theElevators

(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.....

That's why it's wise to keep your presets nearly identical, minus a few tweaks, extra blocks that you turn on/off. On the Helix, it doesn't matter if you have unused blocks btw, the sound does not suffer, and there's no extra lag with unused blocks. If you redo your signal chain from scratch, then there will be volume / tone discrepancies. Sometimes you won't realize that they are different. Create a "template" preset, which is your virtual "rig", and modify it for individual presets: copy/paste/tweak. That's the best way to use a modeller if you're a touring musician. Otherwise, just use one preset, if you can manage. Once I learned this workflow, I go through all my presets one after another to make sure they are all sounding correct and matched in volume. I've also once had this weird bug on the Helix, where one preset wound up getting louder, even though the blocks were all identical. I wound up redoing it from scratch, and it started sounding like my other presets. Just something to watch out for. In summary, there are so many factors that can create a difference in your sound, that it's best to just keep everything the same as much as possible. My tried-and-true approach that I've used for 6 years on the Helix.

Try using a different amp. Some amps have all these extra controls like "hum", ripple, as mentioned already. These can really get amplified if you have a weird signal chain. In my case I started running a compressor between the amp and the cab, which really improved the feel. But it introduced constant low-frequency hum, which I noticed one day. Well, in my snapshot for the dirty sound, I just dialed down that "hum" parameter to 0, and the issue was fixed. Some amps do weird stuff. Crackle and pop could be from static electricity. I've noticed the original Helix even having its capacitance triggered from static electricity, when it was on a rug. All sorts of menus would pop up constantly.

That's expected and normal, as it mirrors the physical behavior. Combine 2 signals and you get louder signal. I discovered this on the Helix when I added a delay in parallel by accident. Then when I removed it, the preset's level changed. I wound up keeping a delay in parallel as it's easier to manage in the end, and all of my presets have that delay, even if it's not used, for consistency in terms of the level.

In my experience nothing beats the sound and feel of a real guitar cab. So I have been happily using Mooer Baby Bomb with a 12" closed back cab by Orange. People scoff at it until they hear how it sounds. Toured with this great power amp all over Europe, Canada, Israel and the US. We ordered Fender Deluxe for our backline, and I used it as a glorified cabinet with the power amp for 2 weeks in Europe. Worked great.

because: 1. silent stage 2. recording straight into computer 3. snapshots. Go from dry clean sound to lead sound with delay, etc. 4. delay spillover 5. transposition 6. set it and forget it. get the same exact sound each time for my 100's of presets. 7. stereo sound, stereo delay after amp, which in real life would be a giant pain to recreate. But I don't need to reinvent my sound in every preset, because I already know what works for me.

I knew instinctively that this sort of an abundance of choices leads to audio level discrepancies when I began using the Helix. Just recently watched the Blink-182 rig rundown, and their tech basically reiterated the same exact thing. He explained how previously, he built a bunch of presets with different amps, and the sound guy was complaining because the levels were constantly jumping. Now all their presets are the same exact basic "rig" just with extra bells and whistles. I do the same exact thing. Main preset duplicated and tweaked slightly. Each amp is EQ'ed differently and every venue has its own resonance frequencies and whatnot. So by changing amps, you are completely changing your sound. When you do a sound check, the sound guy sets up your sound for that one amp... in the good old days. They'll ask you to play clean, play distorted, play a solo. Done. Just because you can, doesn't mean you should. Not when playing live.

Use the same amp for all your sounds. Overcomplicating your presets is why you have uneven sound levels.

There will be. Because unlike Helix Stadium which replace the Helix, there is still the Stomp, Stomp XL, HX Effects. There is no Stadium equivalent of those products yet, so there will be updates, albeit at a slower pace than before. Most likely just bug fixes, and to alight with new MacOS, etc. The Helix platform is already mature and does not need any esoteric things as far as I think. The same could not be said about it 5 years ago or so.

I've been curious about people's feedback on it, and several YouTubers reported really serious bugs. One mentioning an unusable "helicopter" sound that just comes out of nowhere and makes the unit unusable. There have been reports on slow snapshot changes, slower than on the OG. Also a bunch of problems with the expression pedal and block parameters when using snapshots. As with any modeller, it's a computer, it can have bugs. Bugs will be fixed, new ones will be introduced. I'm a computer programmer, and I know all about testing, beta testing, pre-release, release, etc. I will never be foolish to upgrade the firmware the night before the show and expect everything to work. Plus in certain scenarios the upgrade can brick your Helix, and you can only bring it back to life with a Windows computer... anyway... Over the air upgrades are great, until they don't work. This thing so far to ME (if I were to buy a new modeller today) would be a risky purchase. But it all depends on what you play and what approach you use. 1. Bedroom noodlers -- I say go and buy it. I am a bedroom noodler myself at the moment as I'm not touring anymore. 2. You have 100s of Helix presets that you've built on the OG -- wait a bit. There have been weird issues importing existing presets, and they do not sound the same anymore. Arguably... better! But that may require going back to the drawing board and wasting countless hours. 3. You are in a touring band with people who drive for 5 hours to see your show / you're in a wedding band -- wait until all the bugs are worked out. Or else risk looking like a fool onstage while your processor stops behaving. That's a nightmare scenario that I don't ever want to experience... I've come close to it a few times in my life. I remember every time I updated the firmware on the Helix Floor, having to do extensive testing to make sure nothing got broken. And a few times things got broken, and at one time I had to downgrade. I also remember first getting the Helix, and right off the bat finding several bugs (on 2.8) The OG is a complete solution in a box, with all the sounds that I would possibly ever need (personally). But some people like new toys, which is understandable. Really expensive toys with an absurd amount of processing power to...noodle in their bedrooms.

One more time. We are comparing the loudness of your custom preset against a blank preset, which in Helix is called "New Preset". You can find them in User 2, User 3, etc. They have no blocks in them and are completely empty. So you save your preset, call it "Awesome Sauce". You take your preset, switch to it, play your guitar with it. Run it out of your FRFR, or monitors, or whatever you have. with me so far? Notice how loud it is. Using your ears. Just take a mental snapshot of how loud your sound is. Then switch to a blank "New Preset" preset (that's the preset that has ABSOLUTELY NO EFFECTS, JUST GUITAR STRAIGHT THROUGH), do the same. Is your preset louder than the blank one? If your preset is louder, dial your preset down, use an amp master volume parameter and set it lower. Etc. Go back and forth, until you dial it in right. Your preset should not be louder than a "New Preset", or else you will have garbage sound. Use the "New Preset"* as a benchmark for loudness.

There are no set rules how you can connect things. But in most cases XLR should go to FOH, and 1/4 for everything else. XLR are balanced, meaning they are noise canceling, which only makes a difference when long cables are involved.

You cannot. But the presets that you build need to be the same loudness as blank presets. If you make them too loud, it leads to bad sound, clipping, nasty parasitic frequencies, etc. So when working on your presets, do A/B tests to check for loudness.

Go to Global Settings / In/Outs / and play with the different settings in for Send/Return 1 and Send/Return 2. I have mine on Instrument level, not line personally. That may make a difference.

Check the forum for similar topics. Build your presets so that every preset is the same loudness as a blank "New Preset" (nothing in the chain). Your presets are too loud if you are saying factory presets are too low in volume. Set the output volume to mic level, fixed volume for the XLRs. Volume knob should not be able to adjust this signal, it needs to stay the same throughout the show. This is your FOH signal. Set the volume knob to only operate the 1/4" out. This is your monitor mix for an onstage amp, Headrush FRFR, etc, set that to line level. It doesn't really matter what that is set to, since it's just for monitoring your sound, but you also don't want to overdrive the monitor/amp too much. Use mixing monitors to dial in your sound. FRFR is not good for that, it's bass heavy. Put FRFR on a stand, never leave it on the floor if you want to have more of an unbiased sound, still mixing monitors are better. Do not use Global EQ to achieve your "signature sound". Instead use an EQ in the preset itself, change the tone settings of the amp, etc. Never apply Global EQ to what you send to what goes to FOH -- sound guys can eq your sound themselves. Only have Global EQ apply to the stage monitor and only when it's needed. Your presets need to be dialed in so they are all uniform, and equalized the same and without any issues. Use the same virtual amp in all your presets to avoid having the sound guy having to constantly correct the mix because you decided to use different amps for every song. Use Global EQ when the stage gets too boomy, etc to compensate, as a last resort. Sometimes this can happen. Or if you are playing at a small club the onstage sound may ruin the mix, so the sound guy may ask you to make an adjustment. To check for clipping, the green meter on the output block indicates a healthy signal level, showing you're within normal operating range without clipping. So put the cursor on that output block and see if you are sending the signal too hot. But again, if you follow the first step, you should not have that problem. A lot of people dime their presets and they become extremely brittle and harsh sounding. I've seen that in almost every free preset I've downloaded that Line 6 users shared.

