MojoAxe

Okay, that makes sense. Since you're using backline amps provided by the venue, then I'll guess that you're probably going to keep things simple by running one cable from the Stadium to the amp's 1/4" input (rather than stringing extra cables cables for 4 cable method). In this case I think the thing to do is to have a preset with two parallel path chains. In the attached image, Path A is has the output routed to the XLR, so this would be the FOH chain. It includes Amp and Cab blocks with effects blocks both before and after them. Path B has the identical effects blocks but it doesn't have an Amp or Cab block. The output of this path is routed to the 1/4" output, so this chain is sent to the amplifier on stage. Building path B would simply be a matter of doing a copy 'n paste of the blocks from Path A. You'll just have to be aware that when you adjust parameters on one of the blocks that you'll need to duplicate the change on the other path (which is a simple copy 'n paste overwrite of the existing block). Be sure that the output of Path A is "XLR Direct" and Path B is "1/4" Direct". A stereo signal from Path A can be sent to the FOH by using two XLR cables. The same stereo effects blocks can be used on Path B because if you use one 1/4" cable out of the L/MONO jack, Stadium will sum both channels to a mono signal. One thing to keep in mind is that a mono effects block will sum a stereo signal to mono signal, so for whichever blocks are to be stereo, make sure that there aren't any mono blocks downstream from them. Amp and Cab blocks are mono, so stereo blocks must follow them.

If you're sending the full chain of blocks to both FOH and the guitar amplifier then this is very simple: - Left and right XLR to the FOH - Left/Mono 1/4" out to the amp (or an FRFR). Sending the full chain of blocks including Amp and Cab blocks to the FOH but subtracting the Amp and Cab blocks to the guitar amp is a different story, especially if you're running in 4-cable mode with some effects going into the amp's input and other effects going into the amp's effects loop. In that case I think it might be necessary to have two separate chains in the preset, a modeled path for the FOH and an effects-only path for the guitar amp. You would need to duplicate the blocks on each of the paths. This also means that if you change block parameters on one path then you need to duplicate the change on the other path. A major issue that I see with doing doing both a guitar amp chain and a modeled chain is that the tone you're hearing from your physical amp on stage is going to be different than the modeled tone going to the FOH. You may be thrilled with your on-stage guitar amp tone, but what the is audience hearing may be much different, and it may not be as good as what you're hearing on stage. Is there a reason that you want a guitar amp on stage rather than using a FRFR for monitoring your playing on stage? If you feel that the amplifier tone is better than the modeled amp's tone, then you might as well just plant a microphone in front of the amp and send that to the FOH. If you're happy with the modeled amp's tone, then forget about using a guitar amplifier and use an FRFR on stage instead . its important that your on-stage sound is basically the same thing that is being broadcast to the audience. Personally, I send a mono signal from the Stadium's 1/4" L/Mono jack to a Fender FR-12 behind me (which sounds great). I also feed a bit of guitar into the floor monitor in front of me, so I'm surrounded by my guitar on stage. I don't miss using a guitar amplifier at all. The Stadium's XLR out is routed to the FOH. For bigger shows I'll go stereo out, but usually its just a mono signal to FOH.

I have a corrupt preset on my Stadium which may be caused by the same bug. A couple of months ago I was creating a new preset that was based on an existing preset by using the “Save As” option. Stadium created the new preset under the name I gave it, however the new preset lost all of its blocks, there were just two blank paths. I deleted the newly created preset and I began to start the process over, however after deleting the preset from the USER area, it came back. I deleted it again, checked the list of presets to confirm that it was gone, but then it reappeared after 20-30 seconds. I did this several more times with the same result, so then I started investigating it. I found that I can add blocks to this preset, but when I try to save it, I get an error message,something to the effect of, “error, cannot be saved”. I opened up the windows app and tried to delete it from there and the results are the same. I even went as far as making a complete backup, a factory reset, then restore from the backup, and this “ghost” preset returned. i reported the issue to Support and I was requested to send them the preset. The tech said that the preset file had the header but was otherwise empty, so he requested that I send the entire system backup file. I haven’t heard back yet, but at least I know they’re aware of the issue so hopefully they can get it sorted out. In the meantime, since I’m unable to delete this preset from my unit, I moved it to slot 128D to get it out of the way.

