mkornell

I would hook it up as Helix (MIDI Out) -> (MIDI In) H9-1 (MIDI Out) -> (MIDI In) H9-2. Assign each of the H9s unique MIDI IDs. Also, turn off the Helix's automatic PC messaging in globals. Then, in each preset (and possibly, individual snapshots), have the Helix send out instant commands to each of the H9s to recall the H9 presets you want. I'd hook up each H9 in its own FX loop, rather than chain their audio. That way you have maximum flexibility in where you each one in any given Helix preset.

Oh, please, for the love of all things holy and unholy, NOOOOOOOO!

Yes, the Helix can recall presets from the H9s. I have a H9, and set up a MIDI PC command to send to the H9 when the Helix loads a preset that uses the H9. Easy to have the Helix send out multiple PC commands. Just make sure to set up your H9s with different MIDI channel IDs so you can load different presets on each. The H9 seems to do MIDI Thru just fine. I've also a EHX HOG2 which has MIDI control. My chain goes Helix -> H9 -> HOG2, and the MIDI CC signals I send to HOG have the intended effect. I have not tried sending MIDI expression signals from the Helix to either stomp, so can't comment on that type of use. There are two ways to trigger the PC commands the H9 needs. If you have a one-to-one correspondence between your Helix presets and your H9 presets, the Helix can automatically send out a PC when a preset is loaded, but the preset numbers have to correspond. The second way (and what I use) is to set up MIDI commands to send when a preset is loaded. That can be taken further and have commands sent when snapshots are triggered.

Yup, I deleted mine. I posted an answer at the same time phil_m did, and his was a way better explanation. No need to let my drivel confuse things. :-)

In short, yes.

No problems with using external pedals. Hook it up into one of the Helix's FX loops to give you flexibility to put it anywhere in your signal chain.

My vote would be for the "other stuff", every time.

It's Canada. That's not particularly cold. Do wish I had that heated vest, though. And... The death metal dudes are pretty diehard :-) It was a Christmas thing. Mostly, we were just a distraction while they waited in line to go inside for the main event. But plenty of people hung around long enough to hear a set.

The coldest gig I played was -11°C (12°F). Three nights in a row. We'd play five half-hour sets, with breaks between so we could warm up inside. My amp (Peavey Heritage) and FX (Zoom 9.2tt) held up just fine - maybe the tubes in each provided enough heat to keep the units warm. No glitches with the PA, as far as I could tell. The biggest issue was fingers - they just did not want to move even though I wore fingerless gloves. Hard to tell if I was touching a string or not. Nothing remotely resembling shredding was possible. And strings - fresh set each day, but guaranteed to break at least one per set. Had to figure out how to play most songs with 5 strings. Also went to an ultra soft pick, which seemed to help a bit.

I use in-ears. The feed is from FOH, not direct from the Helix. The frequency response is somewhat limited - particularly the low end - but they do a great job of noise reduction.

Let me add one more idea - auto volume!

Curious... why?

I have an (active) EMG 81/85 setup one one of my guitars. I drive the EMGs at 18v, which produces a fairly hot signal. I have experimented with both Helix inputs and with different impedance settings, but have not picked up any discernible difference in tone. Could have something to do with the voltage level, whereas a normal 9v setup might show a difference (tho I'm not going to rewire the guitar to experiment further - I decided on 18v after experimenting on tube amps long before the Helix). As an aside, I also use a Relay G50 when performing. Cabled when practising. It works just as well with the actives as with passive pickups. YMMV, of course, but regardless of your pickups you should be able to find an input setting that works.

No, not possible. I'm curious, though. Why not create a separate preset per song? Even if they're all variations on the same theme, though they wouldn't have to be. Keep a setlist with every song you do, and each week copy the song presets for that week to a separate setlist for performance.

Three other ideas, depending on what (when) you are trying to mute: 1) If you want to kill the source volume, but still have delays, reverbs, etc trail off, then you can add a Gain block at the beginning of the chain. Set the Gain level to -120 dB, and assign the block to a footswitch as a bypass. 2) if you want to kill the output (i.e., no reverb or delay trails to continue), then do that at the end of your chain. Two options - a gain block as above, or on the output block, use a footswitch to control the output level parameter. 3) Most (all?) blocks have a Level parameter, and you can pick an appropriate point in your signal chain to have a footswitch drop a block's level to -60 dB. You can instantly kill your signal at that point and let the effects after that point continue to trail.

You can put it on the input side, output side, or run it as an FX loop, just depends on how you want to use it. Prior to getting your Helix, where did you have in your signal chain?

Just chiming in to say it is working as usual on a Nexus 6P (Android/Chrome)

Yes, you can. Using one of the FX loops, put a patch cable from the send to the return. In your patch, have the FX return come before the FX send. To simulate what happens in an analog setting, have the FX return as the first in the chain, and the FX send as the last. You'll need to play around with the mix and send/return levels to get just the right amount of feedback. And you probably also want to use a footswitch to trigger when you want feedback by bypassing/activating the FX return block.

Per DI in a previous thread (http://line6.com/support/topic/19070-doesnt-support-their-own-expression-pedal-properly/ ), it does.

More interesting if you skip the protective gear and have a spare drummer. You know, just in case...

(with apologies to Robert Frost) Whose tones these are I think I know The default range from the flow I think I will run through them all The ear knows best to set a trawl My little axe must think it queer To take a break, no ale near Between Jimi and Randy Rhodes Lies a sound my ear decodes It sings like Knopfler, I might wish Yet from my fingers - roughish The only other sound’s the sweep Of flange and phase and filter deep The sounds are lovely, dark and fey But I have gigs yet to play And tones to make before I sleep And tones to make before I sleep

DI, is there any way to control the order in which the parameter changes are applied when going from snapshot to snapshot? If possible, being able to make sure there is a short drop in sound would be preferable to a risking a short spike.

I experienced much the same thing this weekend, though it doesn't involve changing parameters on a Minotaur. It is a fairly complex patch giving me two eambient and two driven snapshots. I noticed a clear visual latency when stepping on a snapshot - the effects that were being activated or bypassed changed visual status one at a time albeit very quickly. I could not hear if there was any audio latency as there are heavy delays and verbs with trails. There was a clear burst of noise when going to the drive snapshots, though not the other way. Noticeable when I was playing on my own, but pretty much lost in the mix when the band was playing. I heard it in my IEMs, but did not get any grief from the band or the sound man so couldn't have been bad.

Really glad that Nickelback isn't the first Canadian group that comes to mind.

I've got a HOG2, and will likely add an H9 or BigSky. Also contemplating an external looper.