theElevators

To change the sound volume, you can simply click on the output parameter of the preset, assign it to snapshots and change them as you need. I only used this in one preset when stereo delay sound was not loud enough. So in my example, one of the snapshots is using the volume adjustment. My main method to make solos pop out is to boost 2K frequency up 10 db right before the amp block. I add an EQ block. It sounds crazy, but it works for me. I have been using this method with real physical amplifiers. This cleans up the sound, makes it more piercing. If you want to hear how it works for me, here's a recording of my recent show. At 2:35 I start playing my lead.

Since it's a software bug, you definitely have every right to open a ticket. Good luck, and please keep us posted! d.

Every venue will be different. Using mixing monitors to dial in your sounds is not a guarantee your patch(es) will be perfect for every situation. But it's the most unbiased way to set up your sound. Professional bands take many days/weeks to dial in their equipment. They typically rent out a warehouse or even a theater/venue for several days and see what needs to be adjusted. You simply cannot guarantee that your bedroom sound/setup will translate to a huge stadium without any hick-ups.

Are you sure... that you updated the firmware on the Helix? Really? If this bug is still not resolved in 3.1, that's absolutely unacceptable! Line 6 has some outstanding bugs that have not been fixed for years.... My suggestion is to open a support ticket. Film yourself recreating this issue and attach the preset backup. Ever since I noticed that bug in 2020, I stopped using the stomp mode entirely and use snapshots exclusively. To turn on things momentarily, I use the the EXP pedal. I have not had any issue with things getting flipped in snapshots. Even with button toppers, or when wearing shoes, things like static electricity can cause the buttons to still react as if they were touched...

I want to echo the "buy mixing monitors" suggestion. I have these : https://www.amazon.com/Yamaha-HS5-Powered-Studio-Monitor/dp/B075Q5T7Q1/ . They are pretty neutral for guitar, as far as I can tell. Great for practicing at home, listening to music, mixing, etc. Everything else like an FRFR, a powerCab, an effects loop of an amp is going to color your sound somehow and you will wind up compensating for it. Until you go to play a gig and learn that your overcompensated sound will not be suitable for the live situation (happened to me). First gig I played, my EQ was too thin sounding. https://www.amazon.com/Yamaha-HS5-Powered-Studio-Monitor/dp/B075Q5T7Q1/

Let me guess... Helix LT? I have seen this happen with mine occasionally for as long as I've had my LT, but not as severely. Usually goes up to 99, then 98, but never lower than that. The pedal on the LT is very flimsy and you can basically force it to go higher right before pushing the footswitch.... The workaround is to use an external exp pedal, I'm afraid, or get it fixed under warranty.

My Helix froze a few times when the preset had a lot of blocks... like everything was max'ed out. Make sure you don't have too much stuff in your preset, especially stuff that is not even being used. Once I uncluttered my preset, the issue hasn't happened since. I always practice my guitar with the Helix connected to the computer at home.

It depends where the delay block is placed. It's recommended for most applications to place the delay at the very end of the chain, not right before the amp, for example. There are also lots of parameters including the high cut, and mix that you can use to make the delay more transparent. I run my delays in parallel, for example and to my ears it sounds more transparent and in the background.

You can also adjust the signal strength of your send/return.

Make sure you update your firmware! I have seen this behavior in 2.8 -- touching the button used to reverse the bypass status of your pedals. I discovered this when I was wearing socks during a rehearsal. Let me also guess... you are using momentary switching...? I was able to replicate this issue on 2.8 by pressing the button many times in a row with my fingers.

One time when I discovered a more optimal setting for my amp, I had to update the amp block in every single preset (25 at the moment). Using copy/paste function in HX edit makes it slightly faster. I wish there was a way to have "global" blocks that can all be adjusted at the same time. This is not an option right now, unfortunately.

