theElevators

try using balanced cables, same result? You can buy adapters to convert balanced 1/4" jacks to xlr, then connect with cables to the mixer.

Check and play around with the effects loops volume settings. It can be driving the rest of your chain too much, hence change of sound, especially with drive pedals. So experiment with different signal levels. Otherwise, yes, I can confirm that the effects loops are not "true bypass", and they can introduce all sorts of noise. Tone Master Pro has 2 analog "fuzz friendly" effects loop, but Helix doesn't have such a thing. For example, I tried rolling off the volume knob on the guitar, and it sounded noisy and hissy when my distortion pedal was in the loop, but fine when it was before the processor. Helix has a ton of stuff, so there really is no reason to use external pedals, IMO. Helix has everything, and you can tweak things and A/B them so you can sell your physical pedals. There are a few exceptions, such as some of those really esoteric glitchy time-based pedals, but the whole point of using the Helix is to ditch your existing physical pedals/wah/amp, etc. It's most likely already there. Anyway, to check the volume level of effects loops: Press MENU Go to Global Settings Navigate to Ins/Outs Find: Send/Return Type

Try factory presets to make sure it's not user error. Helix is not stopping you from diming everything and creating unusable presets.

Then sell it and try something that is easier. I know some people who are computer programmers cannot wrap their heads around this tech. Or go back to pedal boards.

In the real pedal world, "Fuzz "tone sucking" (volume/treble loss) often results from impedance mismatches, particularly when vintage-style Fuzzes (like Fuzz Faces) are placed after buffered pedals or active pickups." Also in the real world, the Fuzz pedal sucks tone whether it's on or off, they are not true-bypass. In your case, you have a digital emulation of any pedal you want. HX One has capacity to run exactly one block. Digital pedals in an analog signal chain do not have any "impedance" and tone-sucking behavior, because they are digital devices. They can suck tone on their own though to an extent, but they will do it consistently regardless of what effect you are running. Just because you are running Fuzz on your HX One, doesn't mean that it will magically recreate the physical properties of an analog Fuzz Face and affect other pedals. In the Helix world, they replicate the "tone sucking" behavior, if you have a virtual signal chain. Helix recreates those nuances when you have more than one block in your preset. But it does it weirdly: only the first block in the virtual chain affects how the rest of the chain sounds in terms of its virtual impedance, if you set the impedance setting on your preset to "auto". So if you have a wah, followed by 10 Fuzz pedals -- no tone sucking. But one bypassed Fuzz pedal followed by 10 wahs -- it will suck the tone. However, you can override this behavior by dialing in an explicit impedance value of your entire preset, then it stops behaving like it would in the real world. Regarding how to set the impedance on your HX device: My advice is to just set it to auto. Auto take the first block's impedance and uses that. For most effects it's 1M ohm. Changing the impedance to a specific value between HX presets is a very bad idea, since it results in loud pops when changing presets. (For the record, I don't have HX One, and cannot confirm what it does when you bypass your Fuzz block, you would need to test it out. ) I also recommend just using your ears. Digital doesn't always behave like analog, and sometimes not at all. Add a Fuzz in your HX One. Bypass it in one preset, compare it with a blank preset. If you start messing around with impedance, it may introduce weird harshness and resonant frequencies. The difference in sound is there, but not that significant, mostly just becoming unpleasant. One more piece of info: as a Helix user, I want all my presets to sound consistent. All my presets are based around the same 'core' sound. So if I wanted to add a Fuzz solo in one of my presets, I need the core sound to remain unchanged. If I added the Fuzz in the beginning of the chain, I know that it would affect my tone for the whole preset very slightly (not something I want). Therefore, I can either change the impedance of the preset to be the same value as other presets (1M ohm), or make sure that the Fuzz is placed second in line after the wah pedal, which I know has the correct impedance of (1M ohm). But I would never change the impedance setting between the presets, because of the horrible noise glitch that will happen when switching presets! See my old video of me messing around with the impedance. There are also lots of threads on this topic. In summary, set it to "auto", and forget about it IMO :)

