JLondon

Several of the Helix delays have modulation including the Memory Man clone. (don't recall what it's named at the moment)

Some on the board don't understand my position, but this is precisely the reason I wish the new "editor" could be used from my easy chair, or bed for that matter, without being teathererd to the Helix itself. I would love to be able to work, make notes, etc. and do things that have nothing to do with the actual sound

NOPE! Still says 4 & 5 like it always has. Just looked.

I'm looking at the Line 6 download page in another tab as I type this. This is also the content of the emails I received. See instruction number "6". copy/paste: Application v1.10 Public Beta Release Notes Helix Application 1.10 is a public beta that includes new features, fixes, stability improvements, and optimizations. IMPORTANT! READ BEFORE INSTALLING ANY NEW SOFTWARE! 1. Shut down all Line 6 software as well as any software that streams audio, including, but not limited to: iTunes, Spotify, DAWs, etc. 2. Use your CURRENT EXISTING Helix application to back up all of your presets and IRs. If you're running Helix FW 1.06 or 1.06.5, your current Helix application version should be 1.04. 3. Quit the CURRENT EXISTING Helix application and download and install the NEW Helix application (1.10.0), available here: http://line6.com/software/This also installs the newest version of Line 6 Updater (1.08). 4. If you're using Helix Rack with Helix Control, turn off Helix Control. 5. Using the new Line 6 Updater (1.08), update Helix (or Helix Rack) to the newest firmware (1.10.0). If you're using Helix Rack with Helix Control, after Helix Rack has been updated, connect and power on Helix Control, and it will update automatically. 6. Reset Helix's global settings by holding footswitches 4 and 5 (top row) while booting. For Helix Rack, press and hold knobs 2 and 3 under the big LCD while booting. 7. Using the new Helix application (1.10.0), restore all user presets and IRs.

I don't think there's anything wrong with your headphones or the Helix. Just the wrong headphones for the job. I also have been disappointed to find that my new Audio Technicas (awesome otherwise) sound horrible when plugged into the Helix, Amplifi, or the back of my Mesa V-25 while my Sure in-ears sound great.

My updater didn't tell me to do anything concerning the boot process. But the Line 6 website download instructions clearly and carefully state to press 4+5 (not 5+6) for the purpose of restoring global default settings. When doing so I repeatedly got the same result as the original post although I didn't go further with the "test" procedure. Don't have any idea what it all meant. What I did do is restore global defaults manually per global menu 'after' machine was on. Everything seems to be working fine for me and I didn't lose all my presets as the instructions also said I would. I do find it a little shocking that Line 6 is testing a Beta while not even being able to get their install instructions right.

Mounting just the Helix may very well not be a problem at all since it is only one pedal with it's own power supply. That's not a "loop". The problem will arise when you start mounting other powered pedals along with it using a conductive bracket material. A passive expression/volume pedal shouldn't be a problem either.

In a perfect world, maybe so. But ... As for the power supply, Voodoo Lab Power Plus 2, along with some others, are specifically made to be screwed/mounted to the PedalTrain boards. If memory serves me correctly, their instructions even specify the need for the unit to be grounded to the board. HOWEVER! Now that I think about it, I've even tried mounting my fx pedals to the metal board using conductive fasteners with the power supply temporarily detached from the board. Same result. And I've got LOTS of fx pedals of different makes and quality. It's just simply an imperfect world where grounding of fx pedals are concerned. Wah's are the worse. I'm completely intolerant of noise and hum from my guitar. I have my pedals fastened with non-conductive material, noiseless pups, and a quality power supply. I can crank 4 ODs in series without a spec of noise. Believe me. If you ground all your pedals to a metal board. You're gonna create a loop.

WARNING! For those of you thinking of doing this on a metal board, like Pedaltrain, forget about it. Wood boards should be fine. When mounting multiple fx pedals to a metal board using any kind of metal bracket system (including those little chain links you can buy), this grounds said pedals to the board and creates a ground loop - and NOISE - same as inadvertently creating a ground loop inside your guitar! I have overcome this problem by making my own brackets from a stiff, but non-conductive material but the screws going into the board cannot touch the metal of the pedal being mounted. I don't know if the fact that I have a power supply directly screwed to my Pedaltrain is a factor or not. All I know is that I've experienced this phenom with every power supply and metal board I've ever assembled.

The Helix expression pedal has it's own toe switch. It's the only way to my knowledge that you can switch the regular Helix with an expression pedal. Mission pedals makes two expression pedals specifically for the Helix. One is toe switchable but is only for the rack system with floor controller. The other is not toe switchable and is for the regular floor Helix. You have to use the Helix built-in pedal for toe switching.

To my knowledge, plugging into my Voodoo Lab Power Plus 2 courtesy outlet is absolutely no different from plugging into an extension cord or any wall outlet. I would not be afraid in any way whatsoever to plug my Helix into it.

