theElevators

There are different output levels: Microphone, instrument, line. If Microphone is not enough, try "Instrument", etc in Global Settings. It could be that your preset is too low in volume. Try out some factory presets. I personally have my 1/4" set at Instrument level. My normal audio level is where I have the volume knob at 3 o'clock.

You need to recreate your preset from scratch. But good news, nearly all things are exactly the same between the two units: same blocks, same parameters. The only thing is that you don't have parallel loops, so if you for example had a preset with the delay in parallel, you would need to add it in series and as a result your mix parameter will need to be set totally differently.

Why people don't thousands of users have this problem? - Because these people do not use the same exact global settings as me, e.g. output level of XLR is microphone, etc. Most people do not take advantage of stereo signal chain. Some people are unaware that they are outputting only one side -- it's not always obvious that that is the case unless you have an exaggerated ping-pong delay. What's their latest explanation? - Line 6 can no longer replicate this issue. Translation: they do not have time to try to replicate a bug for over a week. I wound up getting a simple adapter: 2 1/4" male to 1 1/4" female and after this latest failed experiment I've accepted that this is how it will be. --- P.S.: this reminds me of the Catch-22 b.s. I had to deal with when my iPhone's Apple Pay stopped working one day. Apple said it's T-mobile to blame, T-mobile said it's Apple. Tried restoring from my backup on 2 phones and it never worked. After wasting several hours of my life, going to the Apple Store, calling T-mobile, I said "f.... this!" and just used a physical credit card, as I do to this day.

Back to square one. I explained that Line 6 replicated it. I replicated it on 2 Helixes I own consistently after a week. One of the Helixes was brand new when I restored the backup and developed the same problem after a week. Reset solves it for a week and then it comes back. It's a software bug. If you restore my backup and use the Helix you will also have it. I work with clinical trials, with big shot companies like bayer, jnj, moderna, etc, I investigate and fix various bugs constantly. If I say "sorry, can't see any issue locally, ticket closed", I'll be fired.

NO.

You can get a nice sustain-y sound with a compressor, so yes, that's a good idea if you want your notes to be long. Like think "All Along The Watchtower" Hendrix lead sound--that to me sounds like an guitar + compressor + amp.

Just FYI, I restored my Helix to factory settings, then I recreated my global settings from scratch. Sure enough, the bug resurfaced after about a week of normal use. By normal use I mean turning the Helix on/off, backing up and restoring, and reordering presets.

OK, so then that makes it even easier. If your signal goes to the talk box, mute your entire sound coming out of the Helix, no need to have a "return" block at all. Because you want your guitar sound to come either (a) out of your Helix outputs.... or .... (b) into the talk box tube, into your mouth, etc Here's my proposed signal chain: guitar -> distortion -> send 1 -> amp/cab-> volume pedal at 0% -> Helix output(multi) connect send 1 to the talk box The send block simply sends the signal to any source, and does not interrupt the signal chain. Basically, you can have a send block without a return in your chain, if it makes sense. so you need 2 settings in 2 snapshots: (1) talk box solo send 1 is on, and the rest of your chain is muted with the volume pedal on. When the volume pedal at 0% is on, it mutes the sound. Helix is not producing any sound, all you hear is your talk box. Signal goes to the talk box, captured by the microphone, Helix is muted (2) regular guitar sound send 1 bypassed, and the rest of your chain is un-muted, with volume pedal bypassed. When the volume pedal at 0% is bypassed, the sound is not muted. Signal does not go to the talk box, Helix's outputs have sound. Volume pedal at 0% = your sound is muted. So bypass the volume pedal = no sound. You can also mute your Helix by using the last output block, assigning the output level parameter to snapshots, and set it at 0 in your snapshot (1). On the Helix you can accomplish the same thing with multiple methods. If you are confused, first learn about assigning parameters of block to snapshots, and learn how you can save states of your blocks in each snapshot. You can save whether blocks are on or bypassed in specific snapshots. You can also change for example "mix" parameters of your reverb in specific snapshots. Practice with snapshots -- it's the best way to accomplish sound switches.

I think it's best if you make use of the effects loops for the talk box. Always leave the talk box/microphone on. When you need to have your voice talk box solo, you can have a dedicated snapshot for it. I think your signal chain can be like this (see attached 3 screenshots). On this forum, the screenshots are all jammed into one picture, so just click on the screenshot below and scroll through them individually. 1. So about the signal chain, you send the signal to the "send". That goes to your talk box". Then after the talk box microphone, the signal will be connected to "return". 2. Basically, you have a split A/B. You can assign the "route to" parameter to snapshots, this means that you can control how much "a" and how much "b" you will have in your resulting signal. When you take the talk box solo, all your signal goes to "b". When you play regular guitar, it goes to "a". 3. Then you have the "merge" where both paths are combining their outputs. In order to not have extraneous microphone noise that you don't need, you can assign the "Mix" parameter of the return block to the snapshots again. Mix out the signal from the return block, otherwise you will have microphone sound in your final mix. At 0, there's nothing coming through. So basically there you go. Use the send/return blocks to connect your talk box. And use the split/merge to control where the signal goes. Something like that.

That's a crazy idea! Love it! But IMO, the onboard tuner is a nice thing to have, so even though I personally don't ever use the tap tempo functionality, the "coarse" tuner is great and I don't intend on sacrificing it.