This is not carbon. This is just the black foam rubber getting grated and creating this dust. It's more severe on the Floor (because there are more foam ribber parts for the snapshot screens). So when the foam is brand-new, it creates this dust from all the vibrations, pressing on the footswitches. Eventually, the foam stops being brand-new and becomes more gooey, and the problem is less severe, or it just stops. Somehow the tactile switches attract that dust. (that's my theory anyway). Or it could just be the plungers deteriorating, hence the black powder, since they are black plastic parts. But once you clean it with DeoxIT, the problem goes away for a while. That's why I think they should use this stuff at the factory to prevent the initial issue.

Press BOTH the “MODE” and “TAP” footswitches together This toggles between: Preset Mode (scrolling presets) Snapshot Mode (Snapshot 1/2/3, etc.) I think this is what you did.

Try a different cable. Otherwise, open up a support ticket. Otherwise, you can still use your Helix, using the return 1/2 jacks instead of an input. It can work with the tuner as well.

Do you use any stomp buttons at all or purely snapshots? I would just clear the bypass assignment for the amp/blocks entirely. Then assign the bypass to snapshot only. Then select snapshot 1, turn things on/off as needed, save. Then go to snapshot 2, do the same and save. Sometimes the bypass assignments get confused when you have multiple things controlling what is on/off.

Also there's a lazy method that I've used as well -- use at your own risk. I've started doing this, and it works for me. Prop up the Helix so that the buttons are perpendicular to the floor. Apply liquid deoxIT to each of the buttons, around 3 applications. Wait an hour: the liquid will eventually reach the actuators/microswitches. Press the buttons a few times. Flip the Helix upside-down, again propping it so that the buttons are perpendicular to the floor. The excess DeoxIT will ooze out. Vacuum each button, wiping the leftover DeoxIT until it's dry.

The micro switches under the metal buttons are cheap and will stop being reliable after about a year of regular gigging use. If you are handy with electronics, open it up and clean out all of your switches whenever this starts happening. No need to re-solder a new microswitch. The procedure is very simple, in essence: locate the micro switches, and apply liquid DeoxIT to them, and press them a few times. I like liquid (not spray) DeoxIT, because it's only one drop, nothing gets sprayed in the process, you don't need to be careful where you spray, etc. The switches to me became as smooth as butter after the cleaning. watch a video on how it's done. https://youtu.be/WONiwe0vjH0 Helix is built like your typical Chinese gadget (Kemper floor is no different): looks solid from the outside, but inside is all microscopic PCB stuff with cheap components. In particular, the little button plungers are not held by anything, if you flip the unit upside-down they will all fall and you will not find them. you need a big table with a towel for this job -- can't do it on your lap. I use Tupperware / bowls / shot glasses to store all the parts, like screws/bolts/nuts. Sort all your screws by height, etc. Take a picture of what's inside before you start taking things apart -- that way will know how it used to be. A tablet is very useful for these. When I cleaned micro switches on the Helix LT, I did not have to take apart any ribbons, remove any glue, etc.

Pod HD 500 is way more limited and complicated at the same time than the Helix! I tried helping a friend dial in sounds on it, and it was very difficult, especially on the unit itself. Helix is way more user-friendly. Snapshots are presets within presets, plain and simple--the octopus picture really explains what it is. You can save what each of your blocks do when you select a specific snapshot: what is on/off, and the various settings of blocks are, if you wish to change them. I only use snapshots for all my sound changes, never use any effects individually (aka stomp mode). In the band where I played, there were lots of sudden changes from loud lead with delay to dry low-gain sound. With snapshots, it's a breeze. With pedals, I'd have to turn on/off 3-4 pedals at once. Plus with snapshots you can also have different tap tempo saved, so your delays can have extreme exaggerated spillover effect when you turn off your lead sounds, for example. I actively use all such tricks to glue different parts of the song together. With 8 different snapshots within each song, you have more than enough different sounds to cover each song, given you save each song as an individual preset. Love it.

