HonestOpinion

High and low cuts are generally used to emulate the frequency range and to some extent the frequency response of a standard guitar cabinet or amp. The Helix is capable of delivering a signal that spans at least the entire audible spectrum from 20 to 20,000hz (20khz). A guitar amp cabinet usually has a mostly audible range of about 70hz-8khz or thereabouts. The high end can often drop off dramatically around 5khz. The low and high cuts can help get rid of muddy boomy lows and spiky shrill highs. These cuts can also give different mics an even more distinct character, especially when two cab models are being used simultaneously. Particularly when you are using a full-range speaker like an FRFR or a PA speaker to monitor your Helix you may find you want to experiment with the high and low cut to help control the low and high end of your sound. You may even find this necessary to get a more classic guitar sound when monitoring the Helix with a standard guitar cab or amp as well as many guitar amp preamp and power amp sections don't produce a full range signal (20hz-20khz) whereas a modeler like the Helix does. These full range frequencies can get accentuated in unpredictable ways when they pass through your guitar amp. Many people use say a low cut of 70hz and a high cut of 8.5khz as general guidelines and move them up or down depending on their equipment, the preset being used, what their ears are telling them, and in the example cited above depending on which mic model they are using.

I don't know whether or not it is Yamaha causing the price hikes in Line6 gear internationally or not. There may be other factors in play. I do however have this to say, ever since Yamaha purchased Line6 I have repeatedly seen people refer to the potential for leveraging Yamaha's technical expertise, international manufacturing resources, and large infrastructure to contribute to Line6's technology, distribution, and to lower costs. I have seen other folks claim that Yamaha's involvement is strictly a business relationship as a parent company and that they will have little impact on or contribution to Line6. I am not sure how it will play out but I certainly hope that the end result is not simply having Yamaha raise prices. There is great potential for a true partnership here that benefits both of these companies and customers as well.

I'm curious to see if I can get it working with the OnSong application on the iPad.

Things really get interesting when you use two cabs and use a bright and a darker mic as well as varying the mic distance,the low & high cuts, and the mix level determining how much of each cab you have in your output.

True, losing available footswitches was my first thought but at the very least I would have the Helix as a backup for my PageFlip if it failed. You could also always use a small external midi switch pedal if you don't want to lose any pedals but that kind of defeats the purpose of using the Helix for page switching. Too bad the Helix doesn't have Bluetooth like my PageFlip, wireless can be a beautiful thing.

Great idea Petessier! If anyone gets this going I hope they post the specifics here on what hardware (the camera kit?) and what the midi programming steps are for the iPad. This would make a great backup or even replacement for my PageFlip Firefly.

The tuner granularity is great now and this is long past beating a dead horse, we are now beating a horse skeleton or perhaps even a horse phantasm. As long as we are though I still think the display could be made a little less jumpy in a future firmware update. It certainly isn't keeping me up nights though, although that horse ghost is a bit frightening.

Glad you found it, interesting it was the USB connection. I have actually found the USB connection on my Helix to not be as snug as many other devices I own. Has anyone else noticed a loose USB connection when they plug into the Helix? I have tried it with multiple USB cables so I believe it is the jack and not the cable end. It has not caused me any issues so far but it is a little "unsettling".

I also agree with powering up speakers last but this should not be happening. I would definitely try swapping out every cable in my signal chain from the guitar cord to whatever you have plugged into the PA or your monitors from the Helix. I would also try an isolated electrical outlet for the Helix. This has not been my experience with starting the Helix. Does it happen on every preset? Does it happen in multiple locations (different rooms or buildings)?

Don't know if the global reset process is different for the Rack Helix, I have the floor pedal, but if not and if you have not tried it yet, back up your IRs and presets and try a FS 9&10 reset rather than the FS 5&6 reset. If that does not resolve the issue I would also try uninstalling all the Helix software and then reinstalling as well as maybe reflashing the firmware if you have not attempted this yet. If all else fails you may want to experiment with other USB ports or another PC. The problem you are having reminds me a bit of the issue a few firmware updates ago where older presets would cause the Editor to lock up. As if the presets on the Helix and the software on the PC were not in sync. An uninstall-reinstall might help. Apologies if this is a repetition of any or all of what you have already tried. If all else fails Spikey is right, might be time to open up a repair ticket.

Just curious if adjusting some of the amp parameters like hum or ripple make any difference in the sound you are hearing. I would also look at my gate settings on the input block. Does this happen with the gate off?

Awesome, great news! Congratulations!

Good luck! Remember, once you have the Helix application properly installed the necessary components on your Mac you will have to run the Updater and upgrade your firmware to the 2.01 version and then run the global reset (reboot after successful firmware install while holding down footswitches 9&10 and then release them when message comes on screen). The 2.01 version of the Editor will not run with the 1.06.5 version of the firmware currently installed on your Helix.

