HonestOpinion

Probably belaboring the issue but these videos and the comments here were definitely educational. Unfortunately as usual just like in the Helix versus Fractal tests I find differences hard to detect on my PC speakers. It appears that for many players the difference between the shorter and longer IRs will be imperceptible. Then there is the point Pete Thorn makes in his video that some of the data contained in the longer IRs such as early reflections is arguably better controlled with a reverb block, implying that a longer IR, at least in this respect, may not be more desirable anyway. On the other side of the debate as referred to earlier in this topic is sort of the Neil Young point about .mp3s which is that listeners have unfortunately gotten used to hearing lossy, less than optimal versions of music such that they no longer even detect, know, or care about the difference. The tyranny of low expectations. Part of that argument is that even though many people can't tell the difference in an A/B test, that there is an adverse cumulative effect over time from listening to lossy signals that is almost subconscious. A lot of people think that is BS though or at least not worth the extra cost and hardware resources to remedy. Good as they sound already IR development and capture is still an evolving art/science and I think many of us have no doubt IRs will sound even better in another five years and not just due to larger IR files. Doesn't seem like the technology has quite topped out yet (if ever). In these situations I always look forward to that point where affordable technology strikes the best compromise with optimal configuration and sound. Ultimately though, like so many other incremental or sometimes infinitesimal improvements, although the optimal provides us with a goalpost to work towards, getting caught up in or concerned about it as @cruisinon2 points out may ultimately just detract from the creative process or your enjoyment of the equipment.

Yup, you just can't stress this enough. The more people contributing new ideas and new technology as well as generating price competition the better.

In many ways this whole discussion reminds me of the difference between listening to an .mp3 versus a .wav file. Lossy compressed file formats provide the potential to store much larger numbers of songs while offering a compromise in quality that most listeners find acceptable. The .mp3 uses a "lossy" algorithm that uses compression algorithms to determine where there is redundant data as well as which data can be dropped with minimal impact. This is roughly akin to the choices for IR length made by device manufacturers. Right now most IRs are in essence rendered/truncated by a lossy algorithm when loaded into a modeler. The extent of the data loss is determined to some extent by the max IR length. By contrast a .wav file is lossless and retains more audio data. The .wav file format still remains the gold standard in many respects. That gold standard also includes formats that can provide compression and max audio quality such as .ogg(can be lossless when compressed with FLAC) and Neil Young's efforts with FLAC files. The equivalent gold standard for an IR would be one that allowed longer IR lengths. That does not appear to be cost-effective at the moment as the resultant improvement in sound is simply not substantial enough for many users and device manufacturers. They would prefer those resources be used elsewhere where they perceive more bang for the buck. Manufacturers and consumers pick their compromises based on current hardware/cost constraints for storage space and processing resources. On a computer, if you are an audiophile, you can throw in a five terabyte hard drive to store .wav or .ogg files, as well as more RAM and a faster CPU but that is generally not an option on a modeling device. Modeling devices tend to have a fixed limit on storage and DSP. As others have pointed out qualitative differences for live applications are going to be more difficult to detect whereas studio applications can be more demanding and qualitative differences in sound may be more pronounced. Different users have different priorities based on their focus, ears, and how they will be using their gear. So, would I love to have a device that allowed 200ms+ IRs? Sure, why not. Not however at the cost of way fewer IRs, processing bottlenecks and glitches, and/or a potentially substantially higher price tag. Rock & roll and guitar sounds are a totally different animal from Hi-Fidelity. I am not looking for my guitar sound to mimic a $3000 stereo. Horrors! I am however definitely interested in an IR format that does a better job of capturing all the low-fi details, quirks, decay characteristics, woody greatness, etc. of a top notch guitar cabinet. If getting there requires that we allow a longer max IR length I say bring it on. I'm not gonna be sitting around wringing my hands until it comes but I see no point in discouraging it either. If, as it appears, there truly is significant data in the average IR beyond the approximately 40ms max length provided by Helix I will welcome a higher limit in the next Helix hardware generation. For now this thing still sounds great and has many strengths in other areas that competing devices lack.

