HonestOpinion

Nice research! Then I guess theoretically those wahs should be placed under the "Legacy" heading under both documentation and hardware, and moved to the "Legacy" part of the effect selection list on all Helix/HX hardware and software. That also begs the question of is it worth upgrading those wahs or providing new HX equivalents or alternatives at some point? My vote would be "yes".

Don't know whether this is actually the case but I have heard that the Helix wah effects were "legacy" ports as well. If that is true shouldn't they be placed under the "Legacy" heading also?

I know exactly what you mean and although I am never happy to have to modify my existing presets for "subjective" improvements in sound I would just as soon take the hit if it is an improvement that is substantial or required to fix a problem.

LOL, was not expecting you to see my post so quickly and was still editing. Yes, just set it according to the last sentence in my post. 'Global Settings' --> 'Ins/Outs' --> 'Volume Knob Controls' = "XLR"

I would recommend using your XLR output to the FOH if possible but if you have to run 1/4 out to your DI for FOH see the last sentence in this post. The way I do it is to set 'Global Settings' --> 'Ins/Outs' --> 'Volume Knob Controls' = "1/4". This sends full output levels at all times to the XLR output(FOH) but allows you to control your onstage monitor(1/4) with the large volume control. That way the mixing board gets a consistent level and you can vary your onstage volume without impacting the FOH. Removing the XLR output control from the volume knob makes the XLR output's signal level default to the same as if the large volume control was turned all the way up, all the time. This give you optimal output levels to FOH assuming you have your presets leveled appropriately. I know it would be preferable if there were separate volume knobs for the 1/4 and XLR outputs but I find this setup works pretty well. In your case you could reverse this and set 'Global Settings' --> 'Ins/Outs' --> 'Volume Knob Controls' = "XLR". This would achieve the same result with your setup.

A perfectly good question. One could also ask "why no Variax input?". Line6 is probably pretty savvy by now about sales numbers for the various units in their product line and not only considers the cost of each I/O feature versus their intended price point but also takes into consideration what will propel users to buy a different unit, e.g. the LT or Helix and how many and how quickly each unit can be produced and sold. I was more surprised to see the Variax input left off because one would think this would help drive Variax sales but one reason could be that they calculated that the additional cost to the unit would cut into sales to people who have no intention of ever using a Variax. The same logic might apply to a S/PDIF connection. And again, those who want to use a Variax or S/PDIF will just have to step up to an LT or Helix which may be where they want to drive those users. Some of these decisions may not make immediate sense to us consumers but make a lot of sense during sales meetings backed up by sales numbers and projections with lots of pretty graphs and pictures in a PowerPoint presentation. With all that said, who knows what a later deluxe version of the HX Effects device may include. Just speculating though. Currently as a Helix user I am too enthralled by the prospect of all the great stuff in the 2.50 update to be concerned about any I/O options not included on the 'HX Effects' device but I know these questions will be coming up more frequently as the sales pick up for the 'HX Effects'.

Yep, saw that, awesome!

Agree that the main point is that there may be presets where changing impedance manually (by footswitch) is optimal, particularly when you want to use a fuzz or a block that may sound better with a lower impedance somewhere in the signal chain other than the first block. Just pointing out that when set to 'Auto' the impedance is the same whether the first block is activated/bypassed or not. Activating the first block does not change the impedance. As a matter of fact, I have seen quite a few posts requesting that this be changed such that 'Auto' would adjust itself to whatever the first active block was rather than just the first block.

The first thing I did was import the presets from my Helix to Native. Keep in mind that right now HX Edit 2.3 does not handle snapshots so if you have a snapshot you want to import from your Helix into Native make sure you have the snapshot you want imported selected and saved on the Helix for import to Native.

The appeal of purchasing an LT as a backup for my Helix has now become almost impossible to resist. This update just forces every other device I was considering to move down the list in priority.

