rd2rk

Do a Factory Reset on the Helix. Reinstall HXEdit. Make sure that the versions match. Since we have no idea whether you're using a Windows PC or a MAC or what your OS version is we can't tell you much more than that.

Attached are 4 presets - 2 for Helix with Cat FS (LFS2) and 2 for without the FS (NFS). Configuration: Wire the rig for 4cm using Send1 and Retrurn2. I find that when switching Helix amps that this configuration is less noisy than using a single Send/Return Block. In Global Settings configure Stomp Mode for 10 Stomps and setup Preset Mode with 4 Presets and 4 Snapshots. Put the physical FX Loop Switch on the back of the Catalyst in the LEFT (FX Loop) position. This places the Cat's FX after the RETURN and before the Power Amp. MIDI Channel is 1 (BASE on my Helix) which is the Catalyst Default. The 2 presets call the Clean Amp and the Boutique amp in Cat Bank1 and Bank 2, the A Channel of each. They'll call whatever you have in those Banks/Channels. To call others just copy the Presets and change the Program Change message (PC#) in the second Instant Command per the Cat Manual. In the NFS versions you'll also need to change the PC#s on the A and B switches. The first Instant Command turns ON the Cat's FX Loop, allowing 4cm to work. I don't use the Helix footswitches to BYPASS the Cat's FX because when you change channels after using the Helix switches it confuses one or both of their tiny brains and the switches no longer do what they're set up to do. The way I get around this is to use the Cat's B channel to turn on Cat FX. I use the Helix FS for Cat Boost in the NFS versions because when you use MIDI to switch channels after turning the Boost ON it goes OFF but the Helix switch is still ON. If you need to turn it on again you just hit the switch twice. For some reason if you do that with the Cat FX the switches start working backwards - MIDI OFF is ON and vice versa. IDK why it's different with the Boost, it just is. The Cat's FS (LFS2) works the opposite - when you turn on the Cat's Boost it stays on when you switch Channels. Again, IDK why it's different with the Boost, it just is. This is part of the reason I recommend getting the LFS2. BUT - With the LFS2, if either of the switches are ON and you change Helix Presets, the Cat's Preset loads in its SAVED state but the LFS2 switches remain ON. Re-syncing requires turning the LFS2 switches OFF. Without the LFS2 (the NFS Presets) if the Cat Boost switch is engaged and you switch Channels, the Cat Boost switch remains ON but the Cat's Boost is NOT on (unless the Cat's Preset was SAVED with it ON. You have to hit the Cat Boost switch to turn it OFF and re-sync or hit it twice to turn it ON. I know, it sounds very confusing, but play around with it and it should make sense. Keep in mind that these presets are intended to show you the principles of how the interactions work in a couple of Helix "Kitchen Sink" presets. Once you understand the principles you can create multiple specific use presets both on the Helix and the Cat which will behave the way you need them to. There are two Boost switches in the NFS versions, one is the Cat Boost and the other is called Lead Boost. Lead Boost just adds 5db to the Output Block Level, so it's a Clean boost, whereas the Cat Boost is before the amp and overdrives the Cat Amp's Input. The Snapshots "HiWatt" and "OrangeRkr" turn OFF the 4cm (by turning OFF the Send/Return Blocks) cutting the Cat's amps out of the signal chains. The Helix Amps are in Parallel and are always ON. The Snapshots simply redirect the signal from 2A (WhoWatt) to 2B (Mandarin Rocker). Obviously, you can put whatever amps in there that you want, just save the Preset with both amps ON and let the A/B Split do the routing. I hope this all makes sense. Study the way it all works in Command Center and if you have questions feel free to ask. Have Fun! Catalyst1 NFS.hlx Catalyst1.hlx Catalyst2 NFS.hlx Catalyst2.hlx

Sometimes it's hard to remember who's got what - is this the guy with the Stomp or the guy with the Rack? I just got back from a week in hell (Kansas) and I'm trying to catch up with half a dozen threads here and elsewhere that have been in limbo for a week. My brain hurts. I'm skating on the edge of IDGAS territory. Time for some LOUD AC/DC! I'm getting too old for this too. I have to think about it like this - since I don't have kids it's how I earn my Angel Wings. ;-)

In Rev F (the latest English version) it's page 16, but whatever. Glad you got it sorted.

