rd2rk

Your physical Helix has Auto Impedance, without which certain FX such as Fuzz could sound different. Latency could be an issue depending upon the power of your computer. Getting the Input Levels right could affect Native's sound. Quality of your interface could affect the sound. If you're using your Helix as interface, be aware that it's not the best quality interface out there. In the end, the final result depends upon the quality of your playback system. All else accounted for, Helix and Native should sound the same through the same playback system.

Just because you have a YT Channel doesn't mean that you know what you're doing. You can't actually HEAR a computer. You can't actually HEAR Helix Native or, for that matter Helix or any other modeler OR your "REAL" amplifier. The "chunkiness" of a "real" amp is largely a property of the amp's cabinet and speaker. Route your MOTU's output through the RETURN of a real guitar amp and speaker and it will suddenly be chunkier. EQ the crap out of the signal you send to your 3" studio monitors and it will sound exactly like your 3" studio monitors. Helix Native sounds just like Helix. Both sound like the playback system which provides the actual SOUND to your ears. My 6" Rokit studio monitors sound very different than my HR FRFR112 or my Catalyst100 or my Powercab PC212+. Death metal palm mutes sound very different when you play through a Fender Twin vs a Dual Rectifier and 4x12 cab. Finally - "TONE" is subjective. "Chunky" is a perception. 65db bedroom levels thru studio monitors will NEVER be as chunky as 105db thru the aforementioned Dual Rectifier and 4x12. Google "Fletcher-Munson". Have fun looking for a playback system that appeals to YOUR ears in YOUR playing environment! ;-)

The "ideal" setting is MAX***. At MAX (full clockwise) it is UNITY GAIN. That means 0db. Counterclockwise it attenuates the signal. The effect loop of most modern amps is either -10db (for STOMPBOXES) by default or there's a switch to allow for +4db (for RACK FX). If you're getting a huge volume jump when you switch amp channels (or switch from the amp's pre to a Helix amp) you can assign whatever switch you're using (or SNAPSHOTS) to send that message to also adjust the OUTPUT BLOCK LEVEL or the levels at the FX LOOP BLOCK. ***IIRC, the BIG KNOB adjusts the output level in the digital realm, it is NOT an analog control. That means that there is a possibility that it COULD affect TONE as a result of some complicated electronic mumbo-jumbo involving bits. There's an explanation I read on some high-end stereo site if you search for it. In reality, most humans can't hear it. Many people are quite happy using it as an easily reachable volume control. My thoughts are that at a real-world gig, if you're using a cable (vs wireless), the possibility of dragging the cable over the knob and thus changing the setting and pissing off the FOH tech or just causing your solo to disappear suddenly or blow everybody's head off is not worth the convenience of using the BIG KNOB. I disable it completely, which leaves it at MAX (UNITY/0db). At home I use it for a volume control.

I also have the Xvive U2. It sucks but does not have the problem you're describing. It is VERY sensitive to positioning in relation to anything else electronic that might be in the same room (or building or county). Also temperature, humidity, barometric pressure, phase of the moon... It doesn't work any better or worse when connected to my Helix than direct to the amp. I would look around for anything that might possibly be interfering with its signal (fish tank?). FWIW - I have another 2.4 unit, as well as a cheap UHF (excessive compression) and a 5.8. The 5.8 is the least troublesome and was the cheapest wireless on Amazon ($30 vs $150 for the Xvive 5.8). Go figure! The common problem with all of them is battery life. When fully charged they work OK but as soon as they get a bit discharged they start to have dropouts. I HATE grabbing my guitar in a fit of inspiration and having it ruined by dropouts!!! I'd rather trip on cables. Someday when I hit the lottery I'll buy a PRO system, but until then I'll stay wired.

If all you're doing is playing through headphones then the only setting that matters is "Guitar In Pad". If the signal from your guitar is too hot, turn it ON. If you're using external FX in the Loops then you probably want the SEND/RETURN you're using set to INSTRUMENT for Stompboxes and LINE for Rack Gear if there's no -10db/+4db switch on the device. -10db= stompbox/INSTRUMENT.

I didn't watch the video, but I see no advantage to putting the HXS in the HXFX Loop. I call clickbait. For that matter, I see little advantage to using HXS+HXFX vs Helix Floor/LT except a small size advantage and, if you're using an EXP Pedal, that's minimal. Helix Floor/LT - ONE (AD/DA(IN)-DA/AD(OUT)) conversion avoids all extra latency and potential tone loss. Also has more external routing options. Helix Floor/LT/HXS have auto impedance - necessary for authentic tone from certain FX, irrelevant if you're going wireless. HXS>HXFX = 2 AD/DA-DA/AD conversions vs 4 conversions using 4cm = less latency and less tone loss vs 4cm. FX Loop can add a small bit of noise. Saves a Block on the HXS vs 4cm. Less cables = less potential failure points, quicker setup at the gig. Finally, you don't gain anything in DSP vs using both paths connected in serial on Helix/LT. Get a Helix Floor/LT.