By default, the snapshots will remember the state it they were in when you last left that snapshot. For instance, if you're in Snapshot 1 and a delay block is ON, then you navigate to Snapshot 2 and turn that block OFF, when you return to Snapshot 1, that delay will be ON. There is an option called "Snapshot Bypass" that will change how the block's bypass state reacts as you switch between snapshots. Double-tap the block on the touchscreen to bring up the menu and at the bottom is Snapshot Bypass. When the switch is to the right, the block's bypass state will be recalled as I described in the example above. When the switch is too the left, the bypass state will be ignored by the snapshots, so if you turn the block off, it will remain off until you turn it back on, even as you bounce between snapshots. In most cases I keep the switch to the right so that when I return to a snapshot it is in the same state it was in when I left it, however there are some cases when I will toggle the switch to the left, such as on a Poly Capo block for down-turning. Once I've engaged the down-tuning I normally want it to stay down-turned as I navigate between rhythm and solo snapshots.

I learned about the Command Center on the old Helix. The Command Center is far easier to use in Stadium than it was in the old Helix. On the Helix, the Command Center button assignments were unique to each snapshot within a preset, which meant that if you wanted to assign 8 snapshots to stomp buttons, you would need to program the 8 assignments within each of the 8 snapshots, or 64 separate button assignments. It was a total pain in the butt. In Stadium, when you make a Command Center button assignment, it works in each of the snapshots, so its very easy and intuitive to use. I read somewhere that its still possible to program Stadium to have unique button assignments within each snapshot, but I don't know how to do it (and I don't want to know how to do it LOL). In all of my presets, I like to have the buttons I use most often along the bottom row for easy access. This means having a mix of Stomps and Snapshots within the same row, which is an easy setup on the Stadium.

It’s very easy to do. I use a combination of stomps and snapshots on all of my presets, so I keep the unit in combo mode with both the top and bottom rows being stomps. When I want one of the buttons to be a snapshot, I do the following: Select the menu in the upper left of the touch screen (three horizontal lines). Select the Command Center icon. Select the button you wish to program from the screen, then select Preset/Snap from the lower left. Select "Command" and then turn the knob to the far right to "Snapshot". Now turn the Snapshot knob to the desired snapshot number and that's it, the button is now programed to go to the specified snapshot. If you would like to change the name and color of the button, select the camera icon in the upper right of the screen, choose the snapshot you wish to rename, then select "Rename/color" from the screen. PS: You might want to edit the title of this thread LOL

There currently is not an option to change this, although it would be possible for L6 do do this in a software revision. Somebody else asked the same question a while back and there was a reply that it cannot be done because the tap tempo button has red LEDs not multi-colored like the other buttons, however this is not true because I just noticed the other day that the LEDs change colors when the unit is playing a Showcase song, so it absolutely would be possible. I suggest submitting an enhancement request. I'm a bit OCD and I find the bright blinking tap tempo button to be distracting so I made a snap-on plastic cap with perforated holes to tone down the brightness a bit.

I have a basic block model that I created when I designed a protector for the touchscreen on my Stadium XL. I didn't model the knobs, buttons, and switches because I didn't need those for what I was doing, but I can add them. It will be a few days before I have a chance to do so.

I’d like to know how to do that as well. Every once I accidentally add an unintentional assignment to a switch which then displays “Multiple” in the scribble strip. I typically just clear the assignments for that switch to get rid of the unwanted assignment and then reassign the desired assignment. It would be nice if I could see a list of the assignments for a switch and then delete any that are unwanted. Maybe that’s already possible now and I just don’t know how to do it?

Eric commented something to the effect of the ferric coil is not needed now, but may be needed later as add-on accessories become available. I use an alternate cable because the stock cable is too stiff.

I would like to see an option to remove the Tap Tempo function from the Tuner button. I know it’s just a matter of time before I’m at a gig and I unknowingly double-tap the Tuner button when accessing the tuner, thus sending the Tempo way out of whack from where it was set on the patch. I only use Tap Tempo on a few of my general use patches. Every other patch is song-specific with the tempo set exactly where it should be, so it would be nice to be able lock the tempo on those patches and prevent it from inadvertently being changed if I happen to be tuning.

