MikeDV1

I've had weird results with downloaded patches, including no sound. On a few, i couldn't figure out the problem and either deleted or used the blocks and settings for a new patch from scratch. If the patch has volume/pan blocks that are controlled by an expression pedal, try just bypassing those blocks. The link to the controller might be messed up and they will default to zero. I guess the would work with all of the blocks, bypassing one at a time until some sound happens. Not the only solution, but another place to check. Many of the more "exotic" patches assign expression pedals in creative ways.

There you go - someone (phil_m) who knew what they were talking about made it easy! Nice.

Globally bypass cab blocks. Ability to assign a particular cab block IR to all patches globally if cabs not globally bypassed. I only use cab blocks for output to PA signals. For factory patches, I have to disable the cab and save patch, or change amp model to one without built-in cab. Not for everyone, but a little time-saver for us no-cab limited-cab folks.

Don't know for sure that it's normal - I think it is, because I've had it happen to me as well. Seems to me that the simplest hack would be to just go into each patch (unless you use dozens of them - ?) and bypass - just turn off - the volume block and save the preset right where it is, no name change, no move. Now, unless you turn it on purposefully, or have a snapshot that engages it, it's off/bypassed. When you have the pedal plugged, go back and engage the block and re-save, already set for controller. Now if you use dozens of individual patches, that might take some time on the fly, maybe a mirror bank with no volume pedal would be simplest. Just occurred to me that maybe the lack of signal with nothing plugged in is the same as a volume pedal moved to position zero - so the volume block responds at zero. Anyone out there actually know for real - mine's a total SWAG.

I've got the Axe-FX II XL+, along with the Helix rack (gear trading shenanigans). I can't keep them both in the same rack - they both howl uncontrollably and both displays show a crazy-looking little girl holding a big knife until I split them up... Seems the Axe III is the II XL+ with they physical properties of the Helix - 3-spaces, multiple useable ins/outs, on board big screen display. I'm sure the Axe devotees would say something about even more 3D-ness, etc. in the newest model. Processing power? Meh. My iPhone could run one of the Apollo missions, but I probably won't be using ALL of it's capabilities simultaneously any time soon. I mean, just how many fracking effects do you want at one time, and is that musical, or even discernible as avant-garde? If that's important, then there you go - stack 'em up. Sheer numbers of amps? On both units - maybe it's just me - but I end up tweaking whatever model to what I end up liking - mids at a certain level, highs rolled off, etc. - ends up sounding like a similar amp, with the tiny bit of personality from each modeled amp. Screaming leads, pristine cleans, edge-of-breakup in between. I tweaked my Triaxis to resemble what I liked in my old Mark V - with each having their own little personality quirks. I can take either digital box, and emulate exactly a sound from the other one - by mixing/matching EQs, IR's, compressors, dirt boxes, etc. etc. etc. Quality of fx? Same/same. Yep, there's the legendary effects as cloned, but given enough time/effort with all of the variables being used by some of the skillful folks that use either machine - no one could critically tell the difference consistently over time. Jason Sadites vs. Alexander van Engelen in a winner-takes-all cage death match of sound-sculpture! Just commenting on the comparison game we all play. I'm lucky to have both, and read forums for both. I'm hard pressed to decide which one to keep for what reasons. Oddly, I play my Triaxis through both...if either one would make a single-space, fx only box...I like the physical rack stuff. Remove the amp models, keep the programmability of the fx and make it rack-mounted. Tried the Eventide Eclipse, I'm not smart enough to use that one effectively, even in pedal form. Change the X-bias of the simulated tubes for that final tweak - that I can't find on one of a dozen EQ possibilities or 9,000 cab emulations ? Ignorance of actually working on amps to that extent has always been bliss, why change even if I could? It's the journey of mixing/matching endlessly, or finding the half-dozen or so attributes that works for you in a single box for convenience, that's the attraction of these things. Sometimes the sheer mountain of variables is overwhelming. But it's all great fun, and good to have. Both are marvels of creativity and technology. Such 1st world problems. As I look at this, had a thought - maybe if I set up a model on the Helix, then tone-match it on the Axe-FX - would I turn into Aleister Crowley and be able to play like Jimmy Page? Going to go try that - if the units will cooperate. That little girl in the display always looks so angry.

