theElevators

Yep, Line 6 uses low quality parts. It is rather unfortunate! Reach out to Line 6 directly-- call them over the phone and explain your situation--a service center did not fix your problem, and it came back. They will create a ticket for you, where you can fill in your information. That's what I did after horrible experience with 2 service centers. Line 6 fixed my Helix for free for me. Sometimes you need to escalate. Good luck!

Well, open up the Helix, and remove the pedal and all that is involved. You can even velcro a smaller expression pedal where the old one used to be. Problem solved, and you now have a rugged replaceable expression pedal part of your Helix LT.

Get a quality external expression pedal and use it.

If you are running through a monitor, then you need amp+cab. Cab darkens the sound, that's a known "side effect". Nobody performs with an amp block without a cab/cab sim, unless they are trying to recreate the Beatles' Revolution guitar sound.

I've flown with my Helix a lot and was always able to take it as my personal item onboard. With guitars, it's a different story!

Umm... maybe something is arcing inside. Crackling is not good. I'd be careful. I know somebody whose house burned down because of a cheap Chinese lamp. It arced and started a fire.

sounds like you need to re-restore your global settings, otherwise your global EQ is reset to the default.

Remove the lid and shake out whatever is inside. Only one way to find out. I had 2 blobs of plastic (from the button surround rings) inside my Pod Go.

It is. Minus the very low quality micro-switches. Even worse than those on the Helix.

Try making sure your tap preference is set to transparent. Otherwise by default you get these glitchy sounds when delay bpm changes. As I stated previously, I can’t imagine why anybody would want to hear those glitchy sounds. But some people do. So check if this is what you’re referring to. I personally often change the bpm of the delay to glue several snapshots together better. But I use normal conventional delay blocks.

I use Mail Order Twin on a very clean setting exclusively. It works very well as a clean platform for various effects, distortions. I tried a bunch of amps, and this is the one I settled on. Everything else was too boomy, noisy, glassy, etc....

What expression pedal do you use? Try a different one. They are so cheap, you can just buy a new one for 20 dollars or so.

You simply need a lot of distortion and active pickups. But this sounds like studio trickery.... Try to use the pitch wham effect that you can control with your expression pedal (if applicable). Otherwise, set it to 2 octaves higher, crank the distortion, and that could be close enough if you get feedback and use the whammy. Also you could try to use the feedbacker block as well.

You took it for a test drive. Now try to make it your daily driver. Playing a few sounds with it is not the same thing as taking it on the road and playing 30-song sets with it every night. ifs nice and shiny when it’s brand-new. And then you start discovering bugs, having hardware issues.

You can also use the expression pedal to switch on additional sounds. You can even double the amount of sounds you have with the expression pedal. For example, you can use it to boost your solos in certain snapshots, add a wah in other snapshots. There are definitely ways to squeeze more than 4 snapshot sounds out of this thing. You can have at least 8 different sounds while using snapshots, and that's plenty to be able to perform even the most complicated songs... Here's what I do, in a hypothetical example: My expression pedal 1 controls: wah pedal, reverb delay amount. I assigned wah's mix percentage to snapshots. The wah is auto-engaged based on the percentage of the expression pedal. So if I rock the pedal past 5%, it turns on, otherwise it's off. But the trick I use is that I mix the wah pedal at 0% in certain snapshots. That means that rocking the pedal does not turn on the wah... well it turns on but mixed at 0% it is useless. So now the same expression pedal 1 can operate other things instead in different snapshots. So by bypassing blocks, setting other blocks to bypass when the expression pedal reaches a certain percentage, and making sure that in each snapshot you don't have 2 things sounding at the same time that you wish to control with the expression pedal... I'm able to really go crazy with the variety of sounds. I do not use the pedal switch to toggle between expression 1 and 2... but if you want to use it, you can control even more things with that switch. You can turn things on/off with that "additional" footswitch, and you can assign various functions to it, multiple blocks at the same time. If interested, check out my YT channel, I have some videos on how I use the Pod Go.

et maintenant en anglais, s'il tu plait....