I setup my Helix boards with the Snapshot buttons I'll use along the bottom row so that when a solo is coming up I can just plant my heel in front of the button I need and press it without looking down at the board. I was concerned about the Stadium buttons being closer together, although now that I have the unit its not a real significant difference. Still if I accidentally press the BANK DOWN or the TAP TEMPO button that can screw up a performance. To reduce the chances of inadvertently pressing the outer buttons I made a couple of plastic "guardrails" to create a separation wall between them. The plastic walls are adhered to the unit using double-side tape. They actually work better than expected. I positioned the walls closer to buttons 7 and 12, but its still easy to use these buttons , and besides they're only used in between songs so I can aim my foot more carefully when using them. I uploaded the 3D files to Printables.com in case anybody else is interested in printing a pair of these rails. https://www.printables.com/model/1507235-button-guardrails-for-helix-stadium-guitar-process

Mine periodically disconnects. My WiFi signal is strong, so it must be a bug.

Thanks for the tip. That's a feature that I was unware of. I sold my Helix a couple years ago when the firmware was at 2.70. After reading all of the fanfare about the 3.50 CAB update I decided to give the Helix a second chance so I bought another one last month and I'm still catching up on the changes.

On a somewhat related note, here's one thing that drives me nuts in the Helix. When I'm editing a patch and I want to move to the next block on the right or left of the current block, I often (by accident) turn the joystick knob rather than pushing it left or right. Doing so changes the current block to the next effect in the list. When you turn the knob in the the opposite diection to get back to the original effect that was there, all of the its parameters have reverted back to factory settings. The only way to retrieve the original settings you had is to exit from the patch and return to it. If you had made multiple changes within the patch, those changes will be lost. I know this is just a matter of me being a dumba$$ by turning when I should be pushing, but I've been using a Boss GT-100/GT-1000 processors for years now (I still use the GT-1000) and on the Boss units you turn a knob to navigate between patches, so its just second nature to me. It would be nice if the effect parameters could remembered at least as long as you're still within a patch. The instant that you turn that knob you lose all of the parameters that had been set for the current block. This also makes it difficult to compare one effect to another. Let's say you want to add a delay to your patch but you're not sure which specific delay. You pick one of them (we'll call it "A"), you adjust the time/feedback/etc to your liking, and now you want to audition a different delay effect (call it "B"). "B" comes in with factory default parameters which are all different so you must adjust the time/feedback/etc parameters similar to what you had on delay "A". You listen to "B" and now you want to listen to "A" again. When you turn the knob back to delay "A", its settings have all reverted back to the factory settings. Its like trying to A-B compare two stompbox effects, but every time you switch between them some little kid reaches over and twists all the knobs.

I guess everybody has a different concept as to how to use a modeler. Myself, I wouldn’t try to fit every effect and tone into a single patch, so I would never have a need to switch 24 effects on and off. The Helix gives you 1024 programmable patches, so why try to cram every effect you’ll ever need into one patch. My approach is to have five different general use patches which basically range from clean to dirty. Each patch has maybe 3-5 effects within it that are assigned to switches to toggle them on and off. These patches give me a range of tones and cover 75% of what I play. in addition to the generic patches, I have another 30 or so patches that are song specific, so the effects, tones, tempos, etc are tailored for the song. Those patches also have buttons assigned for toggling certain effects as well. Personally, I wouldnt want every effect I might use within one patch, not to mention 24 buttons to toggle them on and off. The beauty of using a modeler is that you can program one button to kick on multiple effects at once. For instance for a guitar solo, I might program a single button to toggle an overdrive, an EQ, a delay, and a compressor. The days of dancing around on a board full of pedals are in my rearview mirror.

I’ve not seen the inside of the Helix, but my guess is that there are a couple of surface Mount RGB LEDs beneath each ring. The ring itself would simply be a translucent molded part that has a diffuser additive in the plastic resin to evenly spread the light through the part. Changing LEDs to higher intensity components is not a simple task because they’ll require more current.

Holy crap, those are some chintzy rubber feet that Line 6 is using. It’s no wonder they’re worn out. My Helix has never left my home and rarely even sees the floor, so the feet on mine are still in good shape, but I can see how they would wear down in no time if you’re gigging. I’ve seen heavier feet on clock radios. i checked a screws on my Helix and they are a metric M3 x 8mm pan head machine screws.

