Digital_Igloo

Check out some of the factory presets. Plenty of them have multiple amps and tons of effects blocks with DSP to spare.
 
Despite the fact that Helix is 2.3 times faster than HD500X (2.75x faster than HD500), HX models are much more DSP intensive than HD. I've mentioned many times that one should not expect to get twice the blocks as POD. Running both DSPs, you should get about 40-50% more blocks than HD500X, but that's still highly dependent on what models you choose. Everyone should read "Dynamic DSP" on page 19 in the Owner's Manual, but more importantly, I really need to finish that stupid blog.
 
 
I'll go out on a limb and state that no one will ever create a multieffects guitar modeler (or synth!) that lets you implement all that the software has to offer. As DSPs get faster, the models will simply get better and require more cycles. For fifteen years, people have claimed that near-zero throughput latency while mixing on Macs and PCs is just around the corner, yet DAWs and plugins get more and more hardcore, which requires everyone increase their buffers which in turn increases latency. My studio's throughput latency is actually higher than it was in 1998. But man, it sure sounds better today!
 
If Helix 2 ends up with four DSPs, and Helix 3 has eight DSPs, and Helix 4 has sixteen quantum-computing GPUs and 20 petabytes of RAM, I guarantee you we'll all still be having this conversation. We'll always find a way to quickly fill that sucker up.  :D
 
If a box exists that does let you implement all that the software has to offer, the manufacturer is artificially restricting the number of certain types of effects. Line 6 does this too, in Firehawk FX and AMPLIFi, because it's simpler to grok, more predictable, and doesn't give people DSP anxiety. Helix is a pro product, and we weren't about to artificially restrict you guys to one amp, two IRs, and six effects, just to make you sleep better at night. With great power comes great responsibility, as they say.

FWIU, the Helix app version used when backing up isn't important, only the version used when restoring.

Just press and hold that parameter knob again—Helix jumps to the correct page. When you're done tweaking, press HOME.

That particular glitch is indeed a bug that has been fixed with one of the recent firmware updates (forget which one—it should be in the release notes).
 
The very first batch of Helices have all been opened up—We had an army of dudes who installed the latest firmware (well, it was new at the time) and USB flash drives. So yes, it's quite possible that the unit may have appeared to have been opened; we had a day to update many, many units, so perhaps a cable didn't get re-wrapped as tightly as it could've.

It's way simpler than that.
Assign both the Cab block (use separate Amp and Cab blocks here) and IR block to the same footswitch. Touch the footswitch to make sure one of its blocks is selected and press BYPASS. Pressing the footswitch will toggle the enabled/bypass state for both blocks.

Either one will work, but any post-amp blocks (effects, looper, etc.) will be affected by upstream gain, even in HD500.
 
Personally, I find it easier to just turn down the Channel Volume too, but the most transparent way to adjust overall preset volume is with the Output block's Level parameter.

It's just a bandwidth issue, but yeah, the thing's on my list of things to do.
 
 
Probably not, at least not right away. Since Helix's models are so close to the real thing (again, to a fault), one could literally download the manuals for all the respective amps and pedals and understand everything. Or watch YouTube videos on them.

If you pan the Multi Output hard left, set your Logic track to Input 1 (mono). If you pan the Multi Output hard right, set your Logic track to Input 2 (mono).

Line 6's goal was to totally nail the sound and behavior of the amps, even to a fault. Where the original knob behaves in a nonlinear manner, so will Helix. If a certain real mic sounds horrible on a certain real amp at a certain distance, so will Helix.
 
Not suggesting that our approach is better, just that it's what we've decided to do.

Helix's cabs are IRs. They start out as 2048-point IRs and are then optimized to sound the same but use way less DSP horsepower.
 
Third-party and user IRs aren't necessarily better in an empirical sense, but they certainly give you a wider variety of cab+mic tones.

When setting Preset Footswitch Mode to "Upper Row" or "Lower Row" (we call it hybrid mode), Helix doesn't move automatically move stomp switches to be visible—it's basically punching a hole into Stomp Footswitch Mode. So if there aren't any stomps on the upper row in Stomp mode, they won't appear in hybrid mode either.
 
Fortunately, it's really quick to move them:
From Stomp mode, touch the footswitch you wish to move. Touch the destination footswitch for two seconds and press Knob 6 (OK). Note that this won't move multiple assigned footswitches, nor will it move footswitches-as-controllers, Command Center messages, or custom labels.
 
We asked a bunch of people and the vast majority preferred stomps on the bottom row, which is why we assigned them there by default.

If you need to split the click and backing track into Helix, that's fine, but it'll take one or more of the four paths. Only USB In 1/2 bypasses all paths. Another path will be needed to route in, say USB 3/4 for a separate stereo feed.
 
Alternatively, if your playback system isn't stereo, you can always pan the tracks hard left and the click hard right and then USB 1/2 is all you'd need.
 
There isn't currently a way to build cue mixes with different levels per input per output, but your question's got my brain running...

2.61 fixed the Acoustic model not appearing correctly in the Vintage Pack, 2.62 fixed Global EQ disabling itself when exiting Tuner mode.

2.6 isn't quite available for HD500, HD Pro, or HD (Bean) just yet. HD500X and HD Pro X support just landed yesterday.

I'll have to double-check, but I'm 95% sure Global EQ is applied to only the 1/4", XLR, PHONES, (EDIT: and S/PDIF) outputs. As L6 LINK outputs can be tapped from multiple places in the signal flow, it would require a duplicate Global EQ block for each of the four L6 LINK outputs. A lot of optimization was done to squeeze in a single stereo Global EQ without affecting everyone's presets, and four additional channels of Global EQ was just never going to fit.
 
Sorry.

Currently, only POD HD500X and HD Pro X support 2.6 and the model packs. Support for HD500, HD Pro, and HD (Bean) should be available in the next week or two.

Or none of you will know 'til... right now! :D
 
Global EQ is global; that is, it's applied to all setlists and presets, at the end of the signal path. Its bypass state is global as well; it's important that the user never have to worry whether or not a particular preset has Global EQ applied.
 
1. Press and hold VIEW to open the Setup menu. Using the 4-way, cursor right to the last page.
The header reads "GLOBAL EQ:OFF" 2. Press ENTER to enable Global EQ.
The header reads "GLOBAL EQ:ON" 3. Use the encoders below the screen to adjust Global EQ:
Knob 1 (Band Select): Low Cut, Low, Mid, High, High Cut Knob 2 (Freq) Knob 3 (Q) Knob 4 (Gain): -12.0 dB ~ +12.0 dB NOTE: Q and Gain disappear when Knob 1 (Band Select) is set to Low Cut or High Cut.

The XLR outputs on POD HD500X are mic level—that is, they're designed to be sent long distances (without the need for additional DI boxes) to the front-of-house mixer and then boosted with mic preamps.
 
The 1/4" outputs are line level, which is much higher. If you're running directly into studio monitors, definitely use the 1/4" outputs.