Welcome to the world of digital amp modelling! It's a little confusing, but you'll get a hang of it. .. Helix and Pod Go user here. 1. My advice is to take your actual physical rig, and transfer it to the HX stomp one piece at a time. For example, take a blank preset, connect it to your physical amp you use along with your physical pedalboard, and just A/B each component. First find a replacement for your distortion, then vibrato, etc. Then when you are done, replace the amp with the virtual one. That's what I did, personally. Presets/snapshots are explained in the help manual. Some people like the stomp mode, some snapshots, some a combination of both. I use a preset-per-song approach and, within each presets, I use snapshots for all the different sounds. There are some projects where I have just one preset that gets me through all the songs. It depends on what you are playing. If you only need 3 sounds throughout your gig... versus very nuanced time-based effects set to specific BPM. 2. Factory presets are garbage, and simply demonstrate what's possible. To me they are not usable, and I discarded them almost immediately after getting the Helix. The rule of thumb is that your "New Presets" should be the same loudness as your actual presets. If your presets are louder than the blank presets, then you will get harsh digital clipping. 3. If you are planning to use HX Stomp as an all-in-one solution, you need mixing monitors to properly dial in your sound. If you are planning to use HX Stomp to replace your pedalboard, but are still running through a physical "tube" amp, then you don't need mixing monitors. I personally don't use an FRFR live or at home, just keep it in my car just in case. Instead, I use a Mooer Baby Bomb + a 12" speaker cab. These questions have been discussed at length on this forum. Everybody's gone through this. Try searching for "FRFR", "power amp", "mixing monitors".

FRFR can tolerate bass frequencies, but only to a certain point. I would simply use a real bass amp, set on a clean setting as a monitor. Bass amps are kind-of PAs by definition, they don't really color the sound (typically), unless you try to sound like Lemmy.

Try coarse tuner. It’s not as jumpy.

I am guessing this is caused by the guitar, since you stated that a cable without guitar into the Helix produces no ticking. I have had ticking when I didn’t remove the protective plastic all the way from the pick guard of my guitar. Some kind of an induction from static electricity or something. I’ve also had all sorts of noises when the output jack of the guitar had the ground wire about to come off. Also, is your USB cable plugged in? Try unplugging it.

Here's a caveat: the mono block at the end has to be turned on. A bypassed mono block at the end doesn't mix down the signal to mono. Pretty sure.....

correct

Reason for mono and stereo blocks: 1. mono blocks (delay, chorus, etc) simply do not give you a mono delay/chorus effect. Left and right channels will be identical. 2. stereo blocks (delay, chorus, etc) give you a different sound in left/right channels. For example stereo ping-pong delay is that you hear the note, then repeats on left, then right. 3. due to laws of physics, stereo effects with hard panning will sound completely different in terms of their balance compared with you running the same signal in mono. See https://en.wikipedia.org/wiki/Panning_law For effects such as compressor, volume, etc: 1. If you have a bunch of stereo effects in your chain, if you follow those up with a mono volume block, then your signal turns to mono. 2. If you want to retain stereo sound, and at the end of your chain add a volume pedal, then use the stereo equivalent. So that's really all there is to it. Some blocks work and sound differently whether they are mono or stereo versions. For example, there's no such thing as a mono ping-pong delay, because it's just delay that doesn't have any panning of the delayed notes. And for blocks that do not create any stereo effects by themselves, their stereo versions simply preserve the stereo signal that is going into them. You can think of a stereo volume pedal as a left-channel volume pedal and a right-channel volume pedal glued together.

You can also use an expression pedal, and assign a feedback range value to it (min: 0; max: 70) value to it, as well as the delay bypass. For quick back and forth changes, I prefer to use the expression pedal personally, otherwise you'll wear out the button pretty fast!

What you are describing can be achieved with snapshots. You can bypass or unbypass your delay, and change the feedback percentage inside snapshots. So you can create 2 such snapshots. You can use stackable snapshots where one button cycles through multiple snapshots.