waymda

If you're using the PC+ as FRFR you'd be better off using the Helix XLR sends direct to FoH. This won't work if you're using the PC+ cab sims. Or buy a second PC+ and daisy chain via AES (makes on left and one right, and with room on stage they sound massive) and take an XLR send from each.

You can also drag and drop, but yes that can be painful too. But no nothing super easy in HXEdit. You can export them and rename them in a folder so they sort as you require (eg leading 001 through 128) and then import - and yes thats painful. There is a guy in the "Line 6 Helix Family User Group OFFICIAL and ORIGINAL" who has coded a spreadsheet and powershell method for list management - look up Michael Dawson. You can use a 'librarian' method where you use a static set list and an external tool to manager setlist order - eg I use BandHelper and midi over bluetooth to make all patch changes through a set. Patches live in a Master setlist, and any changes are made in a Testing setlist before saving back over the original. I once postited the idea of an off-line tool to manage patch ordering for gigs here and got a resounding "why?" - so can only assume other have much better ways of doing this within HXEdit.

I've had the syths be a little 'glitchy' but OK, especially for the sort of sounds you're after. Variax Standards into Helix via VDI. I've used both a compressor and distortion as inputs into synth modules to even out the signal, and for the Cars sounds found the grittier input help get some of that sound. I also find the bridge pick-up of either the lp or strat models to be the effective. Getting a good synth sound has required a bit of mucking around with other effects and/or amps/cabs on/off to get them to sound decent.

That configuration no - my monitors in stereo is fin for studio use. For stage I use 2 PC+, generally each with a different amp/cab combination and some stereo effects of varying width. I play in a 3 piece its largely reverbs and delays to provide a more expansive sound. FoH takes a send from the XLRs and can choose to run them as 2 mono sends if required.

Hi I was going to say you can only use one device for input and output (like you have) and that you would need to be able to use your other USB devices explicitly as the output devices for Cubase to make this work. However a quick search suggests using ASIO4all as the driver will allow this. https://forums.steinberg.net/t/using-two-audio-devices-one-for-input-one-for-output/642426/4 I'd much prefer to stick with OEM drivers, but that won't work in this use case. Good luck

As per rd2rk's Q - I read your question as: Can a Snapshot change the assignment of effect bypass to swtiches so that as you change Snapshots different effects appear in the Stomp row for manual use? Is that right? If I've read the question right, then not that I'm aware of.

If you search Beatles in customtone there's a bunch of pacthes you could use as a starting point. https://line6.com/customtone/search/?submitted=1&family=helix&search_term=beatles

As well as reading the manual 2 suggestions: try to reset your expectations to hearing a recorded amp sound - that's effectively what Helix is providing effects etc and a mic'd up amp like in a studio and represents a real leap for lots of guitarists Check out someone like Jason Sadites on youtube with his creating a great tone https://www.youtube.com/c/JasonSadites

I use a very small number of favourites as I prefer to swap in different things to try at their default and tweak as necessary. Whilst I still have a number of go to effects ams etc, it stops me always using one sound. My true 'favourites' that I use in pretty much every patch are the horizon gate first and rochester comp last with some default starting settings, and they're on my primary template.

I can't provide a comparison between the units mentioned. I use 2xPC+ for full end-to-end integration, and like the sound. I have preiously used wedges which my band, and I, found a bit to 'clinical' or hi-fi. FRFR is a marketing term describing a class of product, it will not tell you how they sound and they all colour the sound in some way.

What do you mean? You plug in the bass and then use the models you want to create a patch - not sure what else there is to know.

I've used 11" and 15" laptop screens that worked fine - they have touch finctionality but I don't use it - seems way too hard for me, but I'm a long term mouser Definately a mouse - but thats just normal ergenomics for me Desktop I use a souped up desktop with a 34" screen split so HX edit is on one 'side of it' Screen real estate will depend on resolution available as much as screen size and what works for you wil be different than for others Basic CPU/Memory requirements don't seem to be available anywhere but I'd suggest any modern PC/Laptop will cope - one of the laptops I use is at least 5 years old Not sure why you would buy a computer just for HXedit

The only one I've found that looks suitable is the Powerstage 700. Suggests you have some criteria/requirements - you might want to share those if you want sensible input.

Have you installed HXEdit? It installs drivers at the same time. https://line6.com/software/

Thanks, noted!