Interesting video @MLSoundLabthanks for posting. One question I have is "How consistent is the duration of meaningful and audible information across IRs created by different sources?". If most people are creating cab IRs where there is still significant data contained in the first 80ms, as the video above indicates, then it would appear to me that that is an ideal minimum starting point for manufacturers to set the max length of an IR. If the above observation is consistent across the bulk of the IRs intended for guitar, any multi-effect or DAW striving to provide maximum quality sound and authenticity from an IR should probably plan on allowing at least 80ms. Resolution matters right up to the point at which it is no longer audible, or in the case of visual media up until it is no longer visible. For example 4k television clearly provides a superior image to lower HD formats and we certainly shouldn't have stopped developing TVs before we reached that because "the image was good enough". I have to assume that the same applies, perhaps to a less dramatic extent, in the audio realm with longer IRs. I don't think this is a slippery slope. The time to stop development is when you can no longer perceive a meaningful or positive difference. Although there is a point of diminishing returns where the perceptible changes to audio or sound are not significant or too expensive, this change to an 80ms capacity does not sound like one of those. RAM and DSP are getting cheaper and faster all the time. I won't beat around the bush, it would appear to me that shooting for longer max IR lengths like the Fractal's Ultra-Res standard is worthwhile. At least as demonstrated by this video. Longer IR times are also demonstrably more desirable for non guitar amp/cab IRs such as those made for reverb.

You may have already tried this but try plugging in and mixing and matching devices split across two different outlets/circuits.

The Global --> 'Ins/Outs' --> 'Volume Controls' parameter will select which outputs you want the Volume knob to control. It can control the 1/4 output and headphones("Main+HP") or only the headphones("Phones"). Unfortunately the 1/4 outputs remain at unity gain when this parameter is set to 'Phones'. I can definitely see where adding a headphones parameter option that muted the 1/4 outputs might be helpful in certain setups. Line6 may have figured that if you are going to use your headphones you won't have an amp on. Don't know how it would impact the headphone sound but another simple solution would be an in-line volume control for your headphones like the ones below from Amazon. Unlike the mixer solution rd2k recommended you might have to disconnect or turn down/off your monitors/'guitar amp' depending on your rig setup. The 1/4 model is made by Koss and they make decent headphones so their volume control might be worth a look. Both models are less than $10. https://www.amazon.com/Koss-155954-VC20-Volume-Control/dp/B00001P4XH?ref_=fsclp_pl_dp_1 https://www.amazon.com/Stellar-Labs-1013015470-Control-Headphones/dp/B008DJTB32

Good on Line6 for owning up to and taking care of customers afflicted by the units involved in the faulty manufacturing run. I can understand the frustration of anyone who has had to deal with it though. Better those things don't happen in the first place but you gotta hand it to Line6 for taking care of their customers. I've had plenty of stuff that broke in a weak spot and all too many times where the manufacturer took no responsibility. I know this topic is primarily dealing with the LT but personally I have always found that although engaging the Helix's toe switch is not a big problem, it does take more force to press than I prefer or think it should require. It stands to reason that some of the extra weight/force applied to switching will get distributed to the hinged area in the middle of the pedal - Physics 101. If that assembly is over-engineered then that may never result in a failure. If it is under-engineered or defective it is likely going to fail sooner rather than later. Even if it never breaks I would imagine the bearings and assembly are taking more of a beating over time than they would with a switch that clicked more easily. IMHO they should make the switch activation easier or better yet adjustable. I had the Digitech IPB-10 pedalboard a few years ago and it had a digital parameter setting that was able to adjust how hard you needed to press the toe switch. What an elegant solution to control the expression pedal's analog physical toe switch with a digital preference. Not sure exactly how they did that although I have a theory but IMHO it is a superior solution to any other I have seen. Wish more manufacturers would adopt it. Btw, my theory on how it worked was that it was a progressive pressure switch inside of a rubber sleeve that acted more like a potentiometer than an on/off switch. It engaged quite easily when the pedal was depressed toe-down. The rubber around the switch would provide more resistance(physical not electrical) as it was stepped on and compressed. This switch type made the switching digitally adjustable which meant you could set it to how hard you needed to stomp before it engaged.Picture the button on old refrigerators that depressed into a sleeve and shut off the fridge light as you closed its door. The digital setting on the Digitech probably selected at which point in the switch's travel the switch was engaged. Just a theory though, could turn out to be a completely different method. Never took it apart or took a good look to see how they did it but it worked perfectly. It makes sense that this ability to reduce the force required to activate the toe-switch might prolong its life along with some of the other expression pedal parts.