Yep, that would be it. Not sure what you mean, or what I need to do...

Two (or even better, single) rack space containing all of the effects but excluding amps/cabs. Same physical hook ups as well. Kinda' like an Eventide Eclipse or TC G-Force, only easy to program, and lots more combinations of effects as the current Helix can do. That's how I use the rack version now.

I switch back and forth on this - classic 4CM, and just using the Helix as a typical multi-fx unit. In the latter, and you may have already done this - if you don't want it, all tone-shaping stuff must be turned off or bypassed. EQ's, compressors, the global EQ, obviously all affect that preamp sound coming from your amp. As I understand it - I could be wrong - but there is still an analog to digital and digital to analog occurrence with either setup, just depends on where you want it to happen. i would set up a totally empty patch, put the Helix in the amp's fx loop, make sure your global eq etc. is neutral, and get your desired "dry" sound. Then add fx as you like - plenty of ways to do that - parallel, serial, various other tweaks, EQ within the fx, and EQ blocks - including the global EQ. I mostly use the 4CM (Helix/Triaxis/power amp/real speakers). I tweak the eq (very little, actually) to keep my perceived dry Triaxis sound, and go that route. I use the rack version of Helix. For other readers, I use the Triaxis because I like the sounds, no gripe on the emulations on the Helix. They actually make it more difficult - but they're there when I want to cop a specific sound of some kind. Line 6 - make me a HX effects rack mount style, preferably one rack space! I (personally) don't need no amps!

Anyone program their MIDI control pedal (mine is an older Liquid Foot Pro) to control the looper functions? I'm using a Helix rack unit. Going to try to program it, but - thinking that most functions will require a momentary function rather than a stomp box type function. Different functions ask for the same CC# with different values. Gong to dig in, but figured somebody has tried this, so I can take advantage of your frustration/success by eliminating the frustration part for me...

Not sure how to help without lots more details, but - I can't get a sound through a PA that comes close to the sound of Helix thru 2:90 into 1x12 Bogner cubes. Probably for both of us, EQ is needed on one unit or the other.

If you've put all of the effort you are willing to put into it to get a good sound and don't like it, send 'er back. There are literally thousands of combinations of digital amps/preamps/effects/speakers, outboard generation of sounds, guitars, outboard gear when using the Helix. Possibly - inside that giant mountain of choices - the sound/feel you like is there. But, life's short. If you're unwilling to dig that much, and like what you already have, goodonya'! Line 6 is fine with it, considering you're happy with one of their other products - a Yamaha modeling amp.

Do anything you want with the Voco-Pro Gig-Master. Built-in speakers, guitar input, mic input, other inputs, DVD/CD player, effects (echo, delay), EQ, power amp. For sale in the Phoenix Craigslist (not mine - yet). Considering selling Helix for this beauty....

Just saw the Dixie Dregs in concert. Pretty f'ing great, if you like that kind of thing. Andy West, the bass player, was using a floor Helix rig. He had a couple of other pedals on the floor, along with a stack of four very large FRFR speakers stacked behind him on stage. Stellar bass sound, not sure what he was doing there. I went to his web site, and no mention of amplification or gear. Steve Morse used his same old setup.

Interesting to see the volume block as wasted. Playing with a singer and providing rhythm - if I want to play a fill between verses, I'll rock the volume up, then back down during vocals keeping the exact tone (I'll use the guitar volume knob if I WANT to change the tone for some reason) - especially in the digital world. With analog it'll change a tiny bit if using the power amp for some tone, but that's my preference. A dedicated footswtich to attenuate would work too, but no control over the amount (at least on the fly) - the exact perfect spot that works with the singer or other instrument may vary. I also like to use it for swells into the delay or verb. I like to keep that exact tone to drive the fx. My ability to use the guitar volume for swells is probably less than it could be, but I find it easier to use a volume pedal. Haven't really explored placing that control in other places, like fx amounts, gain +-, or changes in EQ. Going to experiment with that a bit. Used (still use) a Triaxis and it has those capabilities in it's software, but never used it that way either. The darn expression pedals can be used in so many places (wah, whammy, volume, etc.) you've got to pick and choose, or line up more pedals. Cool stuff, love to hear other folks outlook on this. Of course, I expect Line 6 to change all this to my (the "correct") way in future firmware updates. I mean, if someone isn't happy with how they set stuff up, it certainly shouldn't be me!

Not really look for, or expecting, any objective truth. As I said pretty clearly that "wrong" use is sarcastic. I know my preference is just that - a preference. Just wondering how others look at it. Obviously, what I think is "right"...right? Some people actually refuse to...do things exactly as I say! Disgraceful.

Wondering about the volume pedal/block location in presets. Most/all of the factory presets put the volume block very early in the preset - right at the very first part. I have always used a volume pedal directly after the preamp (whether modeling or with analog gear). This way I control the guitar signal to the preamp with my guitar's volume pedal, and this controls the nature of the sound that ends up hitting the fx. Placing the volume pedal before the preamp gives another change in that preamp tone - if I want the volume to go up or down, but not change the tone or amount of "dirt", if I keep the guitar maxed but decrease the volume pedal, volume goes down but tone changes as well if the volume block is before the preamp/amp block. Because of that, I'm always annoyed by the factory presets because if I want to keep one as a template or whatever, the first thing I always have to do is move the volume block because this is my default setup. As I was being annoyed again, I had the crazy thought that this: wasn't only annoying to me, but that means that other people (especially the authors of the factory presets) actually do this wrong (sarcasm) on purpose. Got me wondering what others think or do with the volume pedal. Placement relative to wah/compressor/etc. that may be early in a preset have considerations, but just looking at simple guitar>amp>effects>out scenario here. In the Helix world, I use the amp only (sometimes only the preamp) not the amp+speaker - I really don't use IRs anyway. If I did, not sure where I would put the volume block - pre- the "speaker" IR, or post-, before they hit the effect. So - what do others do? Are the factory presets done this way purposefully just to annoy me personally, is it just for ease of mass producing presets for the Helix, is this the norm for most folks, or...?

As common knowledge, so many variables - my experience. I use a Helix rack with a newly acquired Rocktron Velocity 300 rack power amp. Pleasantly surprised by that thing, pretty powerful with EQ control on the front panel to boost/cut the bass or treble as needed. I got this to cut down on rig weight, and tube wear, to use in place of my Mesa 2:90 Also using two Bogner 1x12 cubes. Besides the adjustable EQ solid state power amp, this next thing made a tremendous change/improvement in the ice-pick syndrome: I set the speaker boxes on the floor. I have these sweet little individual stands for each speaker box. Kept the speaker off the floor and angled slightly up. Seemed like a great idea to keep stage volume more under control, and get myself the sound. But struggled with a thin, sharp sound as described that no EQ or IR would satisfactorily fix. Put the boxes flat on the floor and a dramatic improvement immediately. Something about "coupling" that's an audiophile type concept that I wasn't aware of, but it's real for me. I've also got a 2x12, and a 4x12 that I haven't tried with this rig. They were always dark sounding with other rigs. This change to the 1x12 setup has been a huge success, so I haven't gone to them yet. So for me, speakers made a big difference. I don't use IR's for rig use, only for direct to PA signal. I'll just guess that your power amp also might have some effect, through this one I have is the only non-tube one I've used for quite a while, and very happy with it. Will be gigging with it soon, and don't know how I'll handle this, but TBD. Just one more variable to mess with. Turns out it's a system...

I guess I have to also say - post your pics - of gig rigs. I've seen studios...want to know how y'all are using yours - especially racks, but all of them, including FX.

No Helix tuner, Mesa 2:90 in a corner right now.

thanks - at first I thought you were saying you used two 4x12's, but realized you meant virtual. The other part is f'ing mind-blowing. Jamming across the country real-time. Going to go look that up.

Great stuff! What was your rig? Amps, speakers, into PA, live recording in a venue, etc. Helix alone?

Wasn't aware of a patch update routine. Will check it out. BTW, where is that located? In the Edit program? Yes, already rebuilt the patch, complete with functioning reverb.

I downloaded a patch from the Customtone link into my 2.53 rack Helix. Fired it up, sounded really cool. Reverb block was bypassed, so I activated it. No reverb heard. Bypassed other blocks in turn until the reverb was the only active block. No reverb. With the reverb block active, if I turn the mix on the reverb block to 100%, there is no sound. Mildly interested. Change to a different reverb - try them all, same exact result. Clear that block, move to another location and put in a reverb - same. Kind of like if you had an old-school rack system and used only one space for reverb, and removed it from the rack. So now, thinking - WTF? Could there be some software glitch that removed only single effect? I wouldn't think computer chips could pick something like that out... I scroll over to another preset, and happy day, reverb back in place, acting normally. After seeing that was all normal, and with some other patches, back to the downloaded patch. Check reverb - same thing. So, by a masterful use of logic, I figure the reverb is out on that one patch...somehow. Any suggestions? Nothing I built or factory patches are affected this way, no changes to regular rig setup, our input/output values, etc. Can one tiny piece of a patch be corrupt? Maybe it was built on an earlier firmware - seems a likely suspect. That's one of my gripes about the Customtone thing, very little information on some of the patches - firmware, rig used, etc. Some do that, but most do not. Anyhow, seemed weird enough to share. Unless it's the first sign of firmware cancer, then it's nothing I really am concerned about, just interested.

Your description of what you want to do is a little confusing, but I think it's all possible. My suggestion to you is to draw (old school analog with paper/pencil - or with some fancy drawing software) what you want using blocks and lines in the fashion the Helix is programmed. Then decide which need to be bypassed and which need to be active for each of your scenarios (aka scenes), and figure what needs to be controlled (via MIDI, most likely) to achieve the layout Then decide which are the proper controls via foot switches - the Helix has lots of those capabilities - multiple controls for each foot switch. Then duplicate on a blank patch in the Helix and troubleshoot from there. Looks like you want to make extensive use of the send/return blocks. Relative separate paths within the preset, you'll have to visualize how that looks to work it out - you've got lots of pieces you want to mix/match. Finally, you can also build multiple presets for each/any/any combination of amps/preamps/etc. There is definitely a lag when moving form preset to preset vs. just changing scenes turning blocks on or off within a preset. Unless you need access to each of your desired signal paths immediately inside a song - maybe it's time to reconsider those needs and play songs with "only" about five sounds...or to build presets with some common basic setups (e.g. your amp's preamps are in a fixed place in each one) and add or subtract other pieces and parts in different presets. It's a complex rig if you want to do something this complex, I think it's very possible. Programming examples and factory presets that are included in it, while extensive, won't do everything. My favorite part of the Helix is the ease you can dive into these crazy paths and experiment without patch cables, dozens of pedals or rack units, and very little potential for frying anything in the process. If my ancient GSP2101 was this easy to program, I'd be over at the 2101 forum, 'cuz that thing was paid for about 17 years ago and has the same flexibility, minus the amp modeling.

Pretty well documented the preamps are quieter than the amp models. My question to the Line 6 folks is that some of the preamp models themselves are very, very quiet compared to other preamp models as well - even when matching master or channel volume settings when available. Is something wrong, is it by design, or ? If someone insists on use them (maybe me) there are certainly ways to boost them to an acceptable volume (like the EQ block), but just wondering.