usefulness of the device is dependent on Hotone's continued support of the app. I have emailed them concerning this and hopefully they'll respond quickly. If that is the case, then this device is a guaranteed dumpster contribution at some point in the future. The Morningstar devices, while much pricier, are NOT app dependent and as mentioned, the MC/MP100 don't have an app. SUMMARY: The Ampero Control checks all the boxes and is pretty cheap (<>$120). I don't have one (yet) so I can't give a full endorsement, but it looks good, assuming that configuration is not app dependent. If that doesn't matter to you (you trust Hotone), go for it! FINAL THOUGHTS All other functionality being equal, the more switches you have, the more flexible your configuration at the cost of a larger device. If I were getting the MIDI Commander/MP100 I would configure the top row of 4 switches for presets and the bottom row for FX Bypass. If I were getting the Ampero I would have the A and B switches set for presets and the C and D switches set for FX bypass. As affects the Catalyst, each Channel is a Preset, each pair of Channels is a Bank. 6 Banks, 12 Channels. For direct access to all 12 Presets that's 3 Banks on the MC/MP100, 6 Banks on the Ampero, or 12 if using 3 switches for Bypass. MC/MP100 have a nice function where you can immediately load the first Preset in a Bank when you use the separate Bank UP/DOWN switches to change Banks. The Ampero requires that you hit two switches concurrently (BIG PITA) to switch Banks, then hit the desired Preset switch. The Morningstar MC6 has none of the mentioned restrictions. In addition, you can attach an external two button FS to negate the requirement of pressing two switches to Bank UP/DOWN. External switches can do other things, and the on-board switches have multiple programmable "actions"- Press, Release, Long Press, Long Press Release, Double Tap, Double Tap Release, Long Double Tap, Long Double Tap Release and others. These, and all of the many other MC6 features, are certainly overkill for the Cat, but who knows what the Cat MkII will be capable of? Or if you might expand your MIDI horizons in the future? Spend a bit extra now, or try to finance a better controller later by selling a function-limited cheap controller at a loss? Is your head exploding yet? :-) EDIT: I just found confirmation from a user (on TGP) that the only way to configure the Ampero is via BT. Also, while the iPhone app works fine, the Android app is flakey. I still recommend it as the best cheap solution.

I'm not quite sure what you're talking about, but as it sounds like random weirdness I'm going to suggest a Factory Reset:

I've just re-read the OP. I'm confused as to what you want to do. You said that you wanted to "use the HXS as an ordinary effect pedal" which, to me, means FX before and after your pre-amp. However, after having a look at the product page for the BSP (I can't find a manual), I can see that in order to provide you with the best connection method I need to know more about your usage. The BSP Input allows for impedances of up to 10M. If you are only using typical bass guitar pickups then you don't need to be plugged directly into the BSP's input, and you can use the directions as I described. The drawback here is that, since the BSP does not have MIDI, for each of the BSP's tonal "scenes", unless the HXS FX are intended to remain static (kind of a waste - you might as well use traditional pedals), you'd need to also manually change the Snapshots on the HXS. Again, I'd need to know more about your intended usage/expectations. The only reason I can see to use the BSP's FX Loop would be if you are using normal standalone FX and want to use the BSP's "scenes" to switch those FX in/out of the signal chain. If BOTH of the above are TRUE, then you would configure the HXS like this: Guitar>BSP Input>BSP FX SEND>HXS INPUT>HXS L/MONO Output>BSP FX RETURN The HXS FX Loop would not be required in that case, and you would configure the HXS I/O depending upon the levels required by the BSP per the BSP manual that I can't find. When/if you reply to this, please be as specific as possible about your intended usage and expectations.