I have found that my Telecasters and Stratocasters does not have the same outputlevel. Indeed - this has always been the case This is a problem for the tone of my presets, and mostly for my auto filter presets. Precisely - if you use those guitars with hardware effects and amps the tone will change - this is part of why people use different guitars as the input gain changes the tone and response of the amp (along with other factors such as the impedence of the guitars signal etc). Is there a way to store different input gain (global) presets for each of my guitars? No Or will I have to make a seperat preset backup for each Guitar? No - put a switchable gain block at the start of each patch and use it for the different guitars - you could use it to either boost the signal of the 'weaker' guitar or defeat the signal of the hotter one. Oncce you know the setting you need, save the block as a favourite doe reuse in every patch you need it. If oyu only ever use a patch for one guitar, dont bother.

Hi I got a message on import about not having the IRs (to be expected). Path 1 IR shows slot 15 Path 2a shows slot 5 Path 2b shows slot 6 Edit - Sorry the Path 1 IR was on 44 for the Verse snap - I changed it to 16, saved whilst in that snap, went back to the Intro snap and saved again, changed patch, came back and the IR change had stuck with 16 for verse. Changed - I'll Be There.hlx

Oh please, stop leaving me in suspenders, I really want to know what the issue was. Or did posting 2 times since 2017 wear you out?

I moved from a HD500x to the Helix, and later 2 xPC+. I ran the HD500x as a full modeller and through a number of iterations of monitoring from a valve power amp with cabs, a JC120 into the power amp, varous wedges. I found it tolerable, but ultimately unsatisfactory and found myself tweaking patches between every gig. With the Helix I've tried wedges, and then the PC+s, firstly in FRFR mode, then in speaker emulation mode, now back in FRFR. I went back to FRFR for simplicity of workflow, and consistency of sound/patch creation. Its not the same as amp in the room, but I find it a very good useable stage monitoring solution to move air and provide guitar speaker interaction, whilst using IEMs as my main monitoring source. My IEMs include ambient mics so I hear stage sound as well. The consistency and simplicity bit was what sent me back to FRFR. I was splitting the feed so the PC+ had pre-cab signal and then the XLRs carried full emulated signal for FoH. My living arrangements mean I need to set-up patches using monitors at home and then test stage volumes in a rehersal room. Using a split signal meant tuning the stage soung and FoH sound seperately, and consiering the interaction between stage and FoH. It simply became too difficult and painful. Like you I have a patch per song, and currently have close to 100 songs in our rep and keep adding more and dropping some. I need to be able to learn songs and build patches with about a week turn around - and I am not a fulltime muso by any means. Attached are two templates - one for my FRFR approach the other for my PC+ cab emulation approach. Warning they will sound SHIP as they are place holders for blocks to make my workflow easier, and have some things I use consistently like horizon gate up front, and the rochester comp at the end. These are just peronsal preferences. The send at the front is to send guitar signal to a TC Voice live for auto harmonies as I work with a 3 piece. The input block is also for variax and ensures a consitent standard tuning - again easy to change. If they help the transition great - but it will take a while. One thing worth noting is the amount of control you have with snapshots with the Helix. You can change lots of parameters with each snap. This can be used to make each amp act like a multichannel amp by changing a heap of parameters but especially drive, master and chanell volume. Best of luck, but I expect you will have a significanltly improved experience over the HD500. Mine FRFR.hlx Mine PC+.hlx

Best arugment I've ever seen for using IEMs - but that would leave the audience with a wholly unsatisfactory experience - can't image the dissonance for front row punters

Never used it accoustically myself - but so long as your monitoring is loud enough that you don't hear the accoustic direct it might work (eg IEMs, or very loud wedges). My closest experience is using detuned accoustic tones from a Variax, and it doesn't take a lot of volume to get over the unamplified electric plink.

Has it got anything to do with the delay being on a parrellel path for Test 7 - ie is that allowing a substantial amount of not delayed signal to pass and me mixed with delayed at the mixer block? 60% seems pretty high to me, and could leave little trace of the original sound as you've desribed. Try winding the mix back on Test 6 to something closer in sound (The feedback also looks high to me but it may be exactly what you want).

Ignoring the DSP issue, why would you run the Cabs in series - that says into one cab then into another?

Everything I read from people wanting to improve the feel of their modeller seems to come down to wanting to expereicne the amp in the room - ie air moved from speakers that aren't FRFR and not simulating a mic'd cab. I say this as in most cases they claim to have found nirvana when running though a power amp and cab. In this case it would seem running back into the Helix to use a simulated cab will just continue the mic'd cab feel issue, and all you'll have done is added another pre-amp available to be used. I don't buy the having a tube pre-amp in the loop improves the feel bit - but thats subjective, and subject to confirmation bias either way (ie I'm unlikely to experience the sense of improvement unless I belive it will in the first place and vice versa).

consumer has the right to: make informed choices choose from many products return products that do not operate as advertised (at least in some countries) beware (caveat emptor) But a right to expect anything simply because of price? Sorry, just no.