Joepeggio

a surface 3 and above should also do the trick. Its a full windows 10 machine capable of running the editor directly. Probably really cheap on the used market considering the huge success of the early windows surface units. :blink:​

YES!! YES!! YES!! FOUND A COOL FEATURE OF THE EDITOR!!! sorry had to yell it out. It saves the setting for the Amp when removing the Cab. (and after further testing, adding a cab too) Connect to computer open Helix Editor. 1. Select your Amp+Cab block. 2. Below the Path display just above the sliders on the left, click "amp+cab". (displayed in red) 3. Select Amp --- Guitar (Bass if Applicable). 4. Here's the important part. Double click the SAME, I repeat, SAME model amp as in the Amp+Cab. All setting in the amp stay as were in the previous setting! :D I am using a windows 10 laptop, so not sure about Mac. I have tested it and I seem to get consistent results. And if you accidently select the wrong amp and defaults come back, just reselect the patch without saving to recall you prior settings.

Make sure to select the "Amp" block. Amp is the preamp and power section. Preamp is just the models preamp section only - for those who 4 cable and like their own power amp.

I've ran into that problem as well when I wanted to convert an ir. I haven't found a way to do it. If its just a cab change, you can turn the "joystick" knob when on page 3 of the Amp+Cab page. It will change the cab.

hmmmmm. I would think its would not work that well, unless you select a blank block. But then what happens when you want to adjust a delay, will it also send messages? Im a complete noob when it comes to midi, but I am trying to grasp it. Will these kind of knobs that turn infinitely be able to send 0-127 since there is no ends? you have captured my interest.

Anyone know if using the same effects in the same block locations allow for faster switching, or does it dump entire path and load the new setup? I was thinking like the looper works when switching patchs.

this has been noted before. I find it a little frustrating too. The only solution I can think of is to make sure its saved in the proper behavior. Then its perfect live unless you play barefoot. Or wear a glove with one finger cut off. Ooo, an offical Line 6 Helix editing glove - $39.95 please specify left or right. :)

Go monster!!! Sounds defective ( no pun intended) :rolleyes:

Good point. The purpose of a isolated power supply, ie Voodoo etc, is to prevent the noise from some digital pedal power regulators/circuits bleeding to the other pedal, either through the +, the -, or both. The digital pedals usually isolate/filter the signal ground from the power supply ground, but if you ground all the cases together, all guarantees are off. There likely won't be any noise, but some pedals are noisy buggers. Try to put a Digitech Drop pedal on an uninsolated supply, sounds like a Hover vacuum.

in defense of the OP, 1500 isnt chump change. I too am very critical of things when i have to save and sacrafice for months and then not be impressed. To each his own. BTW I love my Helix and find it is completely capable of solving all the OP's issues. Thankfully they will keep making them and he will have plenty of time to decide.

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The default of a split is to remerge before the output, therefore recombining the dry signal getting the level back to the original. Any other way can be compensated for by adjusting the level somewhere (anywhere) in the path as needed. Seems logical and real world to me. Sort of how analog works. Me being an Android / windows guy, I get frustrated when a band mate tries recording us using Logic on his Mac and it starts trying to predict what we want to do.

Like stated above a merge of 2 excact signals produces a 3db increase. I think the A/B and y splits reduce the level by 3db so when they re-merge its back to unity. The A100 setting etc is the percentage to that side, still 3db lower it seems. I have ran into this in some patches. I usually boost it in the merge, boost the level of a block in that path, or put a 3db boost before the split if there is a gain sensitive block downline.

Nice write ups here! I wonder if that main difference is the irs? (I'll save my comments on the IRS for another thread). I would say the capture of the ir would be a huge variable. Secondly, I understand modeling trying to be as accurate and true to the real amp as possible. Line 6 even has said if the real amp sounds and feels like crap in a certain setting with a particular guitar, it will sound like crap in the Helix. Is it possible AX8 adds a little bit of this own magic to make amps sound and feel "better" forgoing true accuracy?, emulating the "amp in the room" feel? The only real way to compare the units would be have a real twin with mic vs helix "twin" vs ax "twin" with said mic and hear which two sound most alike. But all this aside, the real player in a real room playing to a real audience s' opinion is what truly matters. As Rlblues experienced the AX may win here. I wonder if line 6 can make some "live" irs that may not be perfectly accurate but sound and feel better? I.e. ir's for recording, perfectly emulating ABC cab, and live ir's for ABC cab in the room.

Having to press multiple switches to get between tones makes the short pause from a patch change seem more palatable.

Quote from willsmyth37 - Can anyone elaborate as to the actions of currently stomped switches, when switching between different groups of stomp boxes? when switching away from a signal chain, can you adjust whether stomps return to default positions? (Helping to prevent "pedal tap dancing". - I think you are refering to a scene mode where the state of multiple pedals can be recalled by a single switch. Currently, Helix only toggles between 2 parameter states. Each switch can do 8 parameters. If a switch is used to change a set of effects, that same switch can only set them back. No other switch can be used. Here is a small example : i have a bit of chorus in a clean tone, i put the chorus on its own switch. When i go to a lead tone i can use a single switch to turn on the Screamer and turn off the chorus. Since the chorus on/off is already assigned to a seperate switch, i toggle the mix level from say 30% to 0%. 2 ways to turn off the chorus. The catch is if i want that same chorus block in the dirty tone, too. Cant in this setup. There are more creative folks then me on this forum, so maybe there are more possibilities, but the scene mode, I believe is what you are looking for.

i hope this gets fixed too

The Moog worked for me too, also backwords. But the sweep is is not linear. The top 1/4 inch of movement is around 50% value.

Have you tried to transformer isolate the xlrs? Like what an ART DTI does. In my rehearsals I get a nasty noise. ART DTI solved it. Ground loop. I don't think phantom blockers isolate the signal / ground. Bonus: the ART also blocks phantom.

I would love to see the ability to assign a global polarity in Helix and set a pot value and sweep for the expression pedal, instead of fixed at 10k to 12k linear pot. But with all that Helix is, especially for the price, im not complaining.

milliseconds I think.

The FOH should already be tuned for the room, I would hope. I use global to adjust. It's usually just a change in low cut.

Yes. Something like a more modern pedal builder has done. Instead of being so true to the vintage pedals, take them and add real tonal tweakability, ie Wampler Velvet, JHS, Earthquaker, etc. I am not a major fuzz fan, but I love my Wampler Velvet fuzz. It's very smooth and adjustable to almost a gain booster, but very colored in a good way.

Saw it on the other site you posted so I won't cheat. sounds awesome

I dont use an true amp (i use monitor and pa) but out of curiosity, what is the input impedance of the Mesa? Also, does a non-bypass pedal in the off position (Ala Boss) have the same effect as the Helix?