theElevators

OK, well you need stereo ping-pong delay with trails enabled. Set up the delay so it matches the tempo of the song, so you play the 7-note motif once, and it plays it back twice, first left, then right. The trick is to have 0 feedback, so that it repeats whatever you played exactly twice: left and right, and that's it. Then if you are a snapshot user, have 2 snapshots: snapshot 1, snapshot 2. In snapshot 1: you enable the ping-pong delay. In snapshot 2: you disable the ping-pong delay. So live, you are on snapshot 2, you play your solo. Then when the time comes for the overdubbed portion, switch to snapshot 1 where you play the "tadadadadadada". Then you switch back to snapshot 2, and play other stuff. While you're in snapshot 2, the delay continues to play the "tadadadadadada" twice left and right. Alternatively, you can assign the delay bypass to expression pedal, so instead of switching between snapshots, you can simply rock the pedal up to turn on the delay, and then down to turn it off. Since you have spillover delay effect, you again will hear exactly 2 repeats of what you just played, while you are free to play other stuff. Makes sense?

So on my other Helix LT, one foot switch started misbehaving, although nowhere near as bad as on the Helix Floor. I opened up the Helix and cleaned all tactile switches myself using liquid DeoxIT. Saved some money and time... The entire process was very easy, except the plastic tips from the plunger mechanism of several foot switches came off. I had to use tweezers to put them back in place on top of the spring when re-assembling. They are tiny and if you are not careful, you can accidentally not assemble the foot switch correctly, or god forbid lose something. Overall, the whole procedure took me about 25 minutes, and now the foot switches are butter-smooth. I think people who are not afraid of opening things up can easily perform this maintenance procedure. Just a word of advice: put all the screws in small containers so you know what goes where... also when in doubt, take a picture of the inside of the Helix before you dissemble/reassemble things.

I have been wondering, what is everybody's opinion on having reverb in your chain, when playing live? I, like many people on here, am constantly reviewing my sounds, and tweaking things. I am mostly happy with my sounds, however, there are some times when I am playing small venues, or really small spaces (e.g. somebody's house), where my mix sounds pretty dry on the recording. I know that some pro bands go to the extent of having the sound guy mix the wet signal to the main signal to taste. I am not there yet :P I have (pretty dry) presets, compared to all the soundscape U2-type of stuff some people are into. I mostly use reverb for the spring reverb BOING! sound, and almost never for ambiance. The reverb that I do have for ambiance is minimal, so that it has some "air" in my sound. I mostly rely on a simple ping-pong delay to give myself some 3-D stereo mix. As a result, I have a lot of definition to my notes, which is good. I reviewed a 1000-person warehouse-type venue footage and the small private house gig--every note was audible, and distinguishable on people's cellphone recordings. I could hear every delay repeat also rather clearly, it was all very defined. So, should I try to experiment with reverb? I don't want to be in a situation where my very defined sound gets swallowed up by a wave of reverb. I've seen some bands that unfortunately sound just like that -- you hear they are doing something, but can barely make out what the hell they are playing. In my band, I replaced a guitarist who was heavily into surf music. Their early live recordings sounded excellent, but rather washy. The live recordings were direct in, plus some crowd noise. So, it's fair to say that there was a lot more reverb than I'd typically use. He used a lot of "predelay" reverb tricks, where the reverb kicks in 1/2 second after the note is played.... Anyway... thoughts, what works/doesn't work? Any pro tips? thanks!

On the Helix LT, the left-most buttons only do the up/down for presets, snapshots, etc. On the screen, there is not enough real estate to have any labels for them. So as a result, you can't ever repurpose the up/down buttons to do anything other than switch presets/snapshots. On Helix Floor, there is a 10-stomp mode. You can use command center and can hypothetically assign 2 dummy blocks to the up/down, have buttons to switch to a different preset "on button release". It's really convoluted, but possible. Nobody knows what the future release will have. Most likely this will not be added. None of the previous Line 6 products had this.

Here's a little video of mine. Try my settings.