You can assign multiple parameters to the same exp predal: wah curve, volume pedal sweep, distortion amount, delay tempo. Then you can save your snapshots where In Snapshot 1: your delay is mix is 0%, and your wah mix is 0%. In Snapshot 2: your delay is mixed at 50%, distortion is mixed at 0 Using the mix parameter, you can effectively BYPASS some blocks. I have one preset where I control different things by the same exp pedal depending on the snapshot.

I use the 'rolled down volume knob' trick. I have my distortion on all the time. I control how clean the sound is with the volume knob. If I don't have time to turn down the physical knob, I add a volume cut via a fixed volume pedal at the beginning of the chain. That's what I have been doing for ages with real pedals and still do on my Helix with virtual pedals. I like the natural compression that I get this way. I use classic distortion. That's my trick, and it works very well for me.

Yamaha HS5 Active Monitors (5 inch). No Subwoofer, just 2 speakers. I set the volume on them on 7. I put them on 2 metal stands with foam underneath. Plenty of bottom, none of the ghetto subwoofer stuff though... I'm no pro mixing engineer, but I have mixed/mastered several records using these, and the "clients" were happy. Here's one if you'd like to hear: https://drive.google.com/file/d/1uQGt-4Hyps2toN7k6qoYifw7anVfMPNa/view?usp=sharing BTW, I recorded all instruments and vocals through my Helix

Probably that's what it was... yeah GEQ would have done that, but I use it for my personal monitor mix, so that's what he had to do. That sound system was not properly tuned, what I was told.

First time I set up my sound on the Helix and went to a gig, the same thing happened. A lot of FRFRs are really bass-heavy, so if you use that as the basis of your sound, you'll get really harsh sound. I then got myself Yamaha studio monitors and have been using those as my single source of truth in terms of EQ. PAs are all weird. Rooms are all different. I was doing a sound check just last week at a venue with a lot of open space and bare walls. The sound guy wound up adding a limiter on one of my frequencies, that's how bad it was.

Hey Line 6 community! I wanted to share with you that I recently acquired the Mooer Baby Bomb power amplifier pedal and used it on 2 shows so far and I LOVE it! https://reverb.com/p/mooer-baby-bomb-30-digital-micro-power-amp This thing is inexpensive and has plenty of wattage to play a show. What I've done recently is simply connected it to the speaker cab of a Fender amplifier and the results have been fantastic. The pedal is a little noisy if you put the volume knob past the quarter turn. But at 8:30, there is already an insane amount of loudness that you'd not need to crank it up further than that. I run it on "bright" without any Global EQ applied in this instance. In these 2 videos, whoever filmed this was right by the speaker. So what you hear is pretty much mostly the Baby Bomb sound coming out of Fender Tone Master amp. I run 2 XLRs to the FOH, and the 1/4 inch out goes to the Baby Bomb and to the speaker. My main sound on the Helix is Classic Distortion, Mail Order Twin amp, reverb/delay and Weeper wah that I set to auto-engage. Here you go:

I put my time-based effects after the amp+speaker block. In other words, I simulate studio delay after the mic'ed up amplifier/cab. I also use a parallel loop with a dummy block where I split the signal and mix it with the effects in parallel. Just basically my unprocessed sound gets mixed with the delays in parallel due to the parallel loop that joins the main signal. This allows the delays to sound less harsh and more musical, somehow. The main advantage is that if I have a stereo ping-pong delay, I will always have my initial note signal coming out of both left/right channels. It's eliminates the extreme left/right mix that can be problematic at a large venue. And to clarify, I have the ping-pong delay that is often timed to a song where I harmonize with my own delay'ed sound, and there is no way to have the main sound coming out of both sides, unless I do this trick. Mixing your delays in parallel also affects the mix and the overall sound of your delay. Even if the parallel loop is there and none of the blocks in the loop are engaged, the loop affect the overall mix. If I remove the dummy block the overall mix becomes completely different. Give the parallel loop a try! Now where to place the time-based effects.... The cab block absolutely colors the sound. For example, I will never put spring reverb after my cab, it will sound unnatural. The effects loop of your amp is when you place your effects between the preamp and power amp. Every power amp colors your sound. Every speaker cab colors your sound. So try and see what sounds more musical. A processor will never work/sound exactly the same as the real gear, so you can always find some workarounds, as long as the end-result is good.