Unbelievable update! All these legacy L6 effects ported to the Helix. I was already beyond enthused to see the HX reverbs coming but this is just incredible. This is a party in a box! No way would I have predicted or even had the temerity to request for this to happen. What a gift! I am curious, not that it makes a lot of difference either way this is so fantastic, but is this a direct port? Will these legacy effects sound/operate pretty much the same as the old ones did or be "upgraded/updated" in some manner to take advantage of the improved hardware and programming on the Helix? :) :P :D

Is this a bug or has the 'Auto' setting changed how it operates in a firmware update? I was under the impression that the 'Auto' impedance setting adjusted itself to whatever the first block in the signal chain was, regardless of whether that block is engaged or not. The reason given in the past for putting the fuzz first in the chain when using 'Auto' was because fuzz blocks generally sound better with a lower impedance and that the 'Auto' setting would adjust itself accordingly, but would maintain the same low impedance setting, regardless of whether the fuzz block was bypassed or not. I can easily anticipate a signal chain set to 'Auto' with the fuzz as the first block not sounding as good when the fuzz is not activated due to the low impedance setting (as set by 'Auto'). However, the the impedance setting should not be changing when it is activated unless you have assigned impedance to a stomp or snapshot and changed it explicitly. I do agree that the workaround has always been to either assign the impedance parameter to the fuzz switch or to use snapshots to explicitly change the impedance from low to high when activating or bypassing the fuzz.

Great tip, thanks!

Thanks, I was aware of that, but definitely find it nowhere near as fast or as convenient as the keyboard shortcut. Particularly because it necessitates changing tabs. I suppose you are right, it could have been intentional but I definitely miss having it. Matter of preference I suppose but, in addition to point & click, I do like having keyboard shortcuts available and that was one I used semi-frequently.

I know it has been reported already but just wanted to reiterate that I hope the SHIFT-ALT-CLICK shortcut that used to work in previous editor versions for removing a parameter from snapshot assignation in the editor gets restored in the next HX Edit release. I am sure it was just an oversight in the latest release and I miss it.

Agree, I use the same strategy and like to keep the noise gate from engaging whenever possible on quieter or cleaner settings that don't require it. You don't have to use an individual noise gate block though and bypass the noise gate. Instead of bypassing it, the 'Threshold' parameter on the noise gate on the Input block can be assigned to a snapshot. I just dial the 'Threshold' way back or to the point where it never engages for the snapshots that don't require it. Saves me a block I can use for something else and I would not be surprised if it saves a small bit of DSP as well versus using a separate noise gate block. This also has the advantage of making the 'Threshold' adjustable for the different snapshots. The heavier and noisier the snapshot the more sensitive I set the 'Threshold'. The per snapshot customized threshold helps prevent the choking or stuttering effect you mentioned. You can use the same approach on the separate 'Noise Gate' block but since there is a gate already integrated into the Input block I tend to use that one unless I require a noise gate further downstream.

What also may be confusing is that the Helix offers a "Mic" parameter that allows you to select from a collection of mics for each Helix cab. However in an IR the mic(s) are static and baked into the mix so to speak and cannot be changed. The ability to quickly change mics is an advantage of Helix cabs over IRs although you can achieve a similar result by choosing an IR with the "fixed" mic-distance combination you prefer.