That is the correct byte count, if it is named Helix2.01.dmg that is the correct file. It is a compressed image file (.dmg) so you should be able to unpack/run it. Here is a link on how to open it in case you are unfamiliar with these files (my apologies if you already are). http://www.wikihow.com/Open-DMG-Files I am a PC owner and not a Mac owner but if you know how to uninstall software on the Mac I would completely uninstall any Line6 or Helix software first and then try installing the Helix application again. On the PC the Helix application is an installer for three things: the Windows driver, the Editor, and the Updater. I am not sure what is contained in the Mac version of the Helix application. Perhaps you don't have all the components from the Helix2.01.dmg file installed. Are there any Mac owners who have seen this message when trying to open/run the Helix app on a Mac? Once you get this file's contents properly installed you should be able to run the updater and get updated to the proper firmware version. Forgive me for asking but just as a sanity check, what version of the firmware is the Helix showing on the Helix main screen when it boots up? The message you are getting makes it sound like the firmware is not 2.01 but in fact may be an earlier version. I have full confidence you will be able to get your problem figured out. If the community is not addressing your problem adequately I would contact Line6 customer support directly and have them walk you through a solution. They can be extremely helpful even when you are the second owner of one of their devices.

NOTE: If your Helix is already at version 2.01 (version shows while Helix is booting) and a global reset has already been run, you should be able to communicate with the Editor simply by finding a PC or Mac with a USB connection that works with the Helix and by putting the version of the Editor that matches your firmware on that PC. You can skip the step of upgrading the firmware unless the last update is the issue in which case you should upgrade the firmware and do the global reset as well to make sure everything is installed properly. Were you able to download the file from L6 and run it? Once you have the latest software installed (without the Helix connected by USB) then you can connect the USB, make sure you are opening the Updater, not the Editor. Is the Updater seeing your Helix and giving you an option to upgrade to the 2.01 firmware? If so update to the 2.01 firmware version; make sure you back up your presets and IRs before doing a global reset. Make sure you do the global reset after the firmware update. Once you have updated the Firmware to 2.01, your firmware version and the Editor version will be in sync and the Editor will hopefully will be working correctly. The whole trick to getting the Editor working is to make sure you have a working USB connection (some PC hardware is problematic) and that the firmware and Editor version are the same.

This is the link you want for the Helix software for Mac OS X. Make sure you are logged into Line6 and then download the file by clicking "Accept and Download" at the following link and then install it on your Mac. http://line6.com/software/readeula.html?rid=7107 Note: If you choose to navigate through the download page instead look for the file that says the following on the right side of the page and scroll down to the download button at the bottom of that file description: The file you want will say "Helix Editor v2.01 Release Notes" Notice that the file you want says "Helix Editor...". You do NOT want the file that says "Helix Firmware..."

So many good points made in this thread and the energy and aspect you project from the stage probably is the most important factor although if your music is great people can sometimes (rarely?) get past a bad stage act. Many musicians have also found that just because they felt they had a bad night does not mean the audience noticed or felt the same way, so sometimes our perception of whether or not we delivered a "great" performance can be skewed. Many people are their own worst critics. It is true your average bar crowd is not exactly the most discerning audience although in my area the local musicians tend to support one another by showing up to each other's gigs so there are usually at least some folks in the audience who appreciate good tone. I think one of the most important reasons I strive for good tone, other than the audience's benefit, is that it inspires me, makes me feel better about my playing and actually helps me to play better; whether there are many or only a few people in the audience who notice or appreciate the effort that went in to it. I try to balance preset twiddling with plenty of practice as not to become a "producer" instead of a player.

Double check the Helix version on the Helix. If it is indeed 2.01.0 you will want to make sure you do an uninstall of any Helix software on your computer and then go to the Line6 Downloads page and download the exact version to the computer of the the Helix application that is showing on the Helix. DO NOT DOWNLOAD THE LATEST VERSION, download the matching version. Install the Helix app which will automatically install the matching version of the Editor, Updater, and drivers for your Helix version. Assuming you don't have any other issues with your USB connection or laptop you should now be able to communicate properly with the Helix.

You can just select "Multi" for your input block, this will allow the Guitar and Aux inputs to work simultaneously, then just select "Multi" or whatever you prefer (e.g. 1/4 or XLR) for your output block and both your music and guitar will be routed to the same destination. If you want to get more complicated (which you indicated you did not) you can use separate output blocks to route the music and guitar to different destinations.