I really like the sound and feel of a compressor between the amp and cab. It just makes everything easier to play, the notes just fly off the fingerboard. But the downside is that it amplified some amp buzzing, and constant droning, which I had to adjust on the amp, the "hum" level, etc. Once I figured this trick out, it just became so much better, I wish I had discovered it earlier!

It's all the same to dial down your hot guitar. I just like the separate volume block, because it's easier to see what it's doing. And easy to copy/paste it. Guitar pad = input level = using a volume block. But guitar pad is fixed of course, so you can't adjust it. Also my point is that I have used volume cut not just in the very beginning (input), but also right before the envelope filter, for example.... and other parts of the chain. Helix in my experience was VERY difficult to dial in for my needs in the beginning. So much so, that I was getting very frustrated! Took me several weeks to recreate my "signature" sound. And then I was tweaking still.... The feel was also very "hard", like I needed to be very articulate, and the notes would not come out as easy as on a tube amp. Then I added a compressor after some time, and that solved that issue! Now of course, it's been years since I figured out all the tricky sounds. It took me many iterations of reviewing concert board mixes, etc. Now I can say that I'm very happy how my presets sound and most importantly feel.

Yes, I have been using the "volume cut" approach in various parts of the signal chain to achieve acceptable results. In my experience, the envelope filters are pretty much unusable, unless I significantly lower the volume of the signal .... using a volume pedal block that is fixed at a very very low percentage. For example: I needed to do a simple funky clean auto-wah sound, and that took me many many iterations. I wound up achieving the needed results by using the volume cut and adding... reverb BEFORE the envelope filter. Only then it started behaving as auto-wah should! Also, every preset that I build nowadays has another fixed volume pedal block in the very beginning of the chain, again to be able to dial in exactly the right level so my preset works with that specific guitar. I have figured out how much to cut the signal, and if I need to use a different guitar, just go and adjust that first volume cut as needed. So in summary, I can confirm that the Helix is EXTREMELY sensitive to the output levels. In the real guitar pedal/tube amp world, it's not the same. When I had my pedalboard, I was frequently swapping guitars with minimal adjustment. Also I had a Boss MS-3 little processor for effects only, and a lot of effects were a lot easier to dial in. The same envelope filter sound was set up in one go! Some people solve these sensitivities by using a compressor/limiter in the beginning of the chain on the Helix, so it behaves more like the real world gear...

The signal is very weak then. You can try to boost the dry signal when you route it....

Pretty sure you need to press the "R" on both tracks, like you have on the upper one.

First of all, on the Helix Floor you have the 10-stomp mode, so it gives you 10 footswitches, unlike the maximum of 8 that the LT allows. Use the expression pedal. I am a big fan of using that for quick back-and-forth changes. Like you need to play a quick solo fill, rock that expression pedal to the front, then back. In your case, you can assign the mix parameter of certain blocks to the expression pedal, perhaps, so that you can mix things out when you put your expression pedal up or down, however you assign it. Or you can use snapshots + stomps and use the command center for an insane amount of versatility. I like snapshots and use the expression pedal for quick changes. This allows me potentially 16 different sound combinations, 2 for each one of the snapshots. That's a ton. Here's a video of me showing how I use the Pod Go with the expression pedal trick.

I can confirm that after I de-squeaked my LT's expression pedal 5 years ago, it still is not squeaking. Lubricated all the pivot points without disassembly. Lithium grease, also sprayed graphite spray -- this one was absolutely harmless, but in theory you can damage the light sensor for the expression pedal if you spray it everywhere. All LTs develop this squeak.

Well, you pay for the "even more realism" I suppose. I find the legacy amps are absolutely fine, and for more tweakability I am frequently playing around with a compressor before, after, and between the amp/cab. Bands had no problems touring with the Helix Floor, bands like the Doobie Brothers, so this "even more realism" is such a marketing gimmick....