Btw, I totally get trying to faithfully recreate a specific tone for an artist or tune. One note occurs to me though. Many (not all) a great lead tone that was gotten by running a good distortion pedal into a clean amp such as the Roland Jazz Chorus can be improved on in the digital realm by running an overdrive or even a treble booster or boost into an amp model that already has a great distortion/overdrive channel. It seems guitarists have often used a pedal in front of an amp's clean channel simply because the lead channel on their amp sounded like crap. Any of a number of old Fender amps is a great example of that. However a clean amp channel with a pedal definitely has a sound that can be distinctly different, sometimes more articulate, and often more pushed and compressed than just using a good lead channel. Anything goes and I know some will disagree but my favorite use of the Jazz Chorus amps was always for their clean sounds. I realize also that models can sometimes be more flexible than the original amps. IMHO there are similar but "better" distorted lead tones to be had with other combinations of amps and stomps or even just amps without a stomp. With that said, when you have a certain sound in your head or are trying to get as close as possible to a tone made with a specific combination of equipment, nothing else may do, and you may want to use the models that most closely emulate the originals. Ultimately I guess I am just getting a bit sidetracked and pontificating on the virtues of the various methods for achieving a great distorted or overdriven lead tone and the fact that when I think back about great distorted lead guitar tones the Jazz Chorus amp does not come leaping to mind . Good luck with your effort.

An LT for a backup does seem like an ideal solution. You should be correct on both counts. You can separately register both your Helix and LT on the Line6 registration page and the LT should retain its current Native discount as long as you don't download and register Native using the LT's serial number (provided Line6's current pricing structure, discount, and registration rules on Native stays the same).

Although they are really overdrives and not distortions I think using the higher drive settings on the Stupor, Compulsive, or the Minotaur may be the models closest to the DS-1 if you are going for distortion settings similar to lower settings on the DS-1. For more distortion you might try the Vermin or the Hedgehog D9 (probably closer) which are actually distortion pedal models, or even the Stupor on the higher drive settings. None of them is exactly like the DS-1. It is amusing to me after all these years that the DS-1, the first distortion pedal I ever purchased and one of the best and only ones around at that time, is still being used by players as accomplished as Vai and Satriani. There are so many other great options out there now. I have one of the earliest builds of the Boss SD-1, I mean this pedal is seriously beat up, and it is a magnificent sounding overdrive. The Helix 'Stupor' version doesn't quite capture the magic of that pedal. Might be how I am using it or that I have not found the right signal chain to leverage it yet but nevertheless I was most happy to see it show up on the Helix. I think that model could use a bit of improvement though. Btw, someone on the Helix Gear Page site just posted that they are using the Compulsive drive relatively successfully as a substitute for the DS-1.

Good point! Just acknowledging RRMark's point that Native is already coded for handling audio signal while the Editor historically has only functioned as a controller. But you are correct, with those two code lines merging, a feature coming to Native that requires audio processing may end up in HX Edit as well. The capabilities of HX Edit may well be redefined by having a unified code base.

Audio is passed through the USB cable as evinced by the fact that the Helix can be used as an audio interface for your computer or with Helix Native. That should mean that a tuner is possible in HX Edit although it may require a more substantial coding effort than is immediately obvious. As you point out the editor is solely a controller interface right now. Maybe Helix Native will have a tuner before HX Edit gets one. There are already plenty of other computer standalone and plugin tuners available.for DAWs though so I suppose this may not satisfy the folks who would like to see one in HX Edit.

Are none of them loading? Did they work previously or is this your first attempt to load them? As phil_m suggested check first to make sure you are using the latest firmware (2.30) and matching Editor or at least a version as recent as the one the purchased presets were created with. If that is not the issue try loading the presets by half batches, halving the number each time the load fails until you find the preset(s) that are causing the problem. You can also look to see if any of the presets are only 1kb. This may be the one causing the problem.

Jbuhajla is correct, best chance of getting this answered is probably in the Native forum but here goes. I haven't tried using any of the controllers you are using but one thing you will definitely have to do is assign the Native parameters you want to control via MIDI in the "Automation/Controller Assign" tab in Native. See page #30 in the 'Helix Native Pilot's Guide".

Believe it or not the pitch shift blocks can also sound good in between the amp and the cab. Would never have thought to do that but saw it in a preset designed by someone else. Point as usual being that not everything necessarily translates the same from the analog world. On my old analog signal chains pitch shifters almost always tracked better when they were at the beginning of the signal chain or sometimes right after a compressor.