rd2rk

The method posted by @OmniFace(thanks for that, I'd never seen that method) works, BUT... It's tedious (has to be repeated for each preset) and the preset change takes a full 2 seconds, which, to me, is impractical for live use. Not that I'd ever want to use Native LIVE - that's what dedicated HW is for. If I ever needed to do that - Helix sent off for repair? - I'd use the FREE ProTools Intro solution I mentioned above. It's really NBD to set up, same configuration method - Controller>MIDI Track>Audio/Native track - as any other DAW.

Yes. Also, you don't need to SAVE between each change. Changes are retained (not SAVED) until you change presets. Saving to your LIBRARY makes the changes permanent.

Helix Native Pilot's Guide Page 30. Assigning a parameter to the Snapshots Controller As covered in the preceding Snapshots > Block Bypass section, the Bypass state of any block is automatically stored and recalled per snapshot. However, for other parameter types, it is necessary to first create a Snapshots Assignment to allow the parameter’s value to be stored and edited per snapshot. 1. Within the Signal Flow window, select the block which includes the parameter you wish to control via snapshots. For this example, we’ll choose the Litigator Amp+Cab block so we can control the amp’s Drive parameter. 2. In the Edit tab, right-click on the Amp’s Drive parameter and choose the Snapshots option. Assigning the Drive parameter to the Snapshots controller 3. You’ll see the parameter’s value appear in white and in brackets to indicate the Snapshots controller assignment. ----------------------------- After assigning the parameters to Snapshots, SAVE the preset. In each Snapshot, save the parameter values as you like, then SAVE the preset. SAVE the preset on the Snapshot you wish to be invoked when the preset first loads.

If you haven't heard of it, read this: Equal-loudness contour - Wikipedia AKA "Fletcher-Munson". You MIGHT be able to improve it by using EQ. You might be able to improve it with a different speaker. Your best bet is probably to use the Helix amps with or without cabs/EQ, but straight into the Fender's power amp, bypassing the Fender's preamp altogether. I've never used one of those amps, but I run my Helix into the poweramp of my VHT Special6 Ultra (6v6 tube power section). Many people swear by PV Bandits - SS "trans-tube" tech.

You can easily use sends and returns to route the signal wherever you want it, but even if you're ok with using the blocks (both devices have 8 block limits), once you've combined the signals into the mono pedals there's no way to separate them again - both signals will be in both playback devices.

The reason that the Stomp presets all said "New Preset" is probably because there was a mismatch between the FW and the HX Edit version. The LT has TWO processors and thus the presets can be much more complex. There's also 8 "setlists" of 128 presets each vs ONE setlist of 126 on the Stomp. The Stomp presets will load onto the LT, you just need to find someone who saved them from the Stomp FW version that had the presets that you liked. First thing I did when I got my Stomp was delete the mostly useless stock presets to make room for my own creations. I did the same when I got my HX Floor. All the stock presets are good for/intended for is inspiration/instruction while you're learning the unit. You might think they sound good in vitro, but in vivo they're awful. Don't be intimidated! It's just a bunch of amps and pedals with extremely flexible cable-free routing. Read the manual and get creative! Remember - unlike ITRW, nothing you do will cause the magic smoke to escape from the unit! ;-)

If I understand what you are trying to do, unless the external pedals are capable of dual-mono operation you're not going to be able to route the two signals discretely to separate outputs (Sax>Speaker, Guitar>Amp).

Yes, this is very confusing. Each "TYPE" - Clean, Boutique etc. is a two PRESET group. It doesn't matter what amp is in the presets. For instance - CLEAN could have an "A" channel with a CRUNCH amp (VOLTAGE - Group 1) and the "B" channel could be a HI GAIN amp (BADONK - Group 2). The silkscreened labels on the amp panel were, I THINK, chosen because they had to say something and those labels represented what they thought would be the most common use case - 6 amps with two channels each increasing in GAIN from CLEAN to HI GAIN. Probably the cheapest and most useful solution is what I did - pick up a cheap OLD iPad from Craigslist (mine was $99) and a USB to whatever the connection on the iPad is (mine is lightning) and a USB B to Lightning cable ($14 for 6.6ft from Amazon). In addition to running the Catalyst Editor it also eliminates the annoying USB ground loop problems you can get when connected to a laptop with other USB connections and is much more portable. This is a MUCH superior solution vs if they'd put a silly little 2" screen on the panel, which likely would've added just as much to the price and been much less useful. The iPad also serves double duty as my Kindle Reader and can be used to play break music at gigs. With or without the iPad or computer, once I make whatever adjustments I want, I select the presets via MIDI: 001 = CLEAN Channel A 002 = CLEAN Channel B 003 = BOUTIQUE Channel A 004 = BOUTIQUE Channel B etc. Since I use my Helix (or HXS) to control and supplement the Cat, I can name the presets whatever I want. If you don't have a Helix/HXS or something like a Morningstar MC6/8 you'll have to rely on old school methods: What GOD gave you - your memory. Dude, it's only 12 presets! Or a $2 notepad and a pen. ;-)

Also: NOTE - AU and AAX Plug-in Formats Only: At this time, remote MIDI control of setlist and preset changes is supported only with the AU (Mac) and Pro Tools AAX (Mac and Windows) Helix Native plug-in formats. It is not supported for the VST2 or VST3 Helix Native plug-in formats on Mac or Windows. Also note that Setlist and Preset changes performed via MIDI PC/CC messages are not supported by Undo, and will clear the current Undo history - please see “Undo and Redo” on page 27. EDIT: FWIW, I can verify that PC works in Pro Tools. I have the INTRO (FREE!) version, which has track# limits, and will never pay AVID for a SUBSCRIPTION. But then, I don't require what you're needing to do.

