theElevators

If I were to guess, the encoder went bad. Try taking off the preset-changing knob and spray it with some contact cleaner. Shouldn't make this situation worse, only better.

Heya. I use the 3-tone generator in a few presets. If you are interested, here's my "Hammond organ" pad trick. You can add all sorts of modulation to it and make it sound like anything you want, really.

I think you're overthinking it. Helix can fail at some point for sure, but that should be extremely rare. If you want to run 2 Helixes, do you also plan on connecting all the cables as well (XLR, 1/4")? IMO that's overkill, unless you're playing the equivalent of the Superbowl where you cannot afford a single second of downtime. I personally have 2 Helixes with me: Floor and LT as a backup. I set up a spare guitar for myself that I keep close by on a guitar stand, tuned up and ready to go just in case, including its own wireless transmitter. I keep my backup LT in the backpack. And in case something happens to my main Helix, I'd just take it out and connect it. There's no end to what can fail. Gotta just prioritize and be covered. But... What if the main PA's amplifiers get fried? What if the digital mixing console for the venue gets fried... What if the venue loses power? I think: just have a backup ready, but setting up 2 Helixes at the same time is just too much and unneeded. You should simply cover yourself for things that tend to happen more frequently, like broken strings. :)

I have a bunch of tone tutorials on my channel as well.

Or you can add an additional distortion block to have it so that it doesn't change the tone, but adds an obscene amount of gain. I prefer that, because it behaves like normal gear does: sometimes unpredictable, but always feeding back.

I personally let the sound guys scoop out all the frequencies as they need. It's better to have it there than not, that's my philosophy. Sometimes the EQ will need to change to better suit a specific venue. If you remove frequencies you cannot then really bring them back when you need to, right? I got my guitar sound to a point where in mixing monitors it sounds good at home. I also invited a sound guy, who checked with the frequency spectrum analyzer (some kind of an EQ app) to say that the sound is good, and can be worked with. Other than that, I just use my own ears. Even still, the only time you can be sure that all the sounds are good is when you do a sound-check at the venue. Sometimes certain snapshots can have problematic frequencies due to the effects that you use. That's why all the big bands rehearse in big spaces. They rent out theaters/warehouses for days to really test out the equipment. Mixing monitors are great. For example, I recently discovered that some of my sounds have really noticeable low-end hum (caused by an amp being run through a compressor and amplifying the "ripple"). There is absolutely no way I would have been able to hear it if I didn't have the mixing monitors. I would have only discovered it during a sound check and would have been faced with having to fix that noise that could potentially have been really problematic live. I rarely use the EQ to shape my sound with 3 exceptions: 1. fake acoustic guitar (not the sim), where I take the guitar sound, boost it and remove several parasitic frequencies including the bottom ones. 2. solo boost, where I boost 2K to taste. and then 3. very rarely Global EQ, when that is needed for the stage volume. Other than that, I use the tone controls of the virtual amps to make sure my sound doesn't have that "Metallica" low-end, and no extreme highs that are just fizz/hissing. In terms of applying EQ to my signal, I do have a Global EQ that I sometimes need to use for my stage volume (un-mic'ed). Some venues are not big enough, and the amp on stage can negatively affect the overall mix. In those situations, I use the Global EQ, and the sound guy can guide me through it. I don't like it! but sometimes it needs to be done. I'm no mixing expert, but a quick search gave me guidance how to EQ guitar when mixing records. The same principle should be applied when running guitar live as well. You don't need boomy lows that just conflict with the bass drum / bass. https://ekmixmaster.com/how-to-equalize-distorted-electric-guitar.html

For all these auto-engaged sounds, it's a good idea to have a "panic" snapshot where the effect is mixed at 0%.

Also set the mains out to the lowest volume setting. And have your volume knob control the amp out only.

BTW, you can just press both buttons on the right together: Mode and Tap Tempo. That will toggle whether you see the virtual scribble strips or the signal path view. Regarding what is displayed by default, this behavior can be changed by fiddling with the global settings: Go to the touch sensitivity settings, and change one of the settings... it's pretty random. Then change it back. It should change the behavior you describe and start showing the signal path view by default. I had the opposite problem and that's how I solved it, by playing around with those settings. For me I didn't want it to show the signal path view, but instead the stomp box / snapshot view. Once I got it to work how I wanted, I don't mess with the touch sensitivity settings. And several updates later, no issue for me. To me there is absolutely no point looking at my signal path... unless I'm tweaking my presets, which I tend to do on the computer.

Yes, that is correct! In most cases the same can be accomplished by setting the "mix" parameter to a low value. However, in my example with the left/right double stereo delay: having a note played in the middle is simply not possible to accomplish with the mix parameter unless you use the parallel path.

