pianoguyy

Your hours of work should already be backed up, so at this point of your ownership, if you lose them most of us will sit back and laugh at you. Sorry, it's true. Most won't admit to it, but they totally do it. Backup all of your patches. Individual patches is a definite. They may need imported individually, but they can be exported in bulk by highlighting them to do a "drag and drop", so it is not like you have go up to file and click "save as" 512 times. And then it is up to you based on how you use your machine, as to if you want to save your setlists and the bundle. After you install the FW, you should do a global reset. THAT is when you will need to do the pedal calibration. You'll probably need to set your control panel as well. Personally, for these updates (2.6.2 and the other softwares), I started everything fresh. I deleted all of the L6 software (including manual folder tree and registry deletions). I overwrote all patches and settings, so that everything was in a 'factory' state. The Variax setlist will be placed where User 1 currently is. There will be two user setlists instead of three. Not that it matters, everything is removable. None of the factory patches need to stay there is you don't want them to be. So really, there are 8 user setlists.

I don't use 4cm, and never got into fx loops. So I don't pretend to be an expert. But doesn't 4cm utilize the standard input? If we mute the input jack and use just the fx in, it should remove a lot of the 'personality'.

The easy way (if you run mono) is to assign a left signal and right signal and then mute the one that goes to the marshall. --- or turn it down significantly. so that you can still hear it but its ugly sound isn't so overpowering. The next easy way is to start running direct from pod (which you do) and then just get used to the fact that the onstage sound may not always be the best but it sounds awesome to the paying customers. I am also wondering if you, instead of running stereo... Use the fxloop. Send the acoustic sound to the fx in, and mute the volume of what goes into the standard input - perhaps with the volume pedal. Perhaps someone with fx loop experience could weigh in on if that will work.

As I said at first, we need more information. You are correct, it probably is a simple solution but the question doesn't provide the detail that is needed. There are two questions that I get often. They seem simple enough. But I hate them with a passion. 1. Do I know you? How the lollipop do I know who you know. I am not a mind reader, I don't know what is in your head. 2. How do you live? I inhale and exhale. If you know of a better way to sustain life, let me know. And an honorable mention is: 3. How long has your hair been growing? Since Birth. It doesn't have an on/off switch. And of course, you're probably wondering why I brought those up. Because they are also simple questions, but they are so simple that they are incomplete. We can't tell you how to control something when: 1. we don't know what you mean by control 2. we don't know how you want to control it 3. we don't know what other gear is involved that needs controlled 4. we don't know what digital paths are involved in your patches that you are trying to control Some of us are more than willing to help in order to make the world a better sounding place. But we aren't miracle workers. You have to do your part.

Good, I am glad you realize that.

I am not telling you not to call L6. But, if the L6 doesn't do it with the other gear, I am not sure what L6 is going to be able to do about it.

I know that not everyone is in the same situation as me, so I don't suggest this as a solution for everyone. I no longer provide my own IEM's or Wireless units. They are either provided by 'the band', or someone else like the promoter or production company. There are just way too many variables anymore. Everything interferes with everything else. Nothing is compatible with other stuff. Let someone else buy a dozen units so that everything is made to work together. Why spend money on a wireless unit, only to find out that you can't use it because the singer's unit is on the same frequency but he needs his to prevent 'lipshock so you can't use yours'. Or your IEM requires a 2hm and the only source available is a 4hm. Let the headache belong to someone else.

We've all been new at one point. Its all good. **You will need to calibrate your exp pedal afterwards.

You can delete ALL patches if you want. Nothing is ROM.

@rd2rk I think he is talking about changing the default values when you are using the Pod, not EDIT. @donnyedge No, you can't change the default values. But they are better than trying it on EDIT where everything is zeroed out.

did you do a global reset after you reinstalled the firmware?

I think we are going to need more information on your set up and your patches - particularly an example of each (pre and amp). Please make sure to distinguish between physical devices and virtual devices --- such as: I am using the drive on my (physical) 5150 amp while using drive on my (virtual) 5150 amp. It sometimes gets confusing in here with all of the amps and amps, cabs and cabs, and fx loops and fx loops.

but first try --- adding a noise gate as the first block in your patch change input 2 to variax instead of guitar -- both on the pod's control panel and on the patch using edit ***I missed that this was regarding a Bean.

That is a non-sense statement. The Helix, with all of it's advancements, is still inferior to many products. It may be mass produced, compact, and affordable to those on government assistance. But it, in no way shape or form, is sending anyone in the tech industry 'back to the drawing board'. A Helix Lite is in the making. They may not admit to it, and it would be foolish (at this stage) to tell people that you can buy one cheaper without 12 inputs and 36 outputs if they wait a couple months. But why would they not make a product with fewer features, with the same basic operating system. In fact, they will probably have 3. That is standard operating procedure, make 3 --- good better best. Release 'best' first to show off all of your goodies, and get people interested --- then release the more affordable units. Do you know what else is already in the making --- The thing that will replace the Helix. So, yeah, anyone trying to chase technology is just wasting money on the Helix because they already have the new one in the making.