Yes, definitely check the line levels of your effects loop, and set it to lowest setting. You may be sending hotter signal than you used to to the amp, that's why it's more overdriven and cannot be cleaned up. In terms of cleaning up by rolling down the volume knob, it's my favorite thing, and the only method I use on the Helix. I get all my cleans by rolling off the volume either on my guitar, or using a volume cut on the Helix setting the virtual volume pedal to like 5 percent. I cannot have good clean sounds (maybe it's my guitar) without the grit being there.

I have a Thon case for my Helix. They are good cases with 2 minor problems: the feet need to be glued in properly, otherwise they will fall off (easy fix). The other: on the old Helix, the case is upside-down. When you carry the Helix, its weight rests on the foam where the space is cut out for the cables. As a result, the weight of the Helix bends that plastic fooam, and the Helix slides down, further damaging it. The handle should have been on the other side of the Helix. I solved this on mine by gluing an extra piece of foam to support the weight--easy.

Not a bug. That's not a label problem. Helix Command Center allows your layout to completely change when you press one button in pedalboard mode, whatever you set up. If you have "10 button stomp" enabled, you have 10 custom layouts at your disposal. When you press one of the buttons in pedalboard mode, the rest of them can be completely repositioned -- snapshots/stomps/preset up all of them can be placed in a completely different place. You can even have multiple presets that connect to one-another via these buttons. It can be confusing, but is extremely flexible. I never ever have the need to change my layout based on a single button press, so when I use Command Center, I re-save the same identical layout multiple times. You need to go into HX Edit, Command Center, and go through all the 10 buttons and make sure the correct snapshot/stomp is displayed. Press first button, go through all the 9 remaining buttons to make sure that their action is correct, save. Then press the second button, etc. So you need to do this 10 times potentially for each of the remaining buttons. So something like 100 updates :) Have fun.

Re-soldering new LEDs is a very delicate hard job, and most "authorized" repair shops will not bother with it. I sent mine to Line 6, after opening a ticket, and it was repaired promptly. To fix it, you need to re-solder these delicate microscopic LEDs to the PCB. This type of work is not something most DIY-ers can do either, you need proper equipment, or else you will break everything. Not to mention disassembly/reassembly which is a giant pain in the .... If your Helix is like 10 years old, you should just consider getting a new one. Because it won't be worth it, if something else breaks while you have fully-functioning LEDs. Just my opinion.

You've answered your own question. Pod Go does not have every block due to limitations. If you want to have feedback onstage, do what I have been doing for a long time, long before the feedbacker was even available in the Helix:

No, presets cannot have custom LED colors. Only snapshots and stomps.

This has bee posted before. In summary: 1. when building presets, make sure your overall volume for a blank preset is around the same as the actual preset you are creating to avoid clipping. 2. set up XLR volume to be Mic level and disable the volume knob, so it's fixed. This will go to the FOH and will never change the level, because you don't want to confuse the sound guy by having different volume levels. 3. use the volume knob to only control 1/4" out which is your monitor mix, or in my case which is going to a power amp (Mooer Baby Bomb) into a 12" speaker cab.

Pretty sure you can use a dummy block that does nothing and bypass-assign it to a footswitch. Then set up the amp switching that will be like "opposite" to the switching of the dummy block. You can assign multiple blocks to one button, something can turn on, something turn off, you know? So the light should work correctly now.

So on the Helix you can split the main 2 paths to have a total of 4. A good way to run 2 signals is to use the main "guitar" input for the melody and a "return 1" for bass. Then you can use the pan block at the very end to pan whether the signal for the bass or melody side comes on the left/right or in the middle. And also do the same for the additional "wet" path. I'm not exactly sure what you mean by "only repeats" coming through on the other side. You can take the delay and set the mix parameter at 100%, so you will be only hearing the repeats, and not the signal. Same for reverb. All you would need to do is split the signal path for the melody, add a delay block and then add panning exactly how you want it. Route all 3 paths so they all are individual in their last "pan/mix" block. Multi = the signal comes out of XLR, 1/4", headphones, etc. In my example the top path is for melody, middle for repeats, and bottom path for bass. You can mix all 3 however you want and pan it however you want. See the last free block that says "MULTI", where you can modify those. So hypothetically: melody is on the left, melody delay repeats are on the right, and bass is on the right.

Polytune would be sweet too. BTW, this is a page for the "legacy" Helix, not the Stadium.