HonestOpinion

I have not found clearing the cache to consistently fix the problem. As of yesterday I have been able to get to the forum after clearing the cache and then proceeded to have problems logging in, or I have been able to login and then tried again in another session and either been unable to bring up the forum page or again had login problems. The page will accept my login as in it will not reject the login or password but then will show me as not logged in. Seems to be more cooperative today though. Maybe they put in some more fixes since yesterday. Will report back if issues continue. Update: Still having issues with Chrome. Refreshing the page often results in logging me out, never did that before the update yesterday. Firefox is also experiencing weird timeouts and delays although it is performing better than Chrome. IE 11 works but I don't use it as they never really fixed the issue where quoting does not function reliably in IE.

Here is a concrete example using two differen Here is a concrete example using two blocks - a reverb and a tremolo. I first assign both the reverb and tremolo blocks to one footswitch and name the footswitch "TremoloNoRvrb". My objective is that when the preset is selected the reverb block is on, the Tremolo is off, and the "TremoloNoRvrb" footswitch is NOT lit. After I click the "TremoloNoRvrb" block I want the reverb to turn off, the Tremolo to turn on, and I want the footswitch to light up. The way to achieve this is to turn on (NOT bypassed) the Reverb block and bypass the Tremolo block. I then touch (do NOT hold or click) the footswitch I have named "TremoloNoRvrb". Each time I briefly touch the footswitch the main screen will alternate between the Reverb block and the Tremolo block. Due to the fact that the Reverb block is on and the Tremolo block is bypassed, when I switch to Reverb the footswitch will light and when I switch to Tremolo it will be unlit. But... I want the footswitch to be unlit when I have the Reverb on. So.. briefly touch (don't hold or click) the footswitch until the Tremolo block is selected in the main screen. Now the footswitch light will be off but the Reverb will still be on and the Tremolo off. Save your preset!!! Now when you select that preset the Reverb should be on but the footswitch light off. Clicking on the "TremoloNoRvrb" block will turn the Reverb off, turn the Tremolo on and light the footswitch.

Hilarious, you may end up being single-handedly (pun intended) responsible for causing Ibanez to redesign/reinforce their whammy bar. Now that is rock & roll!

I am not for a minute doubting that both of the users in this thread are reporting accurately that they got a better sound from their "headphone" presets. I do however think that it is anecdotal. I am not sure what factors caused headphone presets to sound better than those created on a PA monitor but in the vast majority of user experiences I suspect this will not be the case. Maybe there was a strange mix on the board, or as Silverhead mentioned there were influential room acoustics, or a difference in the volume that the presets were created at on the monitors, a significant difference between the powered monitor and the sound generated by the full PA, or any of a number of other mitigating factors. In general I don't recommend headphones as an ideal reference for designing presets for FOH use. It just stands to reason that all other things being equal (assuming the soundman does not do something freaky with the board, or the room acoustics do not impose too much influence), the more similar in design the speakers you use to design your presets are to your PA, and the nearer you are to live volume when you tweak them, the better you will be able to anticipate what is going to be heard in the FOH. This could also be sheer coincidence. If for instance your headphone designed presets are much brighter than the ones you designed with your monitors and you play a "soft" room that absorbs a lot of high end, the presets designed with the headphones may sound crisper and better. Assuming relatively flat EQ settings on your mixer and a competent soundman, if your headphones are consistently a better predictor and design tool for presets than a monitor that is the same or similar to your PA and you are also consistently not getting a good sound when you play live in a variety of rooms, chances are the room you are using to create your presets has bad acoustics for that task or that you are not at or near the volume you are playing at in performance. But hey, if you regularly find that for some arcane reason that the presets you design on your headphones dependably provide the best sound out of your particular PA by all means I would use them.

I am totally satisfied with my choice of the Helix and don't want to find myself embroiled in yet another MFX comparison but I have to admit the level of specificity on those modeling changes would give me a warm and fuzzy if I saw them in a Helix firmware notes description. Clearly Cliff is either paying close attention to detail and doing some very precise modeling or he is really good at marketing.

Sheesh, the naming issue - reserved character was the first thing that occurred to me but I figured, "nah, no way L6 would allow it if it caused an issue" and as you say, renaming should have fixed it. Good catch rvroberts!

Yet another killer recording from a great player! Great tune and tone! How many whammy bars did you have to replace on this one? :) Once again some masterful whammy usage. Time can really suck you in like a vortex, I refer to that as the "Orifice Of Time" (I prefer your title). :D

My first thought is that you are having a problem with the format. Here is a the blurb from the Helix manual: " Helix can load and store up to 128 IRs at a time. 48kHz, 16-bit, mono, .WAV type IRs of up to 2,048 samples are natively supported. But the Helix app allows you to import IR .WAVfilesofdifferentsamplerate,bitdepth,lengthandstereoformat,andthe app will convert these attributes automatically before sending to the Helix hardware." I know it sounds weird but some people who have had problems loading IRs find that they can drag them first to the desktop and then successfully to the Editor. You may want to give that a try. Maybe it has something to do with the permissions in the IR folder, I have no idea. Btw, I believe Arislaf originally contributed that idea.