Your S/R needs to be set to INSTRUMENT. If you're using DIRECT (no cab) captures you'll need an IR in the HXFX. The ToneX has EQ which can be placed before or after the capture, and of course, there's a variety of EQs in the HXFX.

I'm not sure what it is that you want to do. You have a choice of two mono loops or one stereo loop. Two MONO blocks or one STEREO block. Where is the problem? Be SPECIFIC with an example of something that you think you can't do. As for noise, yes, the FX Loops DO add a TINY bit of noise. If you put a GAIN device in the loop, that noise is amplified. If you then put that signal into another HX GAIN device, then on into an amp... If you're getting MAJOR noise without ANYTHING in the loop, there's something else going on. Attach an example preset that demonstrates that.

This is a user-to-user support forum. Nobody from L6 hangs out here. If you want someone from L6 to hear your plea, post it here: https://line6.ideascale.com/c/ Word of advice - keep it simple - "the FX Loop is noisy". (SOLUTION - GAIN devices don't belong in FX Loops. Yes, TPS does it all the time - they're PROS with a VERY expensive DEDICATED loop device!) Phasing problems are the result of Operator Error - you don't understand how it works. If you want to use the FX Loop in pure MONO just use the L/Mono - (TIP) and Left Return OR RIGHT = (RING) and Right Return. That just requires a simple TS (INSTRUMENT) cable. If you want to use two mono FX loops and control them with Snapshots you need two FX Loop Blocks. That requires a TRS to Dual Mono (INSERT) cable. You turn the FX Loop Blocks ON or OFF or COMBINE them using Snapshots. The solution to "I need more!" is to spend the money to get the right tool for the job! You know which is the right tool for the job by reading the manuals and asking questions BEFORE you buy.

Most modern FX Loops can handle either (by switch) or both, but since most players use stomp type FX these days, being able to handle instrument level is pretty much standard. That said, it doesn't hurt to try both settings.

There's an FX MIX knob. IDK if it affects the level of the FX Loop or the internal reverb, but did you try turning that up?

Channel switching from the Ext Amp jack works fine with my Helix, can't imagine why it would be a problem with HXFX.

IF Snapshots are configured, they should be named - unless the programmer was truly inept (you paid HOW MUCH for these mysterious presets?). You should also be able to see the assignments (beyond simple Bypass State) in the AUTOMATION/CONTROLLER ASSIGN pane.

OP GHOSTED us! That NEVER happens...

I supplement my income driving for Ubereats. All day long I take driving directions from a robot. If I paid attention I'd be dead.

No.

That's going to depend upon where you live. I would open a support ticket including that info. Mine didn't break but was coming off. I super-glued it.

The default recording levels when using Helix/HXS via USB are correct in most circumstances. Here's a couple of links to help you to understand proper recording levels: Recording Levels: Digital Recording | Should you be Tracking at -18 dBFS? (decibelpeak.com) What is the Ideal Level to Record Tracks into a DAW? - InSync (sweetwater.com)

Yes. If the switch is in the "Power Amp" position it's before the Cat's Post FX. If the switch is in the FX Loop position it's after the Cat's Post FX. NOTE: The "Channel Volume" is part of the PREAMP. It does not affect the XLR level when you're using the Power Amp In, only when using the full amp.

Yes. Example Preset attached. Note the placement and PANNING of the SPLIT and MIXER Blocks, and that FX Loop 1 and Left Out (PATH A PANNED HARD LEFT) go to the 5150 in 4cm. Path B includes a MONO GAIN Block - necessary to create the split and collapse the PATH B Stereo signal to MONO prior to the MIXER Block, where PATH B is PANNED HARD RIGHT to go out the Right Output to the Input of the JCM. Any MONO FX that you want in BOTH amps go before the FX Loop. STEREO FX ONLY after the MIXER. Also, in the MIXER BLOCK I've adjusted the A/B Levels to try and balance the levels of the PINGS and PONGS. You may need to do further adjustments using the OUTPUT BLOCK Level meters on Helix. FWIW I used a Catalyst100 for the 5150 in 4cm and a VHT Special6 Ultra for the JCM, going straight to the Input of the CLEAN Channel vs using its FX Loop. chrmoor.hlx

Those types of amps typically have two tube "gain stages" in the preamp. The first tube stage overdrives the second either a little or a lot. The degree to which the first stage overdrives the second allows for variation in the character of the overdrive which feeds the master/power tubes.

This is a user-to-user forum. Nobody from L6 hangs out here. If you really want the L6 developers to consider your suggestions, post here: https://line6.ideascale.com/c/ Be sure to search first, as I'm 99% certain that this request has been posted AT LEAST once, and you wouldn't want to dilute the vote, so search and upvote ALL of the previous requests for this!