You say you have a $2,000+ budget. That covers a lot of potential ground. I know it is all is all relative and for some players nothing less than a $5,000+ custom guitar will fill the bill but for the rest of us I would say you have enough money to easily buy one, two or even three great guitars if you look around. Particularly if you are willing to buy used. Although I love USA made guitars there are so many relatively inexpensive high quality guitars coming from other locales, particularly out of Korea now, e.g. some of the PRS models. There is an embarrassment of riches out there.The Variax is incredibly flexible and does everything from banjo, Strat, Les Paul to twelve string, however with your budget, that would be my second or third guitar unless you prefer the way the Variax plays. From your original post it sounds like you like Classic Rock and Blues. There are a couple of ways you can go with this. If you want everything in one guitar and find yourself consistently preferring a strat type guitar and only occasionally wanting that thicker more metal humbucker sound I think cruisinon2 nailed it, find yourself a great HSS Strat like a Fender, ESP or other, and be done with it. Suhr makes some great flexible strat type models, but they tend to list closer to $3000 than $2000 brand new. Another way to go would be to buy two guitars, a single coil model and a humucker model, the classic examples of that being a Strat and a Les Paul but there are infinite variations and so many great copycats and innovative alternatives now. Certain kinds of body types and hardware seem to me to just get a better sound with single or dual coil pickups and no amount of mixed pickup configurations on one guitar will get you the best of both worlds although some guitars come close. I have an old USA made PRS that does a pretty respectable job of covering most bases and spares me having to carry both a single and dual coil guitar but I find that particularly when it comes to single coil sounds nothing but a legit Strat or Tele type guitar quite nails that sound. I am shallow enough to care about the name on my headstock but the truth is you can find great and inexpensive Mexican made Strats and fantastic Epiphone Pauls if you look. Players like Jack White managed to have a successful career with some of the cheapest axes ever made. Another option would be to spend most of your budget on a great HSS or single coil that nails the lion share of your songs and a cheaper guitar with humbuckers for your occasional forays into other material . Whatever you get just make sure it sounds and plays great. Your options are many and your budget gives you a fair degree of flexibility.

I don't think you even need a registered product to use CustomTone unless something has changed. You just need a Line6 login. If you go try to download any preset from CustomTone, if you are not already logged in you will be prompted to either login or create a login. You don't need a registered product to do that and as soon as you have created a login you should be able to download presets. At least that is the way it has worked in the past. https://line6.com/customtone/

To address the OP's post I agree with the others here that it would be a criminal waste of processing resources to have every parameter for every block set up for snapshots by default. I have often wished however for a way to assign all of the parameters for a selected block to snapshots at one time. Then maybe turn off the ones I won't need. I don't know that I've ever had an issue with the 64 parameter snapshot assignment limit but I routinely crack double-digits. I often have many of my amp/cab model's parameters set up for snapshots as well as various effects including my delay, overdrive, reverb, and often all of the parameters for my parametric and/or graphic EQ. I do this most often on my general use presets where I tend to be emulating some kind of multi-channel amp setup such as clean, crunch, lead, and mega-lead. That way, depending on how many amp models I have in the preset, when I switch snapshots for example from a crunch tone to a lead I can change a host of parameters at the same time. These might include for example changing the amp's tone stack and cranking up the drive on the amp and distortion blocks, changing some cab parameters, lengthening the delay, reducing the reverb, reining in the highs a bit more on the EQ to keep things from getting shrill, etc.. I also change the compressor's parameters sometimes depending on how for example the OD/Distortion block or amp's Drive setting(s) are impacting/compressing the sound.

Clutching at straws here but when you upgraded your firmware to 2.71 did you also download and install the 2.71 HX Edit version to ensure that you got a driver that matched your firmware installed?

I wonder if there a possibility the 'EXT Amp' output could be used to control the Perform V? Maybe just for limited switching operation.