Well, I use the tap-tempo button only for its tuner functionality, never to change the tap tempo of the preset/snapshots. As for the mode button, I use it to switch between snapshots and pedalboard mode. In pedalboard, I have recreated the same exact snapshot layout, EXCEPT up/down buttons aren't assigned. I love snapshots, the only problem is that the A-buttons are too dangerously close to the up/down buttons. Normally I don't even use my A-snapshots, they are redundant. When all 8 snapshots have to be used, then I can press the mode button: now up/down buttons are not working and I am free to use my A-snapshots without fear. Here's a weird thing about disabling up/down buttons in command center. On LT it's not possible, while it is possible on the Floor. However, if you set this up the way you described on the floor, take that backup and restore it on the Helix, then up/down buttons are not working in pedalboard mode, as they should. https://youtu.be/UTQ8wJaXZnc

Mode, tap tempo you are stuck with.

Nearly anything in the signal chain can be assigned to the snapshots: e.g. mix, panning, tempo, on/off, percentage.. Go ahead and explore it yourself.

Yes. You can use Command Center. Command Center allows you to assign any button to do anything you want in any imaginable layout. Effects on/off, snapshots in any place you want.

I've personally recorded several albums-worth of songs using the Helix as the sound interface straight into Logic and have had great results. Some of those got 4+ millions of views on YouTube-- so no need to get anything audio-interface-wise if you just plan on recording your guitar/vocals/other instruments through the mic with the help of the Helix. Obviously if you want to track an entire band, you need a more advanced audio interface.

I decided to recreate all my Global Settings from scratch in hopes of fixing that Left/Mono bug... so it got stuck in the snapshot mode for me as well on 3.11. Resolved it by toggling a few settings in Global Settings pertaining to the Helix Button layout: e.g. 8 stomps, 8 snapshots back and forth and it started working again. When rebooting I also lost sound, but it came back after I used the tuner. Wonderful piece of machinery....

Hey. I can say that octaver on the Helix is great and I see no need to use an external effect. Try a few: there's an octave effect, or smart harmony, where you specify the interval to be an octave. Where to place the harmonized effect? You have several options, and it depends on the sound you want. 1. very first thing in the chain. If you have distortion later in your chain, then you will hear distorted octave sound. 2. after the amp/speaker block. If you put it there, it will sound more clean. It will take your signal and add an octave to it. It tracks very well and does not glitch out for me. Compared to my old Boss MS-3 that was very finicky when processing a distorted sound, Helix works flawlessly. In my experience, harmonizer or octaver on the Helix tracks extremely well, even with all that distortion that it needs to interpret.

You would need to incorporate your mic into every guitar preset. I recommend leaving mic and guitar outputs separate. E.g. run the mic out into Return 1 while guitar comes out of XLR / 1/4”. That way you can still adjust the relative balance between guitar and vocals.

On the Helix there's "reverse delay". Try if that works for you. If you just want to make random noises, yeah that will work. But to play a shred part with the reverse guitar sound may be more tricky.... and maybe you will have to use the fade-in effect instead. But first try the reverse delay.

well, look at the 2nd photo. The last thing (bottom right) is where you configure where you preset goes, what jacks the signal will come out of, how loud and the panning. It's self-explanatory. Just put your cursor on it, and adjust it with the knobs on the Helix or in HX Edit.

see this last thing, "Multi". This is your output "block" that is always part of your preset. Adjust it. You can have it as "1/4" or "Return 1" or "Multi". And you can set how loud you want it and pan it left/right. See below! In my case I panned it Right 37, and made it 7.9 dB louder.

You can always change "master" volume setting of any preset you have. Go to the output section in your preset -- every preset has this. There you can raise the volume / lower the volume and pan the preset left / right. Also you can for example assign the "master" volume to be controlled by snapshots so the overall volume can be raised / lowered in a specific snapshot. Follow the regular procedure of assigning the output volume level to the snapshots. There's one preset where I boost my overall volume for the solo by raising the overall preset volume in my "SOLO" snapshot. I also use this overall volume setting to level off my presets AND snapshots within the presets.

Well, Pod HD 500X's effects are exactly what is in the "legacy" section of the Helix products as per my understanding. So I don't see an issue in using 2 effects processors together: use the POD HD for your effects, and Stomp as the amp + reverb / Delay for example. That way you have all those buttons you can use, and you won't suffer from the silence when you switch between your presets because you will have your reverb/delay that will still remain on to absorb the sound interruptions. HD 500 X is a great piece of equipment still if you know what you're doing. I personally know a guitarist in a very well-known band that used Pod HD 500 directly to the FOH, and before that POD X3 Live. I was actually surprised when I found out that he used a processor all those years ago, I always thought they had that great analogue tube-y surf sound. Anyway, here's how I would use it: I would put the Pod HD into the effects loop of the Stomp. I would have a master A/B switch on the Stomp to go between a clean and a processed sound by engaging the effects loop where the Pod is going to run. It depends on your exact band / sounds, but I'm sure you can figure out a creative way to combine these two great pieces of gear. Maybe the video below will give you some ideas as well.

Let me tell you about my experience... I play mainly my Brian May guitar, with the humbucker sound of 2 pickups in series (bridge and middle). That's my main meat and potato sound. I also have a Gibson Les Paul Classic guitar with humbuckers. Real Gibson humbuckers are a lot louder than my "fake" in-series mid+bridge. The difference is so drastic that I have to put my Les Paul's volume control on 4 in order to have it match my Brian May's volume on 10. So maybe the answer is simply cutting the input volume with a volume pedal. As a side note, I noticed that if you have too much volume going in, the guitar does not want to chug -- it's wooly and shapeless. Lower the input volume to 4, and all of a sudden the chug is back.

I have a few https://line6.com/customtone/profile/theElevators/