The first problem I see with this is that you're re-amping a track that was recorded off of your guitar amp's speaker. That's NOT actually a DI Track. You COULD use the HXS to add POST effects, such as would be done in a studio, but you're MUCH better off using some of the many plugins available to you either IN LOGIC or on the aftermarket. Your problem is that both your VOLT and HXS have very minimal I/O and you don't own HELIX NATIVE. If you bought your HXS NEW you might consider using your discount to buy NATIVE, which would allow you to do the re-amping completely within LOGIC and not have the hassle of re-amping through the HXS itself. But if you can't do that: I assume that you're using a MAC. Create an AGREGATE DEVICE: Create an Aggregate Device to combine multiple audio devices - Apple Support I am NOT a MAC person, but my understanding is that this will allow you to use all of the available I/O of both your VOLT and HXS at the same time. You should now be able to figure out the necessary routing to accomplish recording your mic'd amp (BLANK HXS preset with LEFT MAIN OUT>Volt Input 1) alongside a true DI track (HXS RIGHT MAIN OUT>Volt Input 2) and monitor the recorded project mix through the VOLT while re-amping the DI Track through the HXS. Hopefully, someone else who is actually a MAC person will chime in here to verify this method or have a better solution. Good Luck!

Not sure I understand. Using an IR loaded on the PC112+ it sounds great through the PC112+, but taking the XLR out to the PA causes the PC112+ to sound horrible?

Nor does everyone use a Tuner (the other function of FS 12). More of a shame IMO. As for future updates, I doubt there will be any changes to the basic operating functions. New/improved amps/FX/Cabs, bug fixes sure, but the major development energy will be going into the Stadium. From what I gather so far, the FS configuration will be much more flexible. Start saving your pennies...

Question 1 - When I bought my Cat I spent over a month comparing it side by side with a Katana Artist and my Helix with my PC212+. I knew that I liked it when I bought it and had already gone through the same process/experience as you. Still, I liked it even better after a while using it. That MAY be a result of speaker break-in, or it may just be a continuation of the learning process plus acclimatization of my ears to its sound. Psychoacoustics is a real thing. Question 2 - TBH, I bought the amp as an amplified speaker for my Helix that would be more portable than my PC212+ and could serve as a standalone backup to my Helix or simple grab'n'go for jams. Also, there's some days that the PC212+ just doesn't sound right. Psychoacoustics again. That said, over time I've come to appreciate that I can plug in, twist some knobs and find the exact sound that I didn't know I was looking for that day. Simple, old-school fun with amp and guitar, but 12 amps in one! My needs are pretty simple when it comes to effects, having grown up in the days of amps with built-in reverb tanks and tremolo (vibrato?) being all the effects we had. While I love being able to get wild and crazy with my Helix, sometimes simple is better. Play more, twiddle less. I don't play in a cover/tribute band. I've never been about trying to sound exactly like anyone other than myself. It's fun when I stumble upon the sound of some song that I really like, but I don't spend much time looking for it. In 5 minutes I'm bored and I've found some other sound I like and I'm off on that. Finally, there's an old saying - "Jack of all trades, master of none". If you want to sound like EVH you get a 5153, not a Fender Twin. Conversely, if you play surf music you don't get an Engl Fireball. The Catalyst is none of those, but it'll quickly get the essence of any genre, and that's all that matters to me. If I need more, I plug my Helix/HXS into the return. Tweaker Heaven!

Only reason I can see to use separate paths would be to use different FX on each path. I don't, so I always use Dual Cabs panned.

The SPLIT Y sends stereo signals to both paths. Your stereo delay is sending a MONO signal to both paths - Left to Path A R/L, RIGHT to Path B R/L. When you put a MONO CAB in a stereo path that collapses the path to MONO. Your Stereo Delay LEFT OUT is in Path A and its RIGHT OUT is in Path B. The MIX Block - where Path B rejoins Path A - can PAN Path A (which is now MONO) 100% LEFT and Path B (also MONO) 100% RIGHT. Your stereo delay will have its LEFT OUT in Path A and its RIGHT OUT in Path B.

Doesn't work that way. In the 10 switch setting and Stomp Mode you can have 5 top and bottom, but the MODE switch (6) is necessary to switch MODEs and the Tap/Tuner switch (12) is necessary for access to the Tuner and doubles as Tap Tempo even if you don't use it (I don't).

The functions I use most (FX BYPASS) are controlled with the switches on-board the Stomp. There're no MIDI commands for UP/DOWN. The ME's Toggle and Expression functions are on FS 4/5 (I have the HXS, it's 7/8 on the XL). There's no EXP OUT port on the HXS, only Exp IN, but you can also ADD additional Exp pedals via the Ampero (and most other MIDI controllers). I use MIDI to do things that would require changing the MODE on the HXS. For example, I leave the HXS in STOMP MODE and use MIDI to select PRESETS and SNAPSHOTS, toggle BYPASS on less used FX for which I'd otherwise not have enough switches onboard the HXS, control parameter settings, and to control other MIDI devices used in conjunction with my HXS such as ToneX, Catalyst and Powercab. Very powerful MIDI is.