BTW, somebody mentioned that the Stadium is indeed noiser than the Helix Floor, when the guitar is close to it, for example on your desk. It could be from the larger screen, and scribble strips. Curious if the noise goes away if you put it on the floor, away from your guitar (if applicable).

Try a different cable, if applicable. As silly as it sounds, I have fallen victim to crappy cables and other silliness that caused me to diagnose various intermittent issues and waste countless hours. Five examples: 1. I have been using a cheap 10-dollar cable with absolutely no issues during rehearsal. Then at a gig, my volume started fading in and out. Turns out the tube amplifier was so hot, that the cable was losing signal. 2. I have been using a wireless unit. I have a receiver and a cable that connects it to the input of the Helix. Everything was working fine as before, but my acoustic simulator sounds started sounding extremely brittle and had no bottom end whatsoever. This was the night before the gig. Well, I swapped out the cable and everything started working correctly. 3. And my absolute favorite one.... I was playing at an outdoor festival. Everything was fine during a soundcheck. Everything is great as we start our very dramatic stage entrance. Then my on-stage amplifier loses sound -- nothing. I always use the onstage amp for amplification to hear myself, even when I go direct to FOH. I had no guitar sound and didn't know if the sound was even coming through to FOH. Frantically I started checking. Long story short--the cable from the amp to the cabinet was not plugged in all the way and as we started playing, the vibrations caused it to come unplugged. Luckily, this frantic diagnosis was during our freakout/noise entrance, so not a single note was missed basically.... 4. I was sound checking at a venue, then all of a sudden the amp just stopped being loud, it was as as if the volume dropped to 1. Long story short--the CABLE that connects the speaker was not fully plugged in. 5. Was practicing keys at home. And every once in a while I started having my signal fade in and out.. Again!! Long story short, I needed to clean the output jack of my Nord Electro. That fixed the problem. Now my rule is to throw out "crucial" cables every 2 years or so. Even if they work, they all will fail after some time. I also buy expensive reputable cables, not something from the Guitar Center bin. Last thing I need is to have a fun adventure onstage during an important gig and look like an idiot (been there!) And of course making sure all the cables are fully plugged in!! And lastly, I clean the jacks of all my equipment with liquid DeoxIT. A lot of time you don't lose the signal completely, just have this "fading out" effect. Just clean your jacks from time to time!

Changing snapshots = making a change to your preset. That's the correct behavior. Because you may want to change your starting snapshot. On the Helix Floor it works the same way.

Check if you have the volume pedal in your signal chain. Also sometimes presets become corrupted. I had one preset that just became louder than the rest for no reason. I wound up re-doing it from scratch and it was behaving correctly. I could not figure out what was wrong, even when I removed one block at a time it was still louder than the rest.

(I know Kemper does not have such a gap at all.), But... Helix always has had a gap when switching presets. So does the Boss processor and most other old-school digital processors. On the Helix, you have snapshots to circumvent that gap, that (annoyingly) is there. Each snapshot is your different sound within a preset, which is your virtual guitar rig. Preset spillover does not yet exist in the Stadium, as I understand. On the Helix, you sacrifice one DSP chip, to be used as a buffer for switching your presets. So you sacrifice half of your signal chain, and have pretty seamless switching between your presets. I never found myself in a situation to have needed this "feature". On the Helix Floor, I actively use snapshots and do not ever have a need or reason to switch presets during a song. Each preset is each own song. There's a gap when switching, but that that's when you stop and start the next song. That's how modellers should be used -- each preset corresponds to each song. Otherwise, you have several presets that can cover all your repertoire, have a preset for each type of song you'll ever need. In my set, when I was touring, I had 26 presets, which I went through on a nightly basis. I organized them in the order of the set, and just pressed "up" to go to the next song. We had 2 songs that were connected, and I just found a "gap", where I could switch to the next preset. But trust me, once you start creating individual presets (which is what I do), there's no going back IMO.....