waymda

Dear Helix user We too are Line 6 users. We are not Line 6 support and they don't visit here. If updating the firmware doesn't fix your issue (as suggested) you need to create a Line 6 account and raise a support ticket. https://line6.com/support/ thanks L6 forum users

Do what, at what? It has what? If I'm finding the constant questions about what is or isn't in the Stadium, requests for features, formats, new versions and (updates?) inane - I'm not sure how I'll go once its released and the forums/fartbook become a cesspit of RTFM questions. A few more months to train my eyes to roll 360 degrees and my fingers to keep off the keyboard. :)

Hi - I made this ages ago, and will have changed it lots since then, but its a mulitple amp, multiple cab set-up that you can use as a starting point. When you try to change things, if it looks like you can't use an amp you want to try, delete effects on the line the amp is on until DSP is freed up. Likewise for cabs. https://line6.com/customtone/tone/5531740/

I don't understand what you want to do. You might need to explain further, or others may understand.

No issues here (Australia) so likely something your end, or a resolved issue.

Yes to all of the above. The linked does the following: https://line6.com/customtone/tone/6575943/ Snap 1 Variax only for accoustic with some IRs and PC+ set to flat Snap 2 variax + mags - seperate amps for each - a speaker model for each of 2 x C+ Snap 3 Variax only - single amp out to 2 different speaker models Snap 4 different variax - single amp to 2 different speaker models again There is a lot changing with each snapshot so you need to check all the paramters for changes to find whats going on. Note I have not tested this so it might sound ship, just had a base patch I coupld adjust to demo the concept. Re pops on snaps - it has somethign to do with how the chnages in snaps are processes. From what I remember the changers occur in serial (1 at a time) not parellel (all at once) and very quickly so you can sometimes hear an amp ramping up gain or other weird noises as popping and other atifcacts. I've fixed it in the past by recreating the changes in a snapshot in a different order - they are stored as they are changed and processed the same. Alternatively using gain as the control to let sound through or not, or turning amps etc on and off rather than changing volumes.

I'm a variax user and would never be brave enough to dissect one but I think you'll find the whole box and dice too integrated to just have a knob. As far as I can see you'd need: a PCB board with all the processing a network type connection wired for the variax and to carry power the knob(s) you want And even then I have no idea if the board etc would work without a whole range of other inputs it expects. So short answer is I think its unfeasible. If you want a definitive answer join the "Line 6® HELIX® Family User Group OFFICIAL and ORIGINAL" group on facebook and shout out to "Partev Sarkissian" he knows more about this stuff than anyone (tech for L6). On the use of the expression pedal - have you tried playing with the pedal's paramters to refine its outputs so you get the outcome you want?

Late to the party, but any reason you wouldn't run FoH direct from the out on the Headrush? I can't tell from the manual, but would expect it is a straight passthrough (ie no EQ or gain), and would appear to let you use 1/4 inch to the Headrush and balanced out.

Ooh haven't heard of or experienced this and I use the Helix to model and tuning swap my variax all the time and often mid song. Is it only caused/triggered where alt-tunings have been created by workbench, or potentially anything other than the settign being standard? I may have been lucky so far, but will now check its on standard before gigging. Also guessing it won't ever be fixed now the variax is discontinued.

Relative to a lot of the people on this forum - the Helix has been around a long time. And the questions you've asked have been answered (multiple times) in this and other forums (try the search funtion). There's a LOT of content on YouTube, Facebook etc that can help you will have to look for older material as the newer stuff is generally "whats this new feature". Suggest Jason Sadites as a great starting point. And, whilst none of us like to do it, read the manual - its a great resource. https://www.youtube.com/@JasonSadites https://line6.com/support/manuals/ There is no way to make the backing track sound good through an amp (through the LT or any other source) - it will always sound like its running through a guitar amp - some EQ will help a bit. You're better off having some form of seperate monitoring for the backing track - PA speaker(s), monitors, anything really.

If HX Edit is refusing to see the Helix try Helix Line 6 Central and/or Line 6 Updater. The latest update failed for me (first in a very very long time) and HX Edit could not see the Helix. Line 6 Updater worked fine - noting no ability to create a back-up and restore presets.

There's some good discussion here about what the big knob does and doesn't do. As I run straight to FoH I bypass it, but my read of the thread suggests no discernable sonic impact with what you're doing.

Checks date - nope April 1 still some time away. Off to check if my printer is an audio interface - it too has a USB port, as its networked I'm expecting it will also support AoE.

No mention of a download but heres a walk through

Pardon? pg 68 rev 3.0 of the manual USB Audio Helix functions as a USB 2.0, multiple-input/output, 24-bit - 96kHz, low-latency audio interface for Windows and Mac computers, as well as for iPad or iPhone mobile devices (with optional Apple Camera Connection Kit adapter), and is compatible with all major DAW software

Maybe try one of the VoiceMeeter apps https://vb-audio.com/Voicemeeter/ I've managed to use them to virtual mix multiple devices on Windows and provide a low latency monitor for hardware that summed stereo inputs to mono when in direct monitor mode. It may not be what you want/need but they're donation-ware so little risk.

