Schmalle

Reading the manual is a very good idea. It was written for you to get the most out of your Helix. Here is a video that shows how you can build an A/B foot switch:

Use a preamp and an fx loop block in series in your patch. Engage Stomp Mode. Bypass assign both blocks to the same foot switch. Bypass one of the blocks manually so that one is bypassed while the other isn't. Done.

Here are some settings from another forum for you to try: 1: Gain -6.2, Q 10, 257 Hz 2: Gain 9.0, Q 10, 926 Hz 3: Gain 7.8, Q 0.7, 4.3 kHz This looks like it takes out some U vowel sound (250 Hz), add some A vowel (1000 Hz) and a lot of E (4 kHz). Btw: if you find Q values for non-Helix equalizers you need to square them to apply them to Helix.

To answer your specific question: If you manage to mute the not-in-use guitar itself (turn down the guitars volume knob) a +6dB mono Gain block is enough. You can replace the Gain block by any other mono block if the 6dB level loss when using both L and R inputs doesn't bother you. To mute one input put a Pan block first in the chain and set it 100% left or right depending on the input you want to use. BUT: If you don't use the fx loop here is an alternative that doesn't need extra blocks: plug the acoustic in the Return L and the electric in In L. Switch between the inputs by selecting the input block and turning the lower knob. And if you need one fx loop: you can plug the acoustic in Return R and use a Return R block first in the chain in your acoustic patches, the FX Loop L block would be for the fx loop.

Also: Filter -> Legacy -> Q Filter with expression pedal controlling Freq.

Press the parameter knob and while pushing turn. Or long press the parameter knob, then change Controller to Snapshot. To undo: long press the parameter knob, press the Action button, then Clear Controller.

I use Tangzu Wan'er in-ears. Very affordable, well balanced and never get harsh. They don't fatigue the ears, have good detail and I enjoy playing through them. You might need a TRS extension cable if you use the Floor on the ... well ... floor.

In Snapshot Mode use an Instant Command to set Ext Amp to 1, 2, 1+2 or None. The settings are per snapshot. Since you've skipped several firmware versions: it might be a good idea to read the new manual otherwise you might miss out on some new features. Have fun!

You could load the IR in a sound file editor or DAW, see if it's normalized and - if not - normalize it. Audacity is free and can do that.

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: