gbr13697

Amendment to my method for assigning Stomp Toggle On/Off to a pair of blocks as above. There were bug fixes in Firmware version 1.2 as below. Snapshot bypass states of blocks not maintained when importing various legacy presets -Snapshot bypass assignments are not always recalled when assigned in Editor This was very likely screwing up assignments in V1.1, and the effects will propogate into V1.2 for presets made or imported earlier. Make sure Snapshot Bypass is OFF for any blocks you are trying to assign to a stomp for toggling. Make sure both blocks are in the required active/bypass state before assigning to a footswitch, usually with one active and the other bypassed for a toggle switch. Assign both blocks to a footswitch in turn. Check that the operation of the footswitch does actually toggle the on/off state of the blocks. The light ring around the footswitch may not match your on/off requirement. If so, just touch the switch to trigger the capacitive block selection. You may need to do this twice to achieve the desired state. The focus on the touchscreen will switch to the other in the pair of assigned blocks, and the light will also change state. Save the preset quick! Be careful not to touch the switch again with fingers, as this will switch the focus and light on/off state again. Just use it as a stomp with a non-capacitive boot!

I already make full use of the built-in expression pedal, and I would like an easier way of controlling volume out to my PowerCab than using the volume knob. I don't really want to add a Volume block to the end of all my presets. Is there any way to configure an external expression pedal as a global volume control?

I don't think that this is a "fault" that would make a support ticket approriate. The default values for the Brit 2203MV (JCM800) are Jack - High, Drive 7.6, Master 4.5, Level -10. At these settings the output from single coils is around -20db and humbuckers -18db (there is not much difference due to the high-gain compression). However, if the Jack is switched to Low, the humbucker level is a quiet -28db, and single coils are a barely audible -35db. Obviously you can adjust Drive, Level, and Master, to get a decent sound with either High or Low, but actually using them together in the same preset is impractical. In the Helix Floor these two amp channels were two separate models. In the Helix Stadium, like several other amp variations, they have been combined in a single model. This obviously means that the combined model takes up a lot more DSP. This would be worthwhile if it were practical to use both High and Low channels in the same preset, but that is not the case. Plus, though I have never played a JCM800, I rather doubt that a Strat plugged into the Low input with drive on 7.6 and Master Volume on 4.5 would be that quiet!

Gain and level the same. Just switch from Low to High to get your ears blown out. Alternatively, with the High channel set reasonably, the Low channel will be pretty much inaudible. It makes it virtually impossible to use both channels in the same preset, which rather negates any benefit from combining them in the same model. In the Helix floor they were two separate models, and would be in separate presets. With the two channels being so vastly mismatched in the Agoura model they can't both be used, so combining them in a single model is just wasting the extra DSP.

After experimenting, I have answered my own question. Make sure both blocks are in the required active/bypass state before assigning to a footswitch, usually with one active and the other bypassed for a toggle switch. Assign both blocks to a footswitch in turn. Check that the operation of the footswitch does actually toggle the on/off state of the blocks. The light ring around the footswitch may not match your on/off requirement. If so, just touch the switch to trigger the capacitive block selection. The focus on the touchscreen will switch to the other in the pair of assigned blocks, and the light will also change state. Save the preset quick! Be careful not to touch the switch again with fingers, as this will switch the focus and light on/off state again. Just use it as a stomp with a non-capacitive boot!

I have had some pops changing snapshots that I thought were coming from the amp, but appear to have more to do with delay blocks, and particularly changing timing from 1/4 note to dotted 1/8. I have also had pops changing channels on the AC30 model.

Is there something off with the channel switching on this model? There is a massive jump in volume and gain when switching from low to high. I would expect a difference, but not that much. Using a snapshot to switch channels is not practical because of the huge jump in levels. I have had to put a 20db boost in front of the Low channel to get it anywhere near the volume level of the High channel on the same Drive setting.

I used Helix Floor for years, and I often assigned 2 blocks to the same stomp. I did not have problems getting the right block to switch on or off with the other doing the opposite, and the Stomp light ring switching on with the toggle option I wanted. I have been building presets on the Stadium for the last few days, and I have been struggling with getting this to work reliably and, more importantly, sticking. It seems easier on the unit, using the capacitive touch on the stomp to select the appropriate block, but still a struggle. Even more difficult using the editor. Has anyone worked out a foolproof sequence for assigning 2 blocks to the same stomp, with each in the correct bypass state, with the stomp light ring coming on with the right block?

The Powecab manual indicates that the the connection can be used with any modeller for audio via AES. "L6 LINK, AES/EBU IN - L6 LINK provides easy digital audio connectivity and remote control capability between Helix and Powercab Plus devices. Alternatively, digitally connect your amp modeler that supports AES using an AES/EBU (110Ω XLR) cable".

For quite a while I have had my Helix Floor output into my PowerCab+ through AES/EBU, with my AxeFx3 into one XLR and another modeller into the second XLR. I now have a Helix Stadium XL, which does not have AES output. The AxeFx does have AES, so I thought I could switch cables and run the Helix Stadium onto the PowerCab via XLR and use AES for the AxeFx. As far as I can see, the only required change was to change the setting for AES output on the AxeFx to Output 1 from the default Output 2, so that it would match Output 1 used in all my presets. I am not getting any audio from the PowerCab through AES from the AxeFx. All I get is a frequent random clicking sound. Does anyone use an AxeFX through a PowerCab+ via AES successfully? If so, what am I missing?

I just checked - downloaded in less than 1 minute.

I have a Helix Floor, Quad Cortex, AxeFx3, and TonemasterPro. I have tested the sounds using a switcher to send them to a Line6 PowerCab. I turn off cab emulations in the modellers, and set a suitable cab emulation in the PowerCab to level the playing field. I have set up presets in each modeller for most of the common amps where they all have similar emulations (other than high gain amps which I don't personally use and would not be qualified to evaluate). I start with an amp in the modeller with the fewest controls, normally TonemasterPro or QC, and dial in a decent sound. I then replicate the settings to the other modellers, avoiding any parameters that are not present in the basic model (although Helix and AxeFx3 would allow much more extensive customisation of the sound). I can then get instant comparisons by simply stomping on the switcher. There are very slight variances, but nothing outside the range that would be expected from two supposedly identical valve amps. For instance, no two Fender Deluxe Reverbs, from the same year with the same settings, ever sound exactly the same. The amps used by the modeller manufacturers for modelling would never sound exactly alike, so there will inevitably be slight differences in the models they produce. The sounds produced by each modeller are very similar, and none is better or worse. All of them will produce good sounds. The choice of modeller will depend on other factors - size and form factor, hardware, touchscreen and visuals for those that consider it important, workflow, number of amps and effects, flexibility of preset design layout, how much will fit in a preset before DSP runs out, ease of editing on the unit, quality of desktop or tablet editor, controls for live playing etc. It has to be said that Fractal leaves all the others in the dust for most of this, though Helix still stands up very well. Quad Cortex and Tonemaster Pro will suit those that like simplicity, touchscreens, and pretty graphics. Quad Cortex certainly has an advantage for those that value captures above modelling, but I am not one of them. Make your choice according to your preferences, but I do not believe that any of these modellers "sound better". Furthermore, you will almost always find that those who say that one or the other does sound better have never actually done a proper and fair side-by-side comparison.

You will almost certainly find that, when you connect your Helix, your Windows sound device changes to Helix from whatever you were using previously. Windows normally has separate volume settings for each device, so the chage in device also results in a change in volume. Go to Windows > Settings > Sound when the Helix is connected, and you should see a list of devices. You can set the default voume of each device independently.

We have always been told that having the Volume knob at Max is unity gain. However I have always found that unity is between 1 and 2 o'clock. Setting it at Max adds quite a significant boost. I have tested it with an empty signal path, compared with guitar straight into the amp. I also recall an old thread where a couple of other users had tested theirs and found the same thing. Like all gear, individual units will have some variation. The only way to know where unity gain is on your unit is to test it.

This problem has been raised before. You may find your solution in this thread.

Once you leave the amp and go into the Fryette, the signal level is astronomical compared to the amp input and the levels that the Helix operates at. I am not familiar with how the Fryette loop operates but, to be compatible with a modeller, it would have to drop the signal down to instrument/line level from its Send, and then amplify it back up when it gets it back through its Return. It may have this sort of feature, but I rather doubt it. If it does not have this feature, you will lose the signal boost from the amp's power stage that is designed to drive a speaker, and you will be back down to Line level which will certainly not drive a speaker.

Amp effects loops are notoriously variable. The Return is designed to see a signal level equivalent to the Send level from its own preamp. These have been known to be up to 30v in extreme cases! No modeller is ever going to pump out that sort of level. May not be your problem, but you could try connecting other devices into the Return of your amp to see if they also appear quiet. Even just connecting your guitar through a boost pedal into the Return will tell you a lot about what level of signal your power stage is expecting.

I have a PRS P245 with magnetic pickups and piezo. I have several modellers and I use two cables, and route through separate paths, in each modeller. The signal from the piezo pickups does not pass through the amp/effects used by the magnetic pickups. I can use either, or blend them, and each pickups source gets separate treatment. This format is part of my template used for all my presets. I can also use the single mixed output lead into a conventional magnetic pickup preset for a different effect, and the blend on my PRS sounds fine used in this way. I also have an Emerald Virtuo that I generally use in the same way. The Virtuo additionally has a GK pickup that can by put through a Roland/Boss synthesizer, and my templates incude a third input and path for this purpose. Switching from single split coils to humbuckers, to acoustic via piezos, and to synth and simulated instruments via GK, all from the same guitar gets really silly (but very versatile and a lot of fun)!

Amp effects loops are notoriously variable. Some pre-amps output a reasonable level to their power amps, and other pre-amps have a very high output, which their power amps expect as an input for them to work effectively. This is particularly so with amps that have cascading gain stages. Some are known to pump out 30 volts from pre-amps, and this will be what they output from their Send. Obviously, their power amps are expecting a similar level to their Return, to match what they would get direct from the pre-amp without the effects loop, but no digital modeller is going to deliver that sort of level. If you have one of these amps, all you can do is to max out everything short of digital clipping as advised by Schmalle. You could try using an "always on" conventional boost pedal between the HX Stomp output and the amp Return.

Thank you Silverhead. I had a feeling it wouldn't be simple, and would involve MIDI. I don't really record anything - Helix Native would just be an alternative to setting up the hardware for playing. Presumably I could acquire and use a MIDI controller of some sort, and adapt all the assignments in every preset, but it really isn't worth it for me. If I could (for instance) just map the expression assignments to the > and < keys on the computer keyboard, then it might be worthwhile. Thanks for helping.

I have used Helix Floor for many years. I have habitually used expression pedal assignments to control amp parameters. As I push from heel to toe, gain increases, Channel volume decreases to compensate, and EQ and Presence etc also change. I have never liked using snapshots for gain level adjustments, and I utilise snapshots for other purposes. I have just taken advantage of a cheap deal for Helix Native and got it working in Cubase. I imported all my Helix Floor presets and, obviously with there being no expression pedal, all the expression pedal assignments have vanished. All my presets sound very clean, so I assume Helix Native has imported the "heel down" values for everything! I have minimal experience with DAW's, and zero with plugins. Are there ways to emulate the Helix Floor expression pedal assignments and behaviour in Helix Native?

The levels of amp effects loops are notoriously varied. There are amps that put out as much as 30v from their Send, and their Return will be looking for something about the same. No modeller is going to push that amount in. My Blackstar Artist has a Loop Level button to switch between -10db and +4db (Instrument/Line). If your amp has a similar button, you will get a 14db boost by switching from Line to Instrument.

I also route the pickups through separate paths. However, I have never seen the need for amps, IRs, or cabs for acoustic. I just have a volume/gain block to compensate for volume, though my PRS doesn't need much. I do have an EQ block in the chain but I never seem to need it. Then add some reverb and the occasional effect, and send it directly to FRFR.

There are a few amp models that are more susceptible to this, particularly the Vox Ac30 types. It isn't noticeable with most of the other types.

I have an EV-30 that does nothing for the first 30% of travel, and two FV-500L pedals that do nothing for the first 25%. It is just poor engineering such that the pedal does not move the pot before that point, or simply very poor pots. You would expect better from Boss, but it seems pretty standard for their expression pedals. I put spacer blocking under the back of the treadle so that it can't go any more "heel-down" than will actually register a change in resistance. You lose pedal travel, but at least the pedal travel that you are left with actually does something. I replaced the Boss pedals with Fractal expression pedals for regular use, and only use the Boss pedals as extras when required. The Fractal pedals work perfectly throughout the range of travel.