I use both interchangeably. Back up on one, restore on another. If you don’t use any floor-exclusive features such as: 10 buttons for pedalboard, send 3, 4, return 3, 4, microphone in….you’ll be fine. I now mostly use the lt for home practicing and daytime outdoor / questionable gigs. Then when I need to play big shows, I switch over to the floor and if needed make adjustments there. I back up and restore things between the 2 units with 0 issues.

Mine does the same thing. It starts working fine, but then goes to 99, then 98, then 97 percent. LT has a crappy expression pedal. I guess, you can reboot it or use a cheap external pedal. I use my expression for wah sounds only, so it is not that big of a deal to me.

Hmmm... Do you have global EQ applied to 1/4 out or XLR out only? Also, what are your audio level settings for 1/4 inch and XLR out? If they are set up differently, then that can also affect the headphone sound when you change what goes to your headphone mix. Headphone mix is supposed to basically combine all the outputs if you have it set to "multi", as I understand. So mixing separate outputs into your headphone mix may introduce differences. As a side note, I was told to set up my XLR sound output to Mic level, while the 1/4 inch are set to Line level. I send XLR to FOH, and 1/4 I connect to an effects loop of an amp on stage. My volume knob only controls 1/4 output sound since I don't want FOH sound level to ever change, but want the 1/4 inch to be adjustable so I can hear myself better if needed or the opposite. BTW, if you want to go crazy with the in-ear headphone mix, this video is very informative. It's kind of a hack/workaround, but still it has some interesting approaches.

PLZ search the forum before posting ;)

I use 2 preset folders. One acts as a backup of everything. That way when I accidentally overwrite something, I have a backup folder with all my presets. Also, I back up everything every single time I make a change. If I need to restore specific presets, I can just restore from a backup into a free folder, and then copy from there.

What's so confusing? Ok, ok, the stereo amp thing! No, the amp is not in stereo. It has 2 speakers and each speaker has its own power amp. Left power amp, and right power amp. That way you can use the left return and a right return on it and hook up your processor to the orange amp so that it outputs your signal in stereo. Or use some weird stereo ping-pong delay pedal in the effects loop. Or do that Wet/Dry 80's chorus. It's pretty neat actually, not a lot of amps have dual L/R returns. Think if it as you having 2 FRFRs: the left one and the right one. Now! If you want to take advantage of this wonderful Orange preamp sound in your Helix.... Here's the 4 cable method you can follow. Again, IMHO, running these cheap amps in the loop makes no sense, because Helix has a huge variety of onboard amps that can sound just as good, if not better: The amp has an input. The amp has a send (mono) On the Helix, set up a send 1 block, and a return 1 block You need 2 cables: 1) Helix.Send1 <-> Orange.Guitar input 2) Orange.Send <-> Helix.Return1 Then the other 2 cables are "implied": 3) from guitar to the Helix 4) From the Helix to the FRFR or whatever you use. You can send the left and the right to Orange itself. Then it'd be "5-cable-method" due to stereo. To clarify, you'd be sending your mono signal from the Helix to the preamp of the Orange, then getting the signal back, adding whatever stuff you want to it on the Helix such as IRs, reverbs, stereo ping-pong delay. And then you will be sending the left/right mix back to the power amp of the Orange by plugging 2 cables from the Helix output to the Return Left and Return Right. Make sense?

I play trumpet and HX Effects is a great idea since there's no need to have an amp/cab. Trumpet is very loud, and as a result the input signal from the microphone is always very hot. Some effects to make your trumpet sound studio quality: 1. compressor 2. flanger - a small amount of it is commonly used to dress up old mono recordings/sound tracks. I've seen flanger being used on horns as well. 3. envelope filter for that sharp attack 4. delay/reverb 5. wah-wah -- Miles Davis used it 6. harmonizer/octaver.