I think one of the things that can make attaining a great sound (a most subjective topic to begin with) so maddening is that there are so many ways to get there. You can have a PhD from MIT and still end up watching the feral wolf child who lived in the woods for the first fifteen years of his life arrive with his $400 POS mixer from 1986 and whip up a better sound in a half an hour than the "expert" who has spent hours using pink noise, sophisticated EQ, advanced spectral analysis, satellite imaging and whatnot. Having a good theoretical grasp on sound engineering can be really helpful and when combined with good ears can provide great results.... but some guys, just have a "knack" and good ears. They consistently get great sounds with the simplest of equipment and approaches and very little in the way of advanced knowledge. Other guys have the technical background but just use a simple Occam's Razor approach to sound production and it sounds great. Go figure? Often when I hear great guitar or vocal sound coming from a PA I will go over to the soundman during a break or after the show and ask for specifics on how they set the effects or EQ. The answers vary wildly and are inconsistent to the point of making it incredibly difficult to find any "rule of thumb". Some engineers use subtractive EQ, some additive, some use sophisticated compression and throw everything including the kitchen sink in their signal chain, others are minimalists, yet they all manage to get a great sound. With the above in mind, in the right hands there is a huge range of guitar speakers, amps, FRFR, and PA speakers that can be used to get a great sound with the Helix. Like some others have stated, I prefer using an FRFR or just PA speakers for monitoring the Helix as I think they get me the closest to what the audience will be hearing out front although I do comprehend that they possess a frequency range and response that the guitar does not require, is not fully exploiting, and even have the capacity to make a guitar sound terrible. They just represent to me the most faithful reference for what the audience will be subjected to. If my monitor speakers are harsh, ice-picky, boomy, or muddy, chances are the FOH speakers will be as well because I am using similar speakers to the FOH to craft and monitor the sound from my modeler. For some players the feel and thud from genuine guitar speakers or an amp is simply irreplaceable and I get that. If you go that route just be aware that you probably are not hearing what the FOH is producing unless you mic your guitar speaker and you may want to adjust things accordingly in the signal being fed to the FOH.

I doubt it will ever happen but I would like to see the Helix Editor use other screen elements like pulldown lists and switches rather than wide colored scroll bars for everything. This would allow everything to fit on one screen. Scroll bars on the right side of the screen would become unnecessary and their visibility on various devices or operating systems a moot point.

Agree with this, I have both the L2s and L3s and if I were looking just for Helix monitoring the only way I would consider getting the L3 instead of the L2 is if I had a distinct preference for a much bigger sound for my on stage monitoring, or if as JLondon stated you have no intention of moving it around. For me, the only justification for the additional height, weight, and bulk of the L3 on stage is if you want them as an option to use as mains in the PA or you want it to double as a single main/monitor for a singer songwriter type gig (the L2 also works just fine for these purposes for small to small-medium venues). The L2 is just much more portable, less top-heavy (the L3 is a tall thin speaker), the L2s take up less space on the floor, and are easier to haul in and out, particularly if you are going to use two of them for stereo monitoring of your Helix. With that said, ultimately it a preference thing, L6 does make great rolling speaker bags, and either the L2 or L3 will do the trick, the L3 definitely has a meatier fuller sound but I find the L2 more than adequate as a monitor for the Helix or even lighter duty mains and they are much more compact, lighter, and easier to manage.

"Plagiarism is not cool" (think I got that from someone else :D ) and I agree with the OP that uploading someone else's presets as your own is intellectual property theft. It would be great if CustomTone allowed uploads to be linked to the original "master" upload of a preset as revisions (1.1, 1.2, etc.). That way the person who makes the original upload retains the credit but others could easily submit improved or modified versions of the uploaded preset that started the chain without ever obscuring who made the original contribution. This would allow you to see all of the revisions as hyperlinks or whatever under the original preset. It would also be great if CustomTone could automatically reject/remove a preset that is exactly the same as one that had already been submitted. There would eventually be a lot of presets to compare so perhaps this would need to be a comparison routine that runs in the background and removes the preset after it has been submitted rather than delaying the initial upload.

Exactly WickedFinger! Polyphonic tracking would be awesome! These and other kinds of improvements are precisely what I do not want to see rolled back just to preserve the status quo for old presets. If they can make the improvements without impacting old presets all the better but I will opt for improved functionality and better sounds with a little work required on my end tweaking old presets any day of the week.

If you are talking about running one amp as dry and one amp as wet the first method that leaps to mind is simply putting your, for example, delay and reverb on a separate path using a split block (dragging down any block creates a split and a merge block automatically). Run your split roughly 50%/50% or adjust to taste. You can then drag down the merge block as well which will create a second output block. Send one output block to a send loop and one to the 1/4 outputs and feed them to the two separate amps. If one of your amps takes an XLR input you could use XLR for the output block instead of a send loop. Alternatively you could stick with one output block and just insert a send/return block at the end of the path that has the wet signal and use the send for the second amp. I personally don't use a wet/dry setup like the one you are attempting so someone else may have a better suggestion but this is what occurs to me off the top of my head. Maybe someone can provide you with a template or preset as a jumping off point. Update: Radatats' post here should give you a good visual of how to do this with some minor variations, keep in mind you can also use the send/return block on the second path instead of a second output block http://line6.com/support/topic/18039-wet-dry-wet-setup/?p=133789