It sounds like your method pre-gig for designing your presets was correct. The only thing that occurs to me initially is that for whatever reason, the speakers you used to design your presets were significantly different enough from your PA at volume, such that they did not represent an accurate predictor of the PA (FOH) sound. Ironically and counter intuitively, just by chance, your presets designed with headphones were easier for the PA to handle. Go figure. You may need to figure out why the monitors you are using for preset design are sounding so different from your mixer and PA and account for the difference. You may also want to check basic configuration issues like your outputs setings (mic or line) going out to the PA, global EQ settings, etc..

Not sure if you did this already but if you want to install the 2.01 firmware make sure you download the latest "Helix" 2.01 application. Once you install the latest Helix app it will install the latest version of the Windows or Mac driver, Editor, and Updater. These three apps are matched to the firmware version and you will absolutely have problems if they are not installed first before you do the firmware upgrade. The problem is that older versions of the Updater and other software may allow you to upgrade the firmware (or error out in your case) but the supporting software (latest driver, Editor, Updater) needs to be installed as well. You also want to be sure to do the global reset after a firmware upgrade. It is a good idea to completely uninstall the Helix software first before installing the latest version. Good luck with your upgrade!

1000% agree! For a device targeted to include the pro, semi-pro, and "prosumer" market the Helix must be reasonably reliable for live and studio use. We are getting paid to perform or perhaps for a studio session and there is a reasonable expectation by our audience, customer, and the venue that we will not be using equipment prone to crapping out during a show and causing a disruption. Let's hope this is a rare occurrence because there is no justifying things breaking under reasonable usage on a well maintained device outside of the small number of devices destined to go bad in any product line. For the Helix to be considered a pro level device it requires a certain base level of reliability and I am certain it was designed with that in mind.

I love this idea for its simplicity but it does add a couple of minor challenges. One is that two vendors could name their IRs identically. This means now instead of using a hashed reference number that is unique you will have to rename one of the IRs, no big deal I guess. This means that if someone tries to load two IRs with the same name into the Helix; you need to either prevent it with an error message or somehow resolve or rename (e.g. add a "(2)" ) the second IR. I also wonder if the Helix having to manipulate the full namespace internally instead of a numerical hash would add any significant processing or memory overhead or latency, quite possibly not but something to consider. This method does mean you no longer have to worry about which slot the IR goes into which is the whole point. It also as you point out could make presets more portable by having a named IR referenced within the preset instead of a meaningless hash number. Overall I love this approach!

As long as you have everything backed up (twice) it sounds like it might be worth doing a global reset, letting that wipe out all your lists and presets and then restoring from backup. Btw, I never use bundles but use individual Setlist restores instead. What version of the firmware are you on?

Incognito mode seems to be working on Chrome when regular mode is not. This leads me to believe that perhaps clearing the cache and cookies might allow the normal Chrome mode to work again. Update: Clearing the cache and cookies as well as the browsing history did not help. Even tried reinstalling Chrome. Still having issues connecting in anything but Incognito mode. I can sometimes use regular mode to connect to the forum after reinstalling but if I try to open up a second window to the forum I cannot leave the main Line6 window. Behavior does not seem to be predictable on Chrome in normal mode since the update.

I use L2M(s) to monitor and build the patches on my Helix and really like them but in my opinion any decent PA speaker/monitor or FRFR or even guitar amp rig will do. I personally prefer the PA speaker (including the L2M/T) or FRFR approach as it does less coloring of the amp models and makes it easier to predict what my presets will sound like through the PA. For some though, nothing but the punch and tone of their favorite guitar amp/cab will do. Despite being a fantastic feature I would not let the digital connection to the L2m be your sole deciding factor. It is a great feature to be able to keep a digital signal all the way to your monitor but without a digital connection to your mixing board it does not completely accurately reflect what the sound will be out to the PA (FOH), although it is close. Additionally, as of right now the global EQ can not be applied to the L6 Link output so that is something to keep in mind. Lot's o' choices out there. I recommend you buy from a place with a liberal return policy and find what works best for you at a price you are comfortable with. And btw, the Variax is awesome with the Helix! Should be even more convenient when they hopefully integrate Workbench with it.