My LT sometimes only went to 98 percent, then 97 percent. Then this just stopped after one of the updates. Make sure your pedal is not crooked, too loose, too tight etc... so try adjusting it if that's the case. It could be a mechanical issue where the mechanism that blocks the light next to the light sensor inside is crooked. So it could be resolved by moving it to its proper position, or widening the slit for the light. Otherwise get an external pedal, as the LT exp pedal is not of the highest quality. Floor's exp pedal also can have some issues as well, but it can be fixed by taking the unit apart, tightening all the nuts of the claw-like mechanism so the pedal is not crooked.

Yes. When mixing music I always use buses with delay/reverb.

Just to be clear, you can have a parallel path, and you can add delays to the top or the bottom. Or both. But to set up a parallels path you need to have at least one block on the bottom, it can even be a dummy block. so why do it… If you have delay effects, you have the dry signal mixed to it from the get-go because it’s in parallel. You always hear both: the dry and the delay, even if you set the mix of the delay to be at 100%. I have one preset where I needed a specific delay sound. So I only play one note, and it is dry in the middle. This note is then repeated on the left with specific delay pattern and rhen on the right exactly once with the same delay pattern. So it’s double delay with stereo panning where the initial note is heard on both sides. The only way to accomplish this afaik is with the parallel path. Otherwise with ping pong delay you don’t have the initial note attack in the middle, it would be on the left. I tried all different options and this is the only way that I got what I needed. I did this parallel path by a mistake initially. But then I discovered another benefit to this setup: you don’t need to mess with level and mix parameter as much. Because you have more dry signal, it just seems to be easier to dial in your sounds without any volume drops. Now all my presets always have a delay in parallel like that. Even if it’s bypassed, it’s still there for consistency and to have the same preset volume as the other presets. I use a preset-per-song approach and keep my main core sound setup the same between presets. So in summary, it just seems more musical to have this setup, basically it’s easier to dial in good sounds. On the pod go there is no parallel path and I was able to replicate my regular Halix sound with just lower mix percentages.

"Blocks are objects that represent various elements of a preset, such as amps, cabs, effects, splits, loopers, and even inputs and outputs." You should take a look at the manual, and update your firmware before you start using HX Stomp. Also downloading presets in my opinion is never a great idea in lieu of learning how to use the hardware.

There was one song which I always struggled with in terms of what chords I needed to play... So I repurposed the scribble strips to display the chord symbols. Good thing the song didn't need all the snapshots, only 2.

OK. Nevermind then. Stomp doesn't have it. But, is your stomp up to date? I know they recently added an extra block capability to the stomp. If you have an old firmware, then that's why it's complaining about not having enough blocks available IMO.

Do you have "preset spillover" enabled?

All Line 6 products you mentioned have this problem: various sounds: boing/click/slap/crash are all heard to some extent when changing the impedence, turning on/off the compressor, changing amp settings/bypassing/unbypassing the amp. Another trick I sometimes use is to simply stop playing before switching the snapshot and cover up the gap with a spillover delay. In other words, I have a delay where the spillover is enabled. In first snapshot the delay is on but mixed at 0%. In the second snapshot the delay is off and mixed at like 50%. As the delay gets turned off, it keeps playing the trails. So that's what I sometimes do to "glue" 2 parts together when I can't get rid of the annoying sound.

No such option unfortunately. You can buy a simple EQ pedal, it could work if you are running your IEMs in mono: https://www.amazon.com/JOYO-6-Band-Electric-Equalizer-Provides/dp/B085QKS9LZ

It's absolutely fine to do what you're doing. Just beware that you are coloring your sound because any preamp will always do that.

Do the usual--back up, reset to factory, restore. This is not normal behavior, and I've never experienced it myself. Sometimes things can get corrupted.

That's the unfortunate reality of how HX products work. You can instead use a volume cut technique which I personally use--take the first block and assign it to a gain block, where you have "negative gain" to simulate rolling down of the volume knob. I have been using that technique for several years. Sometimes I supplement the volume cut with a compressor that gets turned on in the clean snapshot.

What I like to do is use the "Mix" parameters of both blocks and assign it to snapshots. I also remove the snapshot bypass from both blocks, since I’m controlling the bypass with the expression pedal. So the expression pedal for me controls bypass behavior of both blocks, using the default "toggle" bypass behavior. I have it so that toe down--both of the blocks are on; heel position, both of them are off. But depending on the snapshot, one of the blocks will be mixed at 0%, while the other one is at let's say 50%. That's how I do it. I don't trust the new "toe down" behavior. It has had very serious issues in the past, causing me to downgrade to 3.11.

Just now HX Edit crashed again. I was able to go to different snapshots, but not go to a different preset; until I restarted HX Edit. This unstable behavior/freezing/crashing is happening quite a lot more frequently now than on version 3.11. I'm using a Mac FWIW. And my crash report is attached, maybe somebody will find it useful.