A quick and dirty approach is to do this with snapshots. There may be better approaches out there but this is one way to do it. First add a volume block to your preset to keep things simple. Then and add a whammy block and just assign for example the whammy block's 'Toe Pitch' parameter to Snapshots and then set the 'Toe Pitch'= "+12" in one snapshot and 'Toe Pitch' = "-12" in another snapshot. Set 'Heel Pitch' ="0" in both snapshots. I would make sure the whammy block was not selected on the expression pedal (Helix default is Volume= EXP2 and Whammy=EXP1) and that the whammy was bypassed in both snapshots when I switched the octave range on the snapshot footswitch though or you are going to get some pretty wild octave leaps from up-octave to down-octave. It occurred to me that a potential drawback of the above approach is that when you engage the expression pedal toe switch to engage the whammy you will be either plus or minus an octave. You can use the auto-engage feature on the expression pedal to get around this or alternatively you can reverse the Heel and Toe settings but both approaches have their drawbacks. Auto-engage can make it tough to calculate exactly where to park the pedal for the max +/- one octave interval setting without accidentally bypassing it. The second solution which reverses the Heel/Toe settings may or may not mess with your mind as you have to work the expression pedal in reverse. So if you want a more involved solution. I included both "enhanced" methods below in case you wanted to try them. Both methods assume that you have a volume block set up on EXP 2 and the Whammy set up on 'EXP1'. Helix will set the volume and whammy blocks up to EXP2 and EXP1 respectively by default if you are only using the Helix's built-in expression pedal. Auto-engage method: Select the whammy block Go to Menu --> 'Bypass Assign'. Select whichever expression pedal you have the whammy block on ( Helix defaulis 'Switch'="EXP 1") Set the Position parameter to the pedal position at which you wish to engage, e.g. 'Position'="95" and the Wait parameter at whatever gives you enough time to return to the heel-down position before engaging the Whammy block, e.g. 'Wait'="400ms" Now when you switch snapshots when you press the toe switch to engage the whammy you will have time to rock it back to heel down before it engages (at +/- 12 intervals) Heel/Toe settings reversed so that whammy is engaged with expression pedal toes switch it starts at 0 intervals/steps: Go to Menu --> 'Bypass Assign' and set Toe Pitch' = "0" for both snapshots. Assign 'Heel Pitch' to Snapshots and set 'Heel Pitch' = "+12" in one snapshot and 'Heel Pitch' = "-12" in the other snapshot. Make sure EXP2 is selected in both snapshots so that when you switch snapshots the whammy block is not engaged.

I often use exactly this approach with dual compressors. I usually put the stomp type compressor at the beginning of the chain but after any wah/touchwah effects so I don't kill the dynamics before I hit the wah, as always though rules are meant to be broken. As DD pointed out the Teemah remains one of the best OD models for adding some clean punch but many of the other OD/Distortion models, particularly the less dirty ones can also be used to increase sustain, tone, and level as he recommended by lowering or zeroing out their drive settings, increasing their level, and working the tone settings.

Polyphonic effects, a feedbacker effect, an RTA, some method of displaying signal levels, more space for IRs, and maybe a more full featured synth model or three with easy to select instruments like strings, harmonica, flute, etc. would be at the top of my list.

The first place I would look is under 'Global Settings' --> MIDI/Tempo. Maybe one of your global settings changed.

If you run a MIDI cable in a loop from the Helix's MIDI output to the Helix MIDI input you can do this with just the built-in expression pedal. Take a look at this link. There is a preset in the post you can use.

Finding the amp channel that gets the clean sound you want is a great place to start. Some of the amp models just clean up better than others. Sometimes setting the sag or bias differently can help to clean things up. Using the 'Channel Vol" or bumping up the level on the Output block can give you more volume but keep the tone clean. Setting the 'Headroom' to max on the delays can help clean things up as well.

Great! Let me know how it goes. Made an edit to step#3 and also labeled FS#11 in the preset "Vol/Wah" to make things a bit clearer. Seems to be working just fine for me.

