Schmalle

I'm a big Deep Purple fan. Their guitarist Simon McBride has a stereo setup that might be inspiring for you: Listen to this with headphones to experience when / how much he uses stereo.

The expression pedal works optically: the angle of the pedal is determined by the amount of reflected light. To achieve that an LED emits light that gets reflected by a white surface (at the end of the metal bar on the pedal) and is picked up by a photo detector. Something in that mechanism doesn't work. Do you see that "sensor light" when Helix is on? Is the surface white, above the sensor and reflecting the light? Don't touch anything in side the Helix when it's on unless you know what you're doing.

Presence is a low-pass filter for the NF, Depth/Resonance usually a variable high-shelf. Just looked up the schematic: the og 5150 III has a fixed 150Hz high-shelf in the NF on channel 2 and 3. To be clear this means that frequencies below 150Hz are boosted in the power amp. Or in other words: the speaker cab's low resonance (110ish Hz) is less tamed than the upper frequencies. There was a patent on the Resonance control by Peavey so Fender/EVH wasn't allowed to put it in the og 5150 III. Bogner used a switch instead of a pot and called it Depth (e.g. the Ecstacy) to get around that patent btw.

Also keep in mind that my file was just a one bar / start of a song example. You can automate whole songs with a MIDI track. Also you probably want to alter the order of the three MIDI commands in my file before you make it a template: CC#32 0..7 to select the setlist PC 0..127 to select the preset CC#69 0..7 to select the snapshot Be aware of the MIDI value vs. number offset: e.g. CC#32:7 recalls setlist 8 (7 + 1 offset) which is "Templates".

You could use the Global EQ to tweak the mids. I use Tangzu Wan'ers - super cheap and good enough for me.

What you're describing is feedback. Speakers move air which moves the guitar body which excites the strings. Try the Feedbacker block for a simulation of that. Or play loud enough with your playback system. Boosted upper frequencies can be obtained with amp models that use a bright cap on the drive pot. The 2203 is an example of that or e.g. the new Bogner XTC models when using the bright switch (B1: boosted mids and highs, B2: boosted highs). With these amps the ratio of high vs low frequency gain depends on the gain/drive knob. Also overdrive pedals typically cut bass which means the following gain stages add less drive in the lower registers compared to the higher ones. Lastly power amp saturation and power supply sag plays a part here because that can add compression and therefore sustain. Some people use post compression to add to that.

Assuming your IEM mixer also gets a signal from FOH there is a FOH -> IEM mixer -> Helix ground connection that could become a problem. Same if the IEM mixer has a 3 wire power cord (a cord with ground connection). To break a ground loop in the 1/4" connection to your IEM mixer you need a either a DI box or a hum destroyer (assuming the IEM mixer doesn't have symmetrical inputs - if it does a special adapter cable is an option). A good choice for a hum destroyer would be the Behringer HD400 or Pyle PHE300. The ground lift switch can break a ground loop in the XLR connection if needed.

Most editors are horrible for this stuff. What works ok for this is Reaper (my DAW of choice), because thankfully it has a simple event list view / editor. Here is what I did to create the attached file: open Reaper create new Track Insert -> New MIDI item double click on that item View -> Mode: event list right click on first positon on the list -> Insert select type = PC, channel = 2, value = 5 and add the item insert item: type = CC, channel = 2, controller = 32, value = 7 insert item: type = CC, channel = 2, controller = 69, value = 0 File -> export to new MIDI file Hope that helps. detgyver.MID

Return sockets are mono. If you connect a TRS cable with a stereo signal only the left channel is used.

What does your backingtrack player's manual say about this?

What @silverhead said. Btw you can use your Dunlop pedal as expression pedal and control parameters of effects on the fly ( see the DVP4's manual). Common examples are volume, wah, delay time, modulation etc.

By "volume switch" you mean Volume Pedal block? That should work. A Gain block also does the job. You can also controller assign a footswitch to control the Output block's Level parameter. You don't need snapshots for this.

You can't do that with snapshots.

Don't use Output Level in the patch. Manipulate it exclusively via MIDI. Done.

Maybe this helps:

Hmm... good question. First, it's an all transistor amp - no tubes. It has simple solid state power amp which provides a linear power amp sound compared to the scooped say an AC30. I'd try the Cali Texas Ch2. It's a model of an all tube amp but with a very controlled (solid state-ish) power amp. It certainly can get you a voxish jangly strumming sound but also can deliver a good mid honk if you want that. Use lower Drive 2 settings for brighter sounds (treble boost-ish). The Shape parameter affects how low Treble works and therefore how full the mids are. Try the preamp version, too, it might even get you closer than the full amp model. Have fun!

Let me backpaddle a little from my statement "You can't power stuff over Helix's MIDI Out": A standard MIDI Out was never intended to power devices, but it is build to power an optocoupler. The max constant current you can get from a standard MIDI OUT socket (like all Helix devices) is 5 V / (2 * 220 Ohm) =~ 10 mA. This means 50 mW of power at best. However that is enough to power devices that need very little power like the CME WIDI Master.

You can't power stuff over Helix's MIDI Out. EDIT: I backpaddle a little from this absolute statement:

Here is what I think is happening: You described that you send a guitar signal to the Cyper Twin input with a Helix send. What this does is triggering the Cyber Twins input to open it's noise gate. That noise gate seems to be a special one that uses the input signal to cut noise after the Cyber Twin's fx loop. That would explain why you only hear the signal going in the Cyber Twin's return when you play. If I'm seeing this correctly you need to disable the Cyber Twin's noise gate. Then you don't need the cable from Helix send to Cyber Twin input anymore nor the fx loop block for it in the patch.

Empty file, no picture.

Unclear wiring description, this is what I understand: guitar->helix in helix send->amp input helix out->amp return (i dont use send from amp) But what is does this mean?: "send helix-output looper-return helix-inst.inn looper"

Do you mean the volume of the looped parts get muted when you don't play the guitar? Can you please give your signal flow / order of connection that you do? guitar -> ...? What amp do you use? Use translate.google.com if you struggle with English.

You can put the Loop Station after the Helix: guitar -> Helix -> Loop Station -> amp / monitors But if you use the Loop Station in the Helix fx loop (send and return) you need to activate it for every patch by inserting an FX Loop block.

The HX gate does work great, but it doesn't have a key input like the Zuul. That makes the Zuul the better solution because you can put it after the preamp of your amp while triggering it with your clean guitar signal.