Go back to 19:20. That's where he sends the signal to Path 2A. Or you could refer to Page 16 in the manual...

1 - Connect the XLR Out to a Mixer or a single speaker that chains to a second speaker. It will always be MONO because 2 - The Catalyst is a MONO amp. The FX are MONO. 3 - In 4cm (the most FLEXIBLE method) you put the HXS Amp in the signal chain alongside a Send/Return Block. Assign a FS (or create Snapshots) and SAVE one ON and the other OFF. Example - S/R Block ON, HXS Amp OFF. Now when you hit the FS (or change the Snapshot if so configured) the Catalyst Amps are engaged when the S/R Block is ON and the HXS Amp is OFF and vice versa. You are now entering the area where you are soon going to be wishing you'd bought a Floor/LT instead of the HXS.

I also explained that in order to use the lower Path you need to click on the OUTPUT BLOCK of the upper Path and then in the lower edit pane select Path 2A. I also mentioned that you REALLY need to RTM. Videos are NOT the best way to learn this stuff!

Mine works fine, first time, every time. Set FS5 to "ToggleExp".

When you run the stomp into monitors you are most likely using a cab or IR. At best, with good monitors it sounds like what you'd hear in the sound booth of a studio with the amp being mic'd in another room. And you're lucky at that using the HP out vs the Line Outs. The HP out has a low watt amp designed to drive HPs which is then being amped again before it hits the speakers. If you use the stomp without a cab/IR and the stomp's line outs into a Catalyst's RETURN (not the Input) it sounds like a real amp and speaker, right there in the room with you, because...it IS a real amp and guitar speaker (no HF Driver) right there in the room with you! My Catalyst100 sounds WAY better (even at low volume - 55-75db) than any of the FRFR solutions I've tried AND better than the tube/112 amp I USED TO have. I have the Catalyst100. The difference between the 60 and 100 is MAYBE the 100 sounds bigger because the cabinet is bigger and obviously you can't get it as loud as the 100/200 watt versions, and the 100 has proper MIDI connections (no HOST required). The difference between the 100 and the 200 is that the 100 sounds like a 100watt 112 and the 200 sounds like a 200watt 212 - way louder and bigger because it's got twice as much power pushing twice as much speaker pushing twice as much air. Lastly, the Catalyst's RETURN can be configured to be used with or without the Cat's two FX (reverb and delay or mod) thus sparing considerable DSP in the stomp. AND the Cat's amps sound great on their own so it's a great backup in case the Stomp fails at a gig, AND you can use the Stomp's switches/Command Center to expand your control of the Cat. I do recommend that you get the LFS2 FS to go with it. The LEDs are very useful (is the boost ON or OFF?) and despite what some have said, I've had no noise problems at all when switching channels with it.

The Cat's ASIO sends both a wet and a dry signal. Check the PodGo manual to find out which USB channel is dry and use that. I suspect though that the RT Latency using this method might be excessive, but I haven't tried it so I may be wrong about that.

The "hum destroyer" worked until I added more devices - I had only 3 at the time but I typically have 12 USB devices connected with no problem and I have others that I add in as needed. The problem is not caused by the number of devices but rather by their ground interactions. Start by unplugging all of your USB cables at the computer (except wireless kb/mouse dongles) then reconnect them starting with the most important ones until you find the culprit. Then swap ports until the noise abates. If that doesn't get it then sometimes (as in my case) a powered hub will do the trick. I still have the "hum destroyer" in one part of the system where it seems to be the only fix. Good Luck!

Start by performing a full Factory Reset: If the problem persists, contact support.

Only the last block needs to be stereo to get a stereo signal, but any mono block that follows a stereo block collapses the signal to mono.

Nobody from L6 hangs out here. Try asking this question over on TGP in the Digital and Modeling Forum. A quick search turned up some references to the Legacy Auto Swell. Apparently it requires some technique to use, and very few find it satisfactory. There's also a couple of YT vids on the subject.

The obvious next question is - WHY would you want to do that?