I agree with you regarding your points about modeling cutting edge pedals including ones with polyphonic tracking (if it is possible on the Helix) and also innovating new sounds and new pedals. You seem to think bringing in the new necessitates or justifies the exclusion of great classic pedals and amps. Why? Can't we have both, new & old? You have been repeating this theme over and over in posts in a variety of topics. However, I think there are lots of great vintage pedals and sounds as well. Just because there is an interesting new recipe available does not mean I want to stop eating a great T-Bone or Filet Mignon (or even a great hamburger), it just means I also want to try the new recipe. Some sounds are timeless and worthy of inclusion in the Helix, despite what era they come from. You may or may not be correct when you say that the digital emulations are not as good as some (many?) of their single pedal counterparts that have the advantage of having all of their circuitry dedicated to a single effect. And if you need to have that exact tone, maybe the emulation is not for you. Overall, I think the effects in the Helix are quite good. For some effects, people already have a hard time differentiating digital and analog when given blind tests. Even if the emulation is not perfect I will happily take a good emulation over having to lug a board full of noisy and failure prone pedals around, not to speak of the incredible expense of purchasing premium pedals, that is why many people have moved to digital boards, their flexibility, choice, and integration. I also think if you are going to be an evangelist for innovation as you clearly are, you need to embrace the things that can be created in the digital realm for a much lower cost. I would and did buy the Helix for its amp models and its effects (although I think more should be added). In no way do I view them as "icing on the cake". They are a critical part of my signal chain and I think many of them sound phenomenal. Adding higher quality HX effects, even when they are emulations of "vintage" effects is not just making another POD. It is the next step in making a more nuanced and authentic or just better sounding model with more horsepower and improved programming. Lastly, I would be the first to agree that there are many great new (and old) boutique pedals on the market and these should be a priority for Line6 rather than just copying the cheapest mass market ones, particularly old pedals that now have more modern and better functioning counter-parts (and critically, sound as good or better than the original). I would also say though that "yes", even Boss and EHX made a lot of great pedals along the way. Some of them are eminently worthy of replication. Ultimately I am just trying to say your efforts to evangelize cutting edge approaches to new and best of breed amps and effects and the creation of completely new sounds and amps as well, is genuinely appreciated and an important voice on the forum but probably does not bear repetition in every topic. It also does not mean throwing out the baby with the bathwater. There are lots of existing effects that were cutting edge when they were created and still are in many ways. The "improved" old can coexist with the new and I hope it does because that is the kind of MFX I am most interested in owning. The Helix has the potential to cater to a wide variety of users.

Working on IE 11, not functioning on Chrome since last night.

As Zooey says, just cycle through the blocks controlled by the footswitch by just touching (not pressing) it until you hit a block that is in the bypass (lit/unlit) state you are looking for. If you want to the switch to be unlit when it is in the current state, make sure you pick a block that is unlit and save the preset. If you want the switch to be lit in the current state, select a block that is lit and hit save. If you have multiple blocks assigned to the footswitch it does not matter which one one you select, as long as it is in the same lit/unlit state you want reflected by the footswitch. In other words the footswitch will reflect the bypass state of the block currently selected when the preset is saved.

Best UI for a MFX ever designed by a country mile! Easiest thing to program I have ever encountered and that means I spend less time navigating through buried menus and more time playing so I would say the UI has had an enormous impact on me. The Helix is like the invention of the wheel, radically different from everything that came before. I think it will influence other manufacturers' designs for many a year to come. I won't bother listing all the amazing features that complement the UI like scribble strips, colored LEDs, ease of routing, DSP implementation that allows the user enormous flexibility with block selection and placement, cap-sensitive switches, flexible footswitch assignment, touch sensitive footswitch swapping, a better screen than any other MFX, Pedal Edit Mode (program with your feet), and the list literally goes on forever (maybe I will mention a few things after all). In an effort not to allow my abject admiration for the UI overcome me here are a couple of things I might change on the next Helix. These are all minor points however when you consider what Line6 has already accomplished with the current Helix. Replace the rotary knob with something like the arrangement on the Roland GR-55. I think that assembly is much less vulnerable to breakage as it does not protrude from the case and it is easier to manipulate, easier to scroll through large lists, and less sensitive to accidental turning. The GR-55 assembly may be more vulnerable to spills however which is something to consider. Add at least one extra knob for the parameters to reduce paging. This would allow for, among other things, all the most important controls for an amp including "Master" to be on the first page of the block and allow a quick turn in performance. Add Bluetooth functionality so that wireless tablets could be used at eye level onstage. I know there are currently slow communication issues that L6 says would prevent this, perhaps not in the most recent or future Bluetooth revisions.