Not quite sure about the volume knob question. But I can share some general info. Volume pots are all different, e.g. 250k, 500k. They all taper differently. There is also a "treble bleed" mod that also makes a difference. The way guitar + amp interact is not something that I can say exactly how it works, without looking at your preset. If you have an obnoxious amount of gain, then turning your volume knob from 10 to 3 will not change the loudness of the signal. Volume knob to control the loudness, gain: My approach is to use this old-school method. All my presets are basically set with the distortion on. I clean up the sound by turning my volume knob to around 5. If I have changes from clean/dirty that happen very fast, then I simply add a "volume cut" in my signal chain by using a volume pedal that is set to 7% for example. This works for me, and that's what I've been doing for the last 8 or so years. Advantages of my approach are: you are not glued to your pedal board. You can change the sound from clean to dirty with the turn of your volume knob. Also you can do volume swells to go from clean to distorted. You need to set up your preset with your guitar in mind. I have a Gibson Les Paul for example, and on that guitar the signal is very very hot. So the sound doesn't really clean up: it just goes from loud to dead. Here's a little video I made:

Connect them both to the computer using the usb cable. And use the pod go edit and hx edit. Recreate all the blocks like that.

No such thing, sorry. You can get a music stand light. Or get phosphorous material to make you see things better in the dark as well.

You can use a send block. Place it wherever you need in your chain. Bypass / un-bypass it during your solo snapshot. Or assign a foot switch to the send block. That way you can connect the send out to the PA using a 1/4 inch.

Check your input cable... Just now my input cable (from wireless to the Helix) died. But it died in such a way that it mostly worked, except certain clean/acoustic sounds all of a sudden sounded horribly distorted, not loud enough, etc. So check your cable, guitar, etc -- things can get weird like that. Some cables die gradually, to a point where it's gradually getting worse and worse...

One point of caution, again! about the expression pedal--loosen it by a hair at a time. Loosen, check, loosen, check. Otherwise, you may be in a situation where you need to open up the Helix to tighten the nut inside (happened to me).

I had a toggle switch seize up on a Les Paul -- I fixed it with graphite spray...contrary to all logic, it is now as smooth as butter.

I think the picture of the octopus sums it up perfectly. Unlike your regular hypothetical pedal board where you have a bunch of pedals, if you want to go from clean to psychedelic distortion solo, you'd have to turn on like 4 different stomp boxes. So instead of turning on a bunch of pedals, you have just 2 snapshots: "clean rhythm" and "wild psychedelic solo". Instead of having to turn on/off a bunch of pedals, you have 2 snapshots that do that for you. That is the best example IMO. Each preset is your hypothetical pedal board. A snapshot saves the state of your pedal board: what is turned on/off and where all the parameter knobs are set. That's it! Isn't it convenient? Instead of having to reach down and changing the stomps' parameters, turning off/on pedals, you can save the states of all or your blocks. You can change the parameters of your blocks, but that can get confusing pretty fast--I recommend having an additional block with a different set of parameters, rather than changing the values on a single block.... otherwise you can save over your preset/snapshot and lose your settings. If DSP allows for it, just add an additional block.... Essentially, imagine your pedal board of 20 different stomp boxes: you can decide what things are turned off, what things are turned off and where all the knobs are set -- those are snapshots. Save where all of those knobs are set, and whether blocks are turned off/on. So in my case, I have snapshots that take me from: clean, dirty, solo, feedback,solo + wah. It's very convenient to be able to completely switch out your sounds with a the press of a single button, as opposed to 4+. Plus with snapshots, there is no audible silence when you turn things on/off. I I highly recommends using the "preset-per song" approach. Within each preset, snapshots are all the various sections, e.g.: intro, verse, chorus, solo, feedback, coda.

You are looking at snapshots probably. Or stomps. Blank because there are no names given to them. Or no buttons assigned to stomps. Familiarize yourself with what snapshots and stomp / “pedalboard” mode are. Also ways to set up your display: all snapshots, all stomps, upper/lower row snapshots/stomps. It’s in the manual, or watch some videos.

Yes, it's outrageous. Why not have an entire foot switch assembly that you can replace the whole thing: foot switch, 2 LEDs... with those plugs you can unplug the bad one and plug in a new one.... I know the answer... So you'd buy a new Helix haha.