I have NEVER used a keyboard amp. They have always gone direct and been sent back in the monitors. I tried various ways of doing the same thing for years with guitar, because, like you said, who wants to lug around an amp if you don't have to. But it never sounded right, causing me to eventually give up my quest to go ampless with guitar. Until I bought my HD500. Like George Lucas said while making the Star Wars Prequels, "The technology wasn't available to make the movies I wanted to make, so I needed to wait 20 years for technology to catch up before I could make them." That was me. I wanted something that the world wasn't capable of making. But is now. Sure, I admit, people say that the tech has been around for awhile. And I have been backlined numerous times with racks and racks of 'computerized' gear that didn't involve big huge rows of amps - which defeats the purpose of carrying less gear. But for me, personally, I developed my sounds and learned my gear like the back of my hand. I couldn't get what I wanted when ampless, and got what I wanted when amp'd, so I quit trying -- until I needed to make the change. And that is when I looked in to this ampless idea again. Ding-Ding-Ding we have a winner! I no longer use an amp, and I am not going back.

But the volume levels of the XLR and the 1/4" jacks are different.

Well, that's the thing. You can't have your cake and eat it too --- which I always thought was a stupid phrase. Who wants to 'have' a cake. But the sentiment is there. Your concern (as a performer) is the sound of the audience. You need to adjust your pod to sound good for them, and if it sounds different through your amp then you just need to suck it up. The audience isn't paying for you to pleasure yourself. So, now that I got that out of the way... Use the two XLR jacks to go to the pa. Adjust your tone accordingly. Your amp/cab, even when using a post-amp input, will color your tone. How much coloring is the unknown variable (some of them are very neutral when used after the amp section, while others are not). This is why people say to use an FRFR or a studio monitor instead of a guitar amp, so that there is no coloring. Or they, like me, skip an onstage amp and let the pa send the sound back to you through the monitors - they are there, otherwise you don't hear the singers and keyboard players, so why not use them for the guitar as well. Really, there is no other gear or method that is needed. Pod to PA via XLR, no DI needed. And 1/4 to AMP. Whether you use the FX Out or the balanced out, into the input or the FX In is up to you. I design my patches via headphones to give a clear, uncolored, and consistent sound. And then I make any needed tweaks once I get them hooked up to a PA. *a decent way to see how much your tone gets changed by your amp is to play an mp3. If it sounds like your home or car stereo, you are good to go. If it sounds like a tin can --- that is the tonal characteristic of the amp.

I am not saying it is the best way, I am saying that it is MY way. It works for me. But, I understand why they say to turn it up all the way. Maximum volume has been the suggested usage for decades for numerous devices. It helps to reduce the noise/sound ratio. For example: Your [physical] amp, if you turned it up to 10 would make a hum/hiss (even with nothing plugged in). If you had your guitar (or Pod) volume at 1, it may be the decibel level that you need it to be at, but you would have all of that amp noise. SO, you turn your [physical] amp down to 1 to minimize the noise, but then you turn your guitar (or Pod) up to 10. Same decibel level but the noise is reduced. BUT, you also have to worry about redlining. If you run too much input volume, it will distort. That is why I choose to volume match. I know that my player puts out an acceptable level. And, as I said, it provides a baseline volume for me to use.

Rewolf48 said: Are you aware that you can use an Expression Pedal to vary these settings? Not just to vary them, but you can pan between them.

Then why the hell did bother coming here. And why the hell did you bother reviving a 3 month old post.

I don't know the particular fuzz that you are hearing because, well, I am not there in your room with you. But, the HD500x is known for having some fuzz. It is part of the 'realism' of the unit.

Patches found on Customtone are user created. There is absolutely no quality control on it. There is also no standard set of settings - like using a Variax or Guitar on an amp or direct. As to the volume of your patches ---- Different amp models provide different volume levels. There is a volume pedal. There is a mixer. The Guitar In-Z (on EDIT) will affect volume. FX Loop. Lots of things. FYI --- I do not turn my master volume all the way up. I plug in an mp3 player because the master volume does not control its volume. Then I try to match the guitar volume to what is playing. I always use the same song and same patch. I think it helps in patch creation too. To always have that one baseline volume.

While I agree with "record dry and add reverb after" for most situations, it isn't always how you want it to sound. So, for the other situations --- My goto hard rock patch runs a ping pong delay before the reverb: Plate Decay 35 pre delay 4ms tone 55 mix 27 my goto clean sound runs an analog chorus before the amp then reverb room decay 60 pre delay 100ms tone 50 mix 50 May not be what you are looking for, but it is a start.

I am not selling because I am not buying, so it doesn't matter to me. But yes, you have a valid theory. The other thing to consider is this ---- The Helix is not a direct replacement for the HD's because of the price range. So, other than the initial drop due to extra supply from the tech-chasers, I don't know if the price will really drop too much - UNTIL THEY RELEASE THE HELIX JR, which will be like the HD300, a version with fewer options. See, then, with the new product being $500-800, you will see the HD500 drop. Permanent price drops are typically the result of similar units being replaced. Like an iPhone 1 going to an iPhone 2 - both of which were initially priced the same. Or the 2015 Ford Escort and the 2016 Ford Escort. Which is far different than a $500 unit and a $1500 unit. The 2015 Ford Escort doesn't price drop simply because in 2016 Ford released a luxury sedan worth $45k - it would be because of the new Escort.

I do the same thing for the 'local' gigs. PA is panned hard left and hard right, and then my patches determine if I am running things the same in both or different or mixed. Studio work is completely different and is always on a case by case basis. Also, it doesn't apply to larger stage productions.