Maybe. Maybe. If you think that's important. It's your money. At some point you gotta get out there and spend it. We can't do it for you! Don't the stores in your country have returns policies?

HR seemed to have a bit more in the low mids in the CLEAN example, and more clarity in the distorted examples.

Glad I could help!

Based solely on that video I would buy the HR. Interesting that there actually is a difference between the two.

Page 38 of the manual "Mixer Settings".

Refer to the MIDI chart in the HXS manual. CC#2 activates the HXS Exp Pedal 2. When controlling two MIDI devices from a single controller, set them to different MIDI Channels (HXS default is Ch1, GTK is probably the same, set it to Ch2). Then set your MIDI controller to send HXS messages on Ch1 and GTK messages on Ch2. Not all MIDI controllers are capable of sending multiple messages on separate channels with a single button press. RTM to see if the MP100 can do that. The alternative depends on your needs and the capabilities of the GTK. If the GTK has hard coded CCs (the Send/Return Block can ONLY respond to CC#2 then you have a problem since the HXS Exp 2 is hard coded to CC#2. Thus the need for separate channels.

Key word there is "allegedly". I never got a straight answer from them about the "tuned for guitar" claim. You can probably still find the HR/Alto comparison I mentioned on YT. Anecdotal addition to the discussion. I had a fly date to western Michigan and at the last minute discovered that the backline amps were not going to be available and the PA was minimal. I rented a QSC K10.2 from the local GC to use with my HXS. It sounded WAY better than my Alto 210. As @DunedinDragonsaid, you get what you pay for.

No, you don't. That preset was configured that way just to demonstrate concepts. Are you using effects on your electric presets whose input impedances are <1M such as certain fuzzes? Attached is a text file that lists the input impedances for most of the effects. The "authenticity" of the tone of such effects is dependent on loading the guitar's pickups in such a way as to attenuate the pickup's high frequencies. This requires that the guitar be plugged directly into the HXS's Input. If you're not using such effects, don't care about the "authenticity" or can swap them for 1M effects then that doesn't matter. This allows for two simple solutions. 1 - Plug the electric into a Volume Pedal (loads the pickups at 1M - no HF attenuation) and turn it off when you go acoustic. This does the same thing as the BYPASS switch on the VPDI (not ideal). OR 2 - Get an ABY box (loads the pickups at 1M - no HF attenuation) and run both the electric and the VPDI into its inputs and the output into the HXS's L/Mono Input (ideal - the way the pros do it!). The VPDI loads the acoustic's pickups at 2M - even less HF attenuation. What comes after doesn't affect pickup loading, but if you run the VPDI into analog FX (HXS is digital) it CAN affect tone. See below. Remember - unless you're feeding the Helix a stereo signal (or two instruments requiring discrete paths as in my demo preset) your signal chain doesn't CARE which input the signal comes from. The first mono block it hits turns the single left or right input channel into a dual mono signal, the first stereo block turns it into a stereo signal. Your presets are fine as they are. You load the proper preset (1 or 2 HXS button presses, depending on how cleverly your presets are ordered) and BYPASS the instrument you're not using by simply pushing one button on the ABY box. No cable swapping. Simple to do while you're entertaining your audience with witty between tunes patter! This will work but requires external power for the LEDs (not essential): On-Stage GSP1000 ABY Switcher Pedal | Sweetwater This is better and can run on a battery - low draw means rechargeables will work: https://www.sweetwater.com/store/detail/ABYGold--morley-aby-gold-2-button-aby-signal-switcher-pedal This thread started with you asking for a complex configuration that isn't really necessary to accomplish your goal of being able to put down one guitar and pick up the other. I looked at the VPDI manual and I do not believe that the recommendation that it be last in chain applies here. They're talking about an analog signal chain. Helix FX Impedance.txt

Found it (I think): MIXER Settings>Page 2>Knob 3 Mixer Overall Output Level.

You could buy an attenuator for your amp. A good one can be pricey. Or you could buy an amp that's made for your situation. What's your budget? TBH, there's not many amps that can be played with satisfactory tone when someone is sleeping in the next room. Most of us get something that's suitable for use with headphones. Again, what's your budget?