This very thing has driven me nuts since I started using the Helix. I've used Boss ME effects units for years (and I still do) and on their units you navigate the chain by rotating a knob. Consequently, I often turn the knob by accident on the Helix went my intention is to navigate to another block. Turning the knob not only changes the effect of the current block, but when you turn the knob back to the effect you were on, all of your settings are lost because it reverts to the default settings. The new Joystick setting is a welcome update that I was unaware of.

Not this is of any help to you, but the Boss GT-1000 does exactly what you're asking for. It has a mode called Stompbox, which allows you to save ten different variations of every effect within the unit, including the amp models. Lets say you've tweaked your amp settings for a great Fender Twin type tone. You can save that amp model along with its settings into one of the ten Stompbox slots allocated to amps. You still have nine more amp slots available for other variations that you come up with, so you can have your favorite Marshall, Vox, whatever ,amps saved as presets. The same goes for delays, reverbs, distortions, chorus, and every other effect within the GT. Now, lets say you want to create a patch from scratch, you can go into your Stompbox library and grab the amp and various effects that you want, and piece the patch together with effects that already have your favorite settings. When you do so, you have an option for how you insert it into your patch;. 1) You can copy the Stompbox into your patch in which case it becomes a totally independent effect which you can further tweak as desired 2) You can reference it in your patch. When a Stompbox is referenced, then any change you make to that particular Stompbox's settings will also occur on every other patch that references the same Stompbox. Going back to the OPs original post, option 2 would accomplish exactly what he would like to do. That favorite amp model could be saved as a Stompbox and then referenced within as many new patches as desired. If you change any settings to the amp, then those settings will also change on every other patch that references it. If at any time you decide that you would like for the effect to become independent, then its a simple matter to copy the effect into the patch rather than reference it. Personally, I don't use referenced effects just because I don't want to worry about inadvertently changing a patch other than the one I'm currently editing, but it certainly could be useful to some people. I do however use the Stompbox as a library of preset effects. For instance, whenever I'm tweaking an effect (lets say I just created a nice sounding slap-back delay), I'll save it into a Stompbox slot and name it Slap-Back. Now the next time I'm creating a patch and I need a slap-back delay, I just copy that Stompbox into my patch. From there I can make further tweaks if necessary. There are a number of things things about the GT-1000 that could have been done better, but the Stompbox feature is one that works very well. It would be nice to see something similar incorporated into the Helix.

If I understand the OP correctly, that’s what he’s already doing. He has ten patches that are all identical to each other except for the BPM setting. The issue is that if he wants to adjust the settings of an effect, say for instance, the amount of gain on the preamp, then he has to make that same adjustment to the other nine patches if he wants to keep all ten patches identical to each other (except for the BPM setting). Its been a while since I’ve used a Helix, but this be accomplished with snapshot, correct? As I recall, you can make an effect parameter variable between snapshots, so each snapshot could have a different BPM setting. Of course, if you plan to use the buttons to turn other effects on and off within the patch, then you’re not going to have enough buttons leftover to be assigned to switch between different BPM tempos

I'm gonna guess that the amount of complaining on this forum about the release date of version 2.8 is directly proportional to Line 6's reluctance to tell us anything in advance about future releases of Helix firmware.

I quit using my tube amps over a year ago and I don’t miss them at all. I favor the amp tones from my GT-1000 vs the Helix, but both units sound great through a pair of FRFRs. At home, I use a pair of Alto TS310s, and for rehearsal, I carry a QSC CP8, which is more than loud enough. It’s nice walking into rehearsal with a guitar in one hand, a lightweight monitor in the other, and the modeler and cables in a backpack. I create a lot of song-specific patches with multiple effects that are engaged with a single pedal. Delays and effects are synced exactly to the tempo of the song. The tones I get are more closer to what I want than what I get when I’m dancing around on a pedalboard with an amp setup. A few weeks ago I played around with my Friedman DSM for the first time in a while, and I really couldn’t coax any better tone from it than I’m getting from my GT-1000 patches. Consider me “converted”.

It really doesn't matter when the last day of Spring is. 2.8 will be released when its ready. The last thing you want is for L6 to release unfinished/untested firmware in order to meet a date. I've worked for companies that have done that kind of thing in the past and it never ends well.

I can, although I’m tied up next week and then I’m on vacation for two weeks. If it can wait until April, I can probably knock it out. Send me a file so that I can see what we’re talking about. Dan at dynasonic@msn.com