There is a handy method you can use to do this just with the Helix's expression pedal. It simply requires connecting a MIDI cable from the Helix's MIDI out to its MIDI in connection. You are going to leverage a MIDI command using the CC#59 value which acts just like pressing the expression pedal's toe switch when it is sent back into the Helix.The MIDI command will be assigned to the footswitch you want to use to switch from volume to wah. That way you can use any footswitch you want to switch from the volume to the wah and back and the volume will remain wherever you had it set before you switched to the wah. The expression pedal will simply switch over to controlling the wah instead of the volume pedal. The volume pedal block will remain active but its volume won't change while you rock the wah. You can download the preset for setting this up from CustomTone: https://line6.com/customtone/tone/4397153/ If you use the preset you only need to follow the steps #1&2 below. Set 'Global Settings' --> 'MIDI/Tempo' --> 'MIDI Thru' = "Off" and then loop a MIDI cable from your Helix's MIDI output to your Helix MIDI input. If you prefer to set it up yourself the complete instructions are below. Instructions below use HX Edit for several steps but they could also be done from the Helix directly. You can substitute the references to footswitch#11 for whichever footswitch you prefer to use. Please let me know if I omitted anything or got it wrong but my preset appears to work correctly. Set 'Global Settings' --> 'MIDI/Tempo' --> 'MIDI Thru' = "Off" This prevents runaway infinite loop MIDI funkiness when you are looping MIDI back into the Helix Set up a MIDI cable from your Helix MIDI output and loop it back to your Helix MIDI input Add your wah and volume block using the Helix's default settings for your volume on EXP2 and wah on EXP1. The volume block should be active, wah should be bypassed, and the text above the expression pedal should have EXP2 highlit. Use HX Edit and go to the 'Bypass Controller Assign' tab and change the assignment for your Wah block for the 'Bypass' parameter to the footswitch you want to switch from volume to wah. In this example I will use footswitch#11. While you are still on the 'Bypass Controller Assign' tab clear the assignment for the Volume block's 'Bypass' parameter. So now you should be looking at three assignment entries only for both the volume and wah blocks - Wah Position = EXP1, WAH Bypasss = Footswitch#11 (used in this example) and Volume Position = EXP2 Now go to the Command Center (where you set up your MIDI commands) and set up the following values in the parameters for Footswitch#11(used in this example) Command = "MIDI CC", MIDI Ch = "Base", CC# = 59, Value = 0 The Helix uses the CC# "59" to switch between EXP1 and EXP2 on the expression pedal. Handy as we will no longer be using the toe switch. It is this capability that allows the expression pedal's control to be passed from the volume to the wah pedal without turning the volume block off. This preserves the volume pedal's last setting. As we are using footswitch #11 in this example which is on the bottom row next to the tuner switch, you are going to need to have your global settings set for Stomps on the bottom row or you need to switch into Stomp mode so you can use footswitch#11. You are done. Use footswitch#11 to switch between volume and wah. Don't use the expression pedal toe switch! Now when you press footswitch#11 (used in this example) the expression pedal will control only the wah or only the volume. Also, when you switch from volume to wah your volume will be retained at the same level without maxing out. VolWah on FS#11.hlx

I tend to trust promises of a pony more than promises of a unicorn :-)

I would prefer the bank switches on my top row as well. It makes a lot of sense to put them there as when you are within a song the Helix is really optimized for snapshot switching rather than preset switching. The assignment options are fairly generous already but I would love to see even more assignment options on all or most of the footswitches. There's still lots of room in the HX line of devices for the development of additional footswitch features like click and hold, double-clicks, mix&match and alternate views to be leveraged for additional flexibility in assignments. The downside of this would be that a failing footswitch would now have the capacity to create chaos although that potentiality should not stifle innovation. I can also see users inevitably complaining that their Helix is broken and did something unpredictable when the real problem is that they accidentally held a footswitch too long, double-clicked it, or ended up in the wrong view. I would still opt for the additional flexibility though.

Sounds like an external tuner might be the best solution, at least for now. Once you engage the Helix tuner you can use the 'Output' parameter to send the signal via for example one of the Helix Send outputs to an external tuner of your choosing. That method allows you to continue using the Helix's tuner switch to determine when to send signal to your external tuner. Using the Helix's tuner routing means you don't have to do something tedious like include a Send block in every preset. It also means your tuner is only engaged when you hit the switch on the Helix so no extra cables and external tuner between your guitar and your amp/FRFR as would be the case if you hooked up an external tuner before or after the Helix.

I hear you. I was pissed when the new editor for my Axe-FX Ultra that I had been looking forward to for so long because Fractal had been hyping it with all the additional bells, whistles, and bug fixes only worked if you purchased the at that time as yet unreleased Axe-FX II.

You can use HX Edit to change setlists, I don't know of another way to change setlists from the Helix if the 'Preset' joystick is broken other then if there is a MIDI command. I suppose you could switch that way. Much as it may pain you to have to wait for a new one again I would send it in for repair/replacement while you can. You don't want to have to live with a broken joystick. Maybe after hearing your tale of woe the dealer or Line6 can expedite the return process this time around.