Highly likely, deliberate. It's product differentiation and allows marketing to a specific audience, with the intent of cross product sales should said market suddenly realise they would like/require something different. Pretty much business 101, and done by all the vendors. Your crazy is their strategy.

Something I hadn't thought of and just remembered. I run both low and hi-pass EQ on my guitar channels on the UI24, helping it sit in the mix and improve clarity, so that will be going to my IEM feed. Not sure the frequencies and not near it, but likely having a similar impact.

This likely doesn't help in the short term, but i reckon it took me close to 2 years to fully move to IEMs. In my first move to modellers I tried valve power amps to cabs, specialised FRFR wedges, a JC120, 2 x Powercab+ you name it and I was never happy. For IEMS I tried, wedges + IEMS, various generic IEMs, generic with custom molds, custom molds, custom molds + ambient mics, finally sensaphonics with custom molds and built in ambient mics. The sensaphonics are expensive and were worth it for enjoying playing. But the real key was running a silent stage, with an e-drumkit and largely DI'd bass and the UI24 to manage my own mix. As I mentioned earlier the 64 ears are still great, with this set-up/band - and 2 years working with them to refine what I need. Moral of my story- it takes lot of time and effort to find what works for you - my incentive was/is I sing and play guitar in a 3 piece so hearing whats really going on and not screaming to be heard made i worthwhile in the long run. Happy to share any of that journey if it helps you get what you need/want easier/quicker.

Yes and no. Yes: You will be much more critical bout how you hear yourself in any system/iems than the rest of the mix - its you, and you know how you want to sound The sound of your guitar coming straight to your ear through IEMs is substantially different to via a wedge ot other air moving system - you will also hear other ambient sound Using IEMs means you need a much better mix than you can get away with in stage with live sound - for example, when you move your head on stage the sound changes and you can move to find a balanced spot on stage - not so with IEMs, you get what you get No: The quality of the IEMs will massively influence how you hear your sound - see the first point Generic IEMs don't provide a good seal so you will hear a weird mic of live stage sound with IEM direct. The live will include FoH, and stage sound and will generally be slightly muffled. It can also result in strange phasing issue due to tiny differences in the timing of the internal and external sounds hitting your ears IEMs that sound OK for produced recorded music do not always reproduce the sort of sounds you want/need to hear live on stage TLDR - using IEMs is a massive change from live on stage sound and you need to learn what the compromises are, and the quality of your monitoring WILL impact on your experience. What works for hearing recorded music does not necessarily translate to working live.

The UI24 allows you to patch physical inputs to multiple logical (or internal channels). So assuming you have spare channels you can patch your guitar inputs to an addition set of channels, set their aux send as pre-fader, pull the chanel fader out of the mains and use the aux send for just your IEM send (and/or other band members). The UI24 is likely more flexible than you realise. Not sure if this guy covers this in his patching video, but he's a great resource However, if everyone wants their own eq'd version of your guitar or their inputs you're up for a lot of messing about and will run out of channels quickly. I know nothing about the KZ ZS10 Pros, but at less than $70 AUD I wouldn't be expecting them to be great. When I first started using IEMs I really struggled with the sound, and balance on stage. My first decent set of fully molded 64 ears cost me more than I wanted to spend but the difference was/is phenomenal. I still have and use them occasionally some 8 years later even though they're my back-ups. As someone who's always spent on gear, back line etc my post hoc rationalisation is what I spent on proper in-ears + my Helix is way less than I would have spent on a range of gear across the years, sounds better, and gives me a much more consistent on stage sound for performance (remember tweaking you amp at every evenue every time???). So my advice FWIW is if you're want to go IEMs think of them as your back line and spend accordingly.

I also run my Helix direct into a UI24 via XLR. The Helix is set to mic level output and the UI needs no gain added to get a healthy signal. Whilst this doesn't help with diagnosis, I have not experienced what you describe in 2+ years of use. I would support looking at whether phantom power has been accidently turned on for one channel. If that makes no difference try a) a seperate source on the channel, b) a seperate channel or set of channels on the UI24 to isolate the issue.

My 2c worth - have the band hire/invest in a FoH that includes subs. The overall sound will be improved substantially and you won't blow away your band members. I'm assuming that your current DYI approach is loud stage sound and minimal mix to PA. IMHO (and experience) thats a recipe for disaster - though a huge sound where vox never quite cut it.

Hi - it will help if you can describe how you want to use the piezo pickups so peeps here can give you some tips. Whilst I use Variaxes, I only use their piezos for the modelling tech. I'm guessing (very much guessing) you want same sort of accoustic sim with the PRS piezos?? I'm basing this on thinking they'd sound pretty bad as an electric type sound, but may be very wrong. I think ricstudioc has answered the how to get them into the LT, but if you give more info on your use others may have thoughts on how to use the LT to its best.