rd2rk

He states that he's setting the Output to 1/4". Unless he's setting the Input on Path 1 and the Output on Path 2 without setting the Path 1 Output to Path 2... He also states that setting up Path 2 identically to Path 1 works fine, so I don't think that's what's happening.

The effect that the Exp Pedal is assigned to has to be ON, which is what the Toe Switch does. If you assign both Bypass and Position to the exp pedal it will toggle ON/OFF at 5% (default).

To use the SP1-L6 properly the Toe switch uses the RING and the EXP Pedal uses the TIP, so you can't use an additional switch. IIRC, Morningstar(?) makes a single MIDI FS that can be used for Tap Tempo.

The most consistent way I've found to do this is to add both your Volume and Wah, then whichever one is operating the POSITION parameter, turn that one ON using HX Edit or the bypass button on the HXS (NOT the Toe Switch) and turn the other one OFF the same way. Now when you operate the Toe Switch it should work properly and you can save the preset with whichever one you want to be ON by default when the preset loads.

If you right-click an effect in HX Edit the pop-up menu includes an item called "Snapshot Bypass". When Checked, the SAVED bypass status of the effect is maintained when switching Snapshots. When UN-Checked, if you change that status, that condition will be maintained across Snapshots REGARDLESS of the SAVED status in other Snapshots. IOW - If ALL Snapshots are SAVED with Delay BYPASSED. If "Snapshot Bypass" is UN-Checked and you turn Delay ON in ANY Snapshot, it will REMAIN ON in ALL Snapshots. If "Snapshot Bypass" is Checked and you turn Delay ON in ANY Snapshot, when you change Snapshots it will again be BYPASSED.

Global Settings>Preferences>Snapshot Edits>Discard Make sure that on the affected FX, "Snapshot Bypass" is ON (default - CHECKED in HX Edit). Unless your MC6 is setup to send CCs that control those FX when you send the Snapshot message this should work. I tested it with my FCB1010/UNO2 which simply sends the CC#69 Value (0-2) to select the Snapshot, not a CC assigned to the specific FX.

Each Path uses one of the two processors. With a New Preset, no FX in either Path, if Path1 is silent and Path2 works, then I'd have to say that you have a bad Path1 processor.

I'm not familiar with that particular amp, but I can tell you that certain Class D amps do sound harsh. I had an EHX .44 Magnum that I sold on for that reason. Your LT's Outputs should likely be set to LINE, and you can have a shot at using the Global EQ to tame it. If you attach a sample preset that you're having this problem with I can have a look and see if it's something in the preset and I can run it into the poweramp/speaker in my Catalyst100.

He was probably selling washing machines last week. FRFR means "Full Range Flat Response". While nearly any hi-fi speaker or PA speaker is "Full Range" (20hz-20khz), there's no such thing as truly "Flat Response", it's a marketing gimmick. The closest you can get is beyond a normal person's budget. The higher the quality you can afford in Studio Monitors the closer you'll get, but we're talking about multi thousands of dollars EACH for the best. Most companies that make Studio Monitors will have Response Curve charts on their web sites. We working class mortals make do with "close enough" affordable monitors. As for FRFR speakers such as the Headrush FRFR108 and FRFR112 (which I have) there's two problems. The first I've already mentioned - they're NOT FRFR. The second is the Hi Freq driver. Essentially, these are PA speakers, designed to project your sound out over a large area, maybe outdoors, occupied by an audience. The HF Driver is usually separate from the LF Driver and there's a time displacement between when the sound is generated and when it coalesces into a complete sound often 10 to 20 feet away. Higher priced speakers have DSP which delays the HF vs the LF to make up for this, but they are still PA speakers. Studio Monitors are also known as "Near Field" monitors. They are designed to sound best in a small, enclosed area such as the sound booth in a recording studio. There are usually multiple pairs - big ones so that the band can come in and listen to the mix, and smaller ones that the recording engineer references while recording/mixing. And, of course, the smallest - headphones. You can get tiny 3.5" monitors that sound best at your desk next to your computer, or bigger ones like 6, 7 or 8" for bigger rooms. My "studio" is my living room which is approximately 15' x 15'. My 6" Rokits are MORE than sufficient to fill the room. IIRC they are 25watts (HF driver) x 50watts (LF driver). A final mention of a third type of speaker, coaxial. In a coaxial speaker the HF Driver is built into the LF driver at the center of the cone usually behind the cap. This provides a physical delay to the HF and mixes the HF and LF at the source. Some speaker cabinets designed specifically for guitar are built with these. The Line6 Powercab speakers are one example of this design. I had the PC112+, didn't like it and sold it on for a PC212+. The + models have DSP that allows you to use them as "FRFR" with the HF Driver for use with IRs and Helix Cab Sims, w/o the HF driver but EQ'd to sound like popular speakers such as V30, GB25, Jensen etc., or without HF driver or EQ, just the raw speaker. The last two modes (sans HF driver) are intended to provide the AITR experience. How well they do that is hotly debated. People seem to love them or hate them. The PC212+ also has a stereo emulation that works surprisingly well in a small area. I like it for use with my Catalyst100 on top as the DRY component of a W/D/W rig and the PC212+ as the wet component. I like the PC212+, but L6 has essentially abandoned the line and there will likely be no upgrades or bug fixes (minor bugs related to speaker mode control over L6 link, mostly surmountable using MIDI) in the future. They're pretty expensive new and not very common used.