Yes. That's one of the ones I use. Good, easy to program (good app) and cheap.

One of the outputs is for EXPRESSION and the other is for the FS that toggles EXP1/EXP2. So no, both FS7 and FS8 are taken. See page 63 of the XL manual. Again, time to look into a MIDI switch.

No, it's an expression pedal, not for audio. Time to look into a MIDI switch.

The defaults for Snapshots assigned to Stomp Mode switches is PRESS=NEXT; RELEASE=NONE. Keep in mind that in the target Snapshot that FS will be set to the defaults. IOW - If the preset loads SS1 and you set a FS in SS1 to PRESS=SS2; RELEASE=NONE, then unless you change it, that FS in SS2 (and all other Snapshots) will be set to the DEFAULTS. You need to manually set the FS to do what you want in EACH Snapshot.

Setting aside for the moment that this is a 2yo zombie thread and that there's STILL no one from L6 hanging around to see your post: This would be a relatively small market. Not everyone agrees that tubes are all that and fewer and fewer venues even allow amps on stage. Which tubes? EL34? EL84? 6L6? 6V6? Other? All? Which speaker? Celestion? Eminence? Jensen? Other? 12"? 10"? 8"? Other? 1? 2? 3? 4? Open back? Closed back? Convertible? How many watts? Attenuator? ASIO? There're just too many possibilities to make something that would appeal to a wide enough market to make it worthwhile to produce, it would be VERY expensive and it would compete with every tube combo that has an FX loop and is available for cheap on CL. I get why you want it, I just don't see it happening.

There're several possibilities, but I can't begin to guess the best one. Attach your preset and I'll have a listen to see which solution might work best for you.

I've mostly found those USB Ground Loop Eliminators to be a useless waste of money, but who knows? If the LED in question is just the HDD indicator, that should have no effect on the noise you're experiencing, but again, who knows? Computers are, after all, based on MAGIC, and only Great Wizards truly understand that - maybe.

This mistaken belief indicates that you are doing something wrong (or the delay is in the Mothership), and your description is insufficient to perform any analysis of the problem. The only delay between sounds that occurs with the XL (or any Helix product) is when changing PRESETS, not Snapshots. The Mothership manual seems to indicate that you need to count the milliseconds of LED ON/OFF time to know what programming mode you're in #!?!?. The editor seems to serve no purpose other than loading cab simulations. I've no wonder that you're having problems getting it to work. All I can do is to tell you how to get the XL to send PC messages using Snapshots. First, DL this: MIDIView - Free MIDI Monitor tool for Win & Mac In your XL's Global Settings>MIDI/Tempo be sure that the MIDI Base Channel (default Channel 1) matches the Mothership MIDI Channel - probably Ch 1, but the manual doesn't specify. Check that USB MIDI is ON (for MIDIVIEW) and MIDI PC Tx is OFF (prevents XL from sending the default PC# when switching XL presets). Don't worry about Snapshot CC Send as the Mothership only responds to PC messages, but considering the minimalist manual, you might want to leave that at the default of OFF just to be safe. For each XL Preset - 1) In Command Center, on Snapshot 1 (SS1), set Instant Command 1 (IC1 - the first lightning bolt) to the Mothership (MS) PC# you wish to load when that XL Preset loads. The other settings can be left at their defaults. SAVE THE PRESET! 2) Switch to SS2. Repeat step 1, entering the MS Preset you wish to load for that SS. SAVE THE PRESET! 3) Repeat for SS 3 and 4, SAVE after setting each! 4) Return to SS1 and SAVE! This ensures that SS1 loads with the Preset. Use MIDIVIEW to verify that each SS is sending the correct PC#. If it doesn't work, contact Tsakalis to get help configuring the Mothership. Good Luck with that! Attached is an example preset. I created it with my HX Stomp, so there's only 3 Snapshots. Calmandweird.hlx

In the editor, click and hold the block and drag it down, same as with the GAIN block that you moved to create the initial split. That causes the path to split into two output blocks - 1/2 and 3/4 - as in the example preset. On the HXS itself you accomplish the same thing using the ACTION button and selecting "Path B" using the first knob. This might be a good time to have a look at the manual...

Uninstall/reinstall drivers. Optimize the computer for audio - google it! Try a new usb cable. Make sure that phantom power is off. If you're connecting to the interface by wireless, use a cable. If you're using a desktop pc, try a backside usb port. If you're using a laptop, try a port on the opposite side of the laptop. Try disconnecting any other usb devices. Unplug the laptop and run on batteries. Borrow a friend's traditionally powered (not bus powered) interface. Make sure that you're at least 10-15 feet from microwaves, routers, cell phones or other wireless devices. Use a wall circuit that does not have fluorescents, rheostats, microwaves a/c or other motorized appliances. Make sure that you're connected to an emi/rfi filtered surge strip. If all else fails you can try voodoo...

While that works, USB 5/6 is DRY whereas my method allows for use of HXS FX in the PRE NAM position.