Some more recent "lessons learned" from me: 1. Most important lesson is to have the same consistent sound through all your presets. E.g. don't use a Marshall in one preset, then a Vox in another preset. In theory it may work, in practice, every amp/cab/mic positioning will lead to a difference in sound and EQ, and will introduce volume jumps. It happens every single time. Every PA behaves differently, so if you sound check using a Marshall amp, then Vox amp may sound like garbage. Having all these options is great for the studio, but live that's a different story. It's always helpful to have do a sound check with your main sound, where all throughout your set, the same main sound will be heard with some variations. Some things can only be fine-tuned with a big PA. For example, I finally tweaked an acoustic sim sound to my liking. Guess what... I only successfully tuned it when I did a sound check and the sound guy helped me. 2. Add a 10-band EQ block to your presets with all settings flat, when you are not sure about some new untested sound. Enable it for a snapshot you are unsure about, and just leave it there as a placeholder to possibly adjust during sound check. Back to my acoustic guitar example... at home it sounded great, but on stage during sound check it was too boomy and unusable. So since I had an EQ block that was enabled in the "acoustic" snapshot, I was able to quickly notch out some bad frequencies. This EQ block was only enabled in that one snapshot, so the changes to the EQ only applied to the acoustic sound. We tested the sound at loud volume, A/B'ed between my acoustic and electric sound and called it done. Absolutely no way I could have done this adjustment at home or even at the rehearsal space. Then I took the same exact settings and applied them to the rest of my 2 presets that used the same sound.

10 days later and the LED is working fine. I ordered several spare LED's from Full Compass.

Yes, that is correct. If your Helix is not rebooted, the summing will occur. I have set up a soundcheck preset to make sure that left/right panning occurs. I play a few a quick chords before I begin playing my 2+ hour show to confirm I hear my familiar slow ping-pong delay. I also have other ways to check if somebody possibly rebooted my Helix..... for example the first preset in the set has snapshot "4" saved. I switch switch to snapshot "1". So if somebody rebooted my Helix, then it'll be back to "4"... that means I need to plug/unplug. Just test your stuff with an obvious slow ping pong: left/right/left/right.... if you start hearing left...left... only then you know there is a problem. As for certain venues or PAs swallowing your wet effects, that's absolutely true. For example, I have this one preset that has a very prominent single repeat delay. I can hear that prominent repeat at home just fine. On stage last night it sounded like reverb... barely even noticeable.

Sorry about reviving this post once again. I just confirmed that there is a noticeable difference between left/mono out vs. using a splitter that combines left and right into a mono signal. With the splitter, the signal was noticeably hotter and more distorted, as opposed to more "glassy". So there is a sonic difference due to (I suspect) hotter signal. For my test I connected my Helix to a Yamaha mixing monitor. My preset is of an edge of breakup clean solo sound... So I guess for myself, I will go back to plugging/unplugging a cable method, and using a sound check preset!

Helix has weird behavior with some effects, so maybe... For example the doubler effect when running in mono does weird phase cancellation... so ... sure. Most likely the person didn't build the patch correctly that's why there's this very bizarre instruction.

Deja vu... No, a dummy cable plugged into the right side will not correct any mono summing. You will be getting only the left side. There is a bug in the Helix, all info is in the thread above. Instead of a dummy cable, simply get a splitter cable.

Part information: " Here is the part number for the footswitch LED. 18-26-0011 Full Compass does not have a listing for it, so you would need to call them or email them directly for pricing. We have them in stock, so they would be able to get one to you. " Each LED element costs $2. I just went in and ordered 4 for the future. And ordered a bunch of microswitches on Amazon as well (since they tend to fail).

UPDATE: as I secretly suspected, the LED is now working fine -- it was indeed over-soaked with deOxIT or some other contact cleaner... took about 7 hours. I will wait for a few more days to report back, whether the problematic LED is 100% back to normal. However, it seems like whatever "stuff" was there is drying out and the LED has been gradually working better and better. Initially, the whole side was not working, then blue/green started working. Then finally red. Now it's back to its former red glow.

Hi gang.... yet again lol! So I took my Helix to be repaired (for the glitchy switches that don't always engage). Well, the switches now engage just fine, but one of the FS now is glitching with the LED color ring. It's great, isn't it? Fix one thing, break another? It seems like the right side of the ring doesn't work with red colors. Blue colors are fine. For white, I have the right side as blue, while the left side is white. And the default red just looks dim on one side. I'm pretty sure the person used too much contact cleaner... the LED is not completely dead. So my question is: could somebody point me to the part on fullcompass, so I could order it? Much appreciated. thanks! d

So, I played a gig overseas in Israel, and it went pretty good, except exactly 2 times when my snapshot #4 button did not work... only one song... I doubt anybody noticed... Weirdly, it worked without a hitch for the remainder of the show. It's my "lead" snapshot button, as it is for most people I suspect as well. Anyway, dropped it off at a repair shop the day after I returned home. Let's see if they fix it. Good thing I have a backup Helix. And again, unacceptable to have a Helix that I deliberately bought to only use for gigs, and not subject to home rehearsing... the Helix that stays in its case most of the time to have this happen to.