Is your HXS running v3.15 of the FW? That version or the one just before it added a WAIT between executing PC and CC. It also sounds like what you should be doing is using Snapshots rather than sending CCs. That WAIT was mainly added so that selecting a Snapshot other than the default (the active Snapshot when the Preset was SAVED) would work. EDIT: Once a Preset is selected you don't need to resend the PC, just CC#69 with the SS Value (0-2 or 0-3 if it's an HXSXL)

No, but I believe it's been requested over on Ideascale. Search and VOTE!

I don't understand how you can put up with the BT Latency, but... I'm totally guessing here since you didn't specify where the BT Transmitter is connected but try turning OFF the "Record Monitoring" switch in Reaper. The transmitter may be having trouble with the initial signal from Helix followed a couple of ms later by the identical but slightly delayed signal from Reaper. It could be causing a "Pan Law" type signal boost or? Like I said, just guessing.

I like it, but this stuff is totally subjective. There's a guy on TGP SWEARS he can't get a single decent tone out of it. Then the next week he SWEARS it sounds GREAT! Then the next week... I use the stock 2204 and the L6 version as a two-channel amp (amps in parallel) and get any sound I want out of them. YMMV.

The difference between the HS7 and HS8 will be minimal, mostly in the lower frequencies. All of those settings should be explained in the user guide, but have to do with the way the speakers react to the acoustic environment they're in. Bigger room, bigger speakers. I set my KRK's at MAX (per the user guide) and control the level from my AI/mixer. I have the Hi Freq set at 0db (FLAT) and the Lo Freq set at +2db for a little bass boost (no sub). Generally speaking the volume knob on the Helix should be maxed and the level controlled from the mixer. If you don't have a mixer you can use the Helix Volume knob, the effect on the overall tone is not really something you'll notice. More of a hi-fi tone snob kind of concern, don't worry about it.

I just had a quick look at that Logitech system. The specs make it hard to tell, but it seems to have Line Inputs for a music player. You can take the Outs from your rack to those inputs and you might not even need Studio Monitors. I have a Sony bookshelf system with two 2-way 6" speakers and a 10" sub that I use in the office for my HXStomp and it doesn't sound half bad! Try it before you spend for Studio Monitors, you might be pleasantly surprised!

OTOH - If you LOVE your Marshall (nothing to be ashamed about ;-) ) and you're not so old or otherwise prevented from ever joining a band and playing out, and if it's financially feasible, just put that monster in the closet until you are TRULY READY TO ROCK! (insert devil on my shoulder emoji) Just don't fool yourself - Marshalls are made to be up on stage making people's booties bounce and their ears ring!