I feel your pain dude! This very thing has literally driven me crazy. I've asked for help on this board as well but while I've been appreciative of everyone's answers, nothing really worked for me. No matter what I tried, the result was exactly the opposite. And things can get really ugly, really fast, when you start trying even more complicated combinations That said, I know what Glideman suggested is the correct very abbreviated answer. All I can say is that, for some reason, with time I'm having less of a problem. I don't know exactly what I'm doing different. So I'm afraid I'm not going to be much help. What I do have for you is "hope". (grin) On second thought, try this. Note to yourself which effect (A) you want to be "on" when the switch is "off". Assign this to the switch "first". Then bypass the effect so that the light will go out. Now assign (merge) the effect (B) that you want to become active when hitting the switch. The switch should now be on with effect B "on" and effect A "off" (I think). Now, for God's sake - SAVE! If this doesn't work then try exactly the opposite of what I just said. If 'that' doesn't work, well ... remember the "hope" thing.

The most efficient way to audition over a thousand IR bundle is - DON'T. It's ludicrous in my way of thinking. No one, after listening to a 10th IR can possibly remember what the 1st even sounded like in order to compare. I really can't imagine why they give us so many in a bundle in the first place. What I do like is when the maker of the IRs create what they call a "quick start" folder for you that has a few combinations of each speaker combination. Usually about 30 IRs total and one can typically find what they need right there. But if you hear a speaker with a certain mic at a certain distance and you wish it were a little closer or farther away, then you can go to the big lot and get the one you want. My advice, if not provided with a quick start folder, is to methodically make your own. Before listening, make a folder, containing only one speaker type, with one of each available mic, all at a same average distance - say 3 inches. THEN, and only then, listen and learn the differences in the mics first. Make one separate folder just like this for each available speaker type in the purchased bundle. By the time you have created a folder like this for 4 different speakers you will have learned not only the characteristics of each individual microphone, but also you'll know what you prefer. I guarantee you that you can get a 2000 + IR bundle down to 10 or 15 that you should then make at home on the Helix.

Yep! Been here - done it! My church sound man and I went nuts trying to figure it out. So here ya go. In Global, set whatever line out you are using to send your signal to FOH to "mic". AND most definitely turn off phantom power in the Helix. If you've still got noise then I guess pray. But only as a last resort of course (grin).

The only way to hear an accurate representation of signal to FOH, regardless of speaker position/orientation, is if the speaker is in PA/Reference mode. All stages are different with different effects on sound quality where-as the speaker compensation is kind of a one trick pony. Might come in handy some day, but so far has not for me. But how could one expect a direct signal to FOH to sound the same as a monitor signal that's been post processed? PA/Reference is for exactly that. Horizontal/guitar mode is for if you simply want to use your speaker like you would any amplifier (which in this case would be impossible to mic with only one microphone). When I first got my Stagesource speakers, I too thought guitar mode sounded much better. But as I became more familiar with the setup, That soon changed. But when all is said and done, if a particular setting sounds better to you and you play better because of it, then do it - and let the sound man handle his end.

I second your comments - especially the last question. I've been completely enamored by the machine itself and h,ave been amazed by the simplicity of it's interface. So I've been reluctant to criticize Line 6 for the delay in providing a computer editor. But I think that time is past. This is not rocket science for them. They've got the basic program framework already with the Helix and "Amplifi" programming. As an owner of the Roland gr-55 (a VERY deep well indeed) I'm very disappointed that they never felt obligated to provide a decent editing software. I'm so thankful that someone took the time to create an amazing, and very professional, program themselves - for nothing ($) - and was willing to share with, and provide updates to, the rest of the world on a voluntary payment basis. ($55). I was never so happy to pay for freeware. I would have paid double. I'd be happy to receive a free program with my Helix but if I have to pay for it - so be it. Just DO IT Line 6!

Oh I can assure you that you won't be disappointed. I started with an L3T so I would have the mixer option for my acoustic guitar. Then I bought an L2T for monitoring my electric guitar before going to mixer at church. I prefer the 3 and the sound quality of the 3way vs. the 2 way is worth the money. But the 3 is kinda heavy for this old guy to be lugging back and forth twice a week to church - hence the L2T purchase. Before buying the 2, I had already I decided I wanted a stereo speaker setup at home and a single speaker for church. So I figured if I had one of each, I could make a more educated decision as to which duplicate speaker I should buy for my stereo purpose leaving the remainder at church. They do both sound awesome but what I ended up with is the L2T stays at church and I have an L3T and L3M at home for stereo. Church music is contemporary requiring some gain and a lot of U2 Edge type guitar to sweet swells etc. At home I'm playing everything from Gilmour, to SRV, to Hendrix, to Petrucci, to Mark Knopfler dumble clean. Both the 2 and 3 can handle it all amazingly. It's just kinda like the difference between a 1x12 and a 4x12. Except that's not exactly right either because they (FRFR) work off a different principle than regular speaker cabinets. You can get sweet, or big cab chunk, from either - and at 'any' volume. I personally would ignore the various settings options on the speaker when playing through, or creating presets for, the Helix. Leave it on the reference monitor/pa/FRFR mode (top button). I think the other settings might be better for when the audio signal is coming back to you from the house board and not directly from Helix > speaker > your ears. Unfortunately, the Helix factory presets and those you can purchase or download for free, are all over the place volume-wise. I've read somewhere on this forum that the main volume knob of the Helix should be maxed for unity gain. Unity with what _ I don't know. I certainly haven't found it. I like to create/adjust my presets so that they sound good with both the Helix volume knob and the Stagesource speaker knob at 12:00. Then I use the Helix main volume to compensate for the difference in venues and/or the interpretations of presets created by others. But with 12:00 as a starting point, I never have to adjust Helix main volume so far that it changes the original tone much. Contrary to popular belief, I find that even with FRFR speakers, drastic volume changes will have similar effect to changing volume levels on your guitar. Your intended foundation tone can get clean/dirty with drastic Helix main volume changes.