I hear you, the sheer amount of choices available with IRs particularly with the Ownhammer IRs is dizzying. I can see where finding some core ones that work great for you is better than getting lost in the minutiae and discovering you have been listening to and comparing the same looped phrase for the past 17 hours as you perused a thousand IRs (unless of course you enjoy that sort of thing, I don't). ;)

Oops, I see that now. Thought that was the OP asking me. TMI :huh:

You bring up a good point. You don't need to load all the IR slots. I think the method I proposed above could be useful in your process. It is a lot easier to load up say 20 IRs at one time into the Helix in temporary holding slots(e.g. slots 80-100) then using a single temporary slot and having to reload for each audition. They can all be dragged in at the same time. Then scroll/audition through them using 'Pedal Edit' mode. I think you may find this less ponderous than to have to go back to the Editor every time and swap a new IR in for each audition. I am talking about loading up the temporary slots with just your favorites or the ones you are most likely to want to audition for your current session/preset. The above method also allows you to jump back and forth through multiple IRs easily for A/B/C... comparison instead of having to go back and have to drag an IR into the Editor for a second time that you may only half remember 'maybe' preferring to the one you are currently auditioning. When you are finished auditioning you can remove any you are not going to use from the temporary slots you were using on the Helix and as you say move the one(s) you want to keep into more permanent slots(s). Anyway, everybody has their preferred way of doing things and if your method works for you great. You might want to give the 'Pedal Edit' audition method a try though. I find it far easier and a better method for doing comparisons then swapping presets in and out of the Editor one by one. Additionally, eventually you may have most of your favorite IRs already loaded. This gives you a fast way to audition them and find the preferred one for your preset.

The easiest method I have found for auditioning IRs is to use the 'Pedal Edit' mode. Press and hold the 'Mode' footswitch. Select the footswitch with your IR or hit the 'MORE...' footswitch if you don't see it on the first screen and then select it. All the parameters for an IR block should be showing now. Press the 'IR SELECT' footswitch. Use the 'VALUE-' and 'VALUE+' footswitches to cycle through your IRs and audition them. Don't forget to save if you find an IR you like. You can do it with your foot if you press and hold the 'EXIT' footswitch.

These days there seems to be great quality equipment even at relatively low prices. Sometimes the longevity of the equipment may be better on the higher quality stuff but not always. On the inexpensive end of the spectrum I think the Behringer XAir mixers are excellent, if you want to spend more you can look at Allen & Heath, Midas, or the like, and everything in between. There are a lot of nice digital boards out there now. The Soundcraft SI boards are doing a good job of trying to compete in the space and price point the Behringer X32 boards occupy and include Lexicon effects. Then it just becomes a matter of which powered speakers and mics you want to go with. I highly recommend going with digital mixers with built in effects these days, otherwise you will have to think about the additional expense and hassle of outboard effects as well if you are a strictly analog guy. Digital also provides the advantage of scenes which means once you get the board dialed up for a particular venue you can use it the next time you play there with minimal setup time. I think the best way to decide what is going to work for you is to go to your local music store and listen to different speakers and play with different mixers and mics. People here have reported perfectly good results with Alto speakers at the bottom end of the spectrum on up to the more expensive Line6 speakers and higher-end offerings from other companies like QSC and JBL, or even Bose. With low cost speakers and monitors like the Altos I think you can get away with spending about $700 - $900 (especially with a 15% sale discount) on the low end for a small PA, including mixer, speakers, and just a couple of monitors and still get a decent sound; the upper end of the price range is open-ended. This is a system that will sound just ok but not stellar and get you through a night at your local bar or the backyard party but not much more. Of course you still need to buy mics, cables, stands, etc.. If you went with say a couple of basic mics like SM58s, with cables and stands it is probably going to run you another $300-$400. If you want to go really cheap you can get one of the very inexpensive compact all-in-one systems like the Fender compact PAs but I doubt that will satisfy you with a Helix. It really depends on your budget, band's requirements, number of bandmembers, inputs/outputs and busses required, planned usage, how long before you upgrade, what level of quality your ears demand, subs required, level of reliability required, style of music, the size and types of venues you plan on playing, and a host of other variables. If you want to get more of a mid-quality system (low-quality to some people, it is somewhat subjective) and a PA more commensurate with the quality of the Helix I would plan on spending at least $3,000-$4,000 (I think this is the sweet spot for a good, flexible PA that won't break the bank) and potentially quite a bit more depending on what you want/require, especially if you plan on adding subs. Of course there is always the used market like Craigslist and Ebay where you may be able to find an entire system or its constituent parts for cheaper but as always, caveat emptor. What are you intending to use your PA for live, small bar gigs or larger gigs with crowds over 100-200 people? Better paying larger venues and gigs will probably require and be expecting at least a mid-quality sound system unless they provide their own.

I wonder if it might be worth a try backing everything up and then reflashing and doing a global reset, or maybe just trying a global reset first (after backing up).