Go to Sweetwater.com. Search for "Studio Monitors". Read "About Studio Monitors". Look at what's on offer. I would go for a minimum of 5". I have an old pair of Rokit6 G3 that sound fine. Many players use Yamaha HS5 or HS7. A Sub isn't essential, but sounds nice. JBL and Presonus are also popular. I've read that Mackie's are bassy, but I've never tried them. There are at least 50 threads on this topic in the Digital and Modeling Forum on TGP. FWIW - Lately I've been using a Catalyst100 on the .5watt setting. L6 employs some EQ trickery to offset the Fletcher-Munson effect at low volumes. It sounds REALLY GOOD at 60-75db, which is as loud as I can get in my apartment. Drawback vs Studio Monitors is that the Cat is mono. Stereo is fun! Just something else to consider if AITR is a concern.

Exactly!

I never noticed. My Helix sounds fine. I guess my 72yo ears aren't as bad as yours :-)

My point about using your Marshall AT ALL is that it will NEVER be a FLAT amp. It will ALWAYS color the sound of whatever you feed it. It will NEVER sound it's best at low volumes. It was NOT designed for low volumes! Class D SS amps are designed to be FLAT(ish). Some are DESIGNED to sound or at least react like tube amps. The details are in the specs/mfrs product descriptions. The reason that many players use studio monitors is that they are DESIGNED to be flat(ish) and to sound the same throughout the volume range. At very low volume (<80/85db) you have to consider Fletcher-Munson (I hope you've Googled it by now), and that can be accommodated using the Global EQ in Helix. Another way of saying all of this is that getting good tone at low volumes is kind of like being a jeweler, and your Marshall is a sledgehammer! Using a 412 cab in that configuration is like using a 5lb sledge or a 25 lb sledge. Guitar speaker cabs, like tube power amps, are designed to be used at volume, and will always sound like THOSE speakers in THAT cab. M25/V30 Celestions are part of the MARSHALL/MESA sound. Alnico Blue and Silver are famously Voxy. Jensens are Fendery. Using a 412 cab with Celestions will always impart a distinct tone. Using Studio Monitors allows you to use the built-in Helix cabs or IRs to give a more authentic cab sound to whatever model of amp that you're using. Pre-amp vs Full-amp - There's really no chiseled in stone rules here. IN GENERAL, you'll get the most AUTHENTIC sound using the type of pre-amp that was designed to be used with your power amp. So, EL34s? Marshall. However, if you MUST use the Marshall head, at low volume you MIGHT get better results using the FULL amp model, as the interaction of the original pre and power amp combination is being modeled, and the physical tube amp is doing little more than making it audible. Hope this further clarifies things for you. NOTE: At this point somebody usually jumps in to say "Well, I use my Marshall Super Lead and 412 Stack at 50db in my bedroom and it sounds GREAT!" Whatever.

You do not need a DI for the HXS. The main outputs are balanced, so at most you might need a pair of 1/4" TRS to Female XLR cables. Cable is better than an adapter (IMO) as it will place less strain on the HXS output jacks and you'll need XLR cables anyway to get to the stage box and monitor. Since you're running in MONO you can just take the LEFT Out to FOH and the RIGHT out to a powered Stage Monitor. Your choice in powered stage monitors is pretty much dependent on your budget, from $2-300 Alto/Behringer to $7-1000 Yamaha/EV/JBL/QSC. The more expensive varieties have built-in DSP for tone-shaping and use-case - floor, pole, vocal, music, instrument etc.

Oh well...

They're not "hard wired". Global Settings>Ins/Outs>Re-amp Src 7 and Re-amp Src 8 Either can be set to Guitar/Aux/Variax/Variax Mags/Mic. Manual Helix v3.0 rev F page 63 Manual LT v3.0 Rev C page 65

One at a time. Do you use all 30 everyday? Why not just do it as you use them?

The Helix default MIDI Channel is 1. Check in Global Settings>MIDI/Tempo to verify that the MIDI BASE CHANNEL = 1. Set MIDI PC RECEIVE = MIDI If the Base Channel is correct that should be all you need. Connect your RS-5 to your computer. If Helix is your only MIDI Interface, make sure that Global Settings>MIDI/Tempo>MIDI THRU is ON. Load a MIDI MONITOR program. Google to find one that is compatible with your computer. You'll now be able to see EXACTLY what is being sent by the RS-5. I don't own an RS-5. I had a look at the manual. This is why I would not own a MIDI Controller that does not have a computer based editor. Having a MIDI Monitor will be essential to getting this working. If you have any Helix specific MIDI questions feel free to ask. Good Luck!