Yes dB meter is a must and most phones work just fine for this at lower volumes. However my Android/Samsung 3 tops out at 85dB. Go figure! The phone's meter app is ready to go but due to the physical limitations of the phone's microphone, you could meter lift-off at Cape Canaveral at a distance of 100 feet (don't try this at home) and it would still only read 85dB. Apple phones however will allow you to meter up to 115 or 20 I think which should cover you for most applications/venues. Anyway, just sayin', not all phones are created equal for this application.

Is it safe to leave the Stagesource speaker's switch on with at a previously set volume and power them on/off from a common switch in the studio? Nothing else would be turned on with the speakers. In other words when turned on, there would be no outside load on the speakers. Only the previously set vol level of the speaker itself. Or do I have to power them on with the vol at 0 and turn them up individually (which is what I've been doing)? I'm a newbie to P.A. system so please don't laugh if this a really stupid question. It's just that long ago and far away I managed a bar/club that would have a band occasionally. So one time when I came in to open up and I turned on all the power switches I blew something in the band's system that was very expensive. Something about having to turn things on in a certain order and the speakers not being under load. I'm sure technology has come a long was since but I just wanted to make sure.

Okay I just viewed the 2 Anderton's videos in which Paul Hindmarsh demos Helix using [Video one]: a Line 6 Stagesource speaker (what they hear) and also going straight into recording equipment/DAW/whatever for the video (what we hear) and [Video two]: a tube amp and an analog pedal in one of the Helix loops (what they hear), and a room mic into recording video (what we hear). Looks like his "Big Knob" volume settings are: (1) approx 11:30 for FRFR powered speaker application (2) approx 10:00 for Tube amp application using 4 cable method Both vids are obviously studio examples and not live stage, but I think I'm going to start using 12:00 as a starting point in the future when creating new presets and see how it works for me and my equipment. That way maybe if I have to change the volume setting a little either way for different apps, it wont mess with the tone much.

I too have read that 'full-up' is unity gain. This works for me for live application as I am playing straight into a Stagesource FRFR powered speaker. I just turn down the gain on the speaker and the sound man takes care of his end. I also run an acoustic guitar (real one) through the Helix with no amp - just effects. The "big knob" needs to be pretty high for this application to get a good signal to the speaker. I do know from personal experience that if you are doing a 4 cable or WDW method into an actual amp that a 'full-on' "big knob" volume level is ludicrous. It's my strong opinion that the Helix is designed from the ground up to be paired to a digital source first and any other use is bonus that has to be compensated for. In other words, an upgraded version of the previously marketed "dream rig" which was a Variax guitar>HD500>Stagesource speaker. I have found that if you have to use the Helix for 'various' setups the "big knob" volume issue is frustrating because using it to make large volume adjustments to compensate for changes in rigs/uses drastically changes the character of the gain settings in your preset (same as cleaning up the tone with guitar volume or pushing the volume of a tube amp). The Helix is Awesome! But you basically have to just create (or download) a preset you like and re-create as many versions of it as you have applications. I'm going to check out the two Anderton's videos again in which Paul Hindmarsh demos the Helix, one vid with an FRFR speaker and another with a tube amp, and see if there is a difference in his "big knob" settings. I would think Line 6's rep would be the one to pattern after as a starting point.

In a video I just watched about EQing amps on the Helix, it was said that "Ripple" basically does for the high end and fiz what "hum" does for the low end and boominess. This "sounds" logical but how true this is I don't know as I haven't had much experience with this adjustment yet.

THANK YOU, THANK YOU, THANK YOU! If this works HonestOpinion, I'm going to name my next child after you!

And to the very kind, well meaning person that posted the sentence: "When multiple blocks are assigned to one switch and you want to know what controls the state of the led, it will be the block selected from the blocks assigned to that switch." I sincerely thank you. But that series of words makes my head want to explode even worse than the issue that inspired this thread! (grin)

Thanks! This info may be very helpful to me as well. So if you disable the master volume output to the board so that it always receives a constant signal regardless of changes to monitor output, what determines, or how do you control/set what the level of that "constant" signal to the board is the first place? Does the disabled output control automatically default to a suitable/proper, or unity, gain for the sound-man's purpose?