theElevators

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.

I've experienced the same issue with the popping.

Helix, just like any other gear will sound vastly different depending on guitar pickups. Some pickups "clean up" when you roll down the volume. While on the same setting other pickups will simply sound less loud yet still dirty. From humbuckers to single coils, you will have less saturation, more twang and more noise. So how can we make single coils sound like a humbucker? 1. noise -- use the built-in noise gate if it bothers you. 2. the output is less than a humbuckers, so boost the input signal with a gain block and/or a compressor 3. more twang -- single coils are always brighter. So if it's too brittle, dial out the harsh top-end with an EQ block Do these in the beginning of the chain. P-90's are not some special untamable pickups. Just a different flavor of electric guitar sound, nothing out of the ordinary.

Maybe Line 6 will add some improvements. After all, Boss just released another synth for guitar, and it sounds pretty sick. It all happens in increments. I lost all hope about having an acoustic simulator, and was very bummed out... Like how come 20 year old processors came with acoustic simulator.. And then bam! Line 6 Helix released an update. Having said that guitar synths are kind of a low demand thing IMO, so it's probably on the bottom of the priority list in terms of features for Line 6. I was able to use some cool filters and things here and there from the Helix. I find that a lot of synth'y sounds are achieved by heavy processing of otherwise dull filtered sounds. Meaning you can add some crazy pitch delays and all of a sudden it sounds a lot more "synth'y".

4 more solutions: 1. Add a volume pedal at the end of your path, so you can turn yourself down when tuning. 2. Create a snapshot that mutes all sounds. You can assign the overall output volume to snapshots, and save it with the output turned down, or add some kind of a static volume pedal at the end of your chain. That static volume pedal is always at "0%", but when it's bypassed, the sound is not muted. 3. Create a preset that mutes all your sounds. Using Command Center, place that preset wherever you need it. 4. In stomp mode, also add a block that mutes your sound. Whatever has an output level control, saved at "0%". Bypassed/un-bypassed will unmute/mute your sound.

Your tuner should have a return path as well. So send out to return. That way the tuner will mute your path.

https://line6.com/data/6/0a020a3f041b611d61cac763b/application/pdf/Helix 3.0 Owner's Manual - Rev F - English .pdf In global settings, change the setting so your snapshots to be "discarded". This is what you need. I use that setting so that if i accidentally change the tap tempo or something and re-select the same snapshot, all the settings are back to what I saved them as. "If you’ve changed "Global Settings > Preferences" > Snapshot Edits to “Discard,” you must save the preset before selecting a different snapshot; otherwise, any edits will be discarded! "

Here are some options I can offer you: 1. sell your A/B box, and buy the Polytune tuner. Add a "Send" at the end of your signal path that always goes to the tuner. Create a different preset for each one of your guitars, each preset with a different input (Guitar, Return 1, etc...). And off you go. Or 2. go wireless! I use this system and it's pretty good https://www.amazon.com/Shure-GLXD16-Digital-Guitar-Wireless/dp/B00CB39BXQ/ it's perfect for all your concerts, unless you are Angus young and have to run 1/2 mile into the audience. You can pair multiple wireless transmitters with the same receiver. So rather than bother with the input selection, just turn down the transmitter on one guitar, and turn it on on the other one. It syn's up in 2 seconds.

In my band, I have some mostly subtle stereo sound effects. Mainly, I use ping-pong delay on some songs that create 3D stereo sound. There are a few songs where I have hard-panned delay that is sync'ed up to the song so that I can harmonize with myself. I also (having watched Greta van Fleet rig rundown) have stereo-panning when using the wah for one part. There's also one song where at the end we all go crazy and I have a stutter sound with hard panning. I also find it is very effective to contrast the washy stereo sound with some dry mono sound for some songs, or even within the same song. If it's all washy and reverb'y, it gets tiring really fast IMO. How do I use the stereo sound? I simply give the sound person the left/right XLR cables so that the FOH can get stereo sound. On stage, I always play in mono using whatever is there: either my own FRFR or going into the power amp of an amp, just to hear myself. I think that stage stereo sound is unnecessary and may even throw me off, personally, so I use the left/mono plug to hear myself. At home, I have a pair of Yamaha monitors, where I dial in my sounds. When I practice at home, I play through these monitors in stereo.

Synths usually start tripping all over the place when the input signal is too weak, or if your guitar is not tuned correctly. Try adding some compressor or gain in the beginning of the chain. Do your synths track better with a different guitar? I've used some filters etc, and I found that the gain settings (where my volume knob is positioned) create a very big discrepancy in how the filters and synths sound and track.

Besides watching videos how to build presets/snapshots, and all that, I recommend the following purchases... (unless you already have it)... and sorry if it's been mentioned before, but.... 1. good studio monitors that you can use to dial in your sounds. Without them, you risk showing up to a gig with unusable sounds. 2. Headrush 108, or any other FRFR. I love this FRFR. It is plenty of sound for stage volume, or even a small gig/rehearsal. It works for bass too. The only caveat with this speaker is that it needs to be put on a stand or on something so it's lifted off the floor to sound right. Otherwise it's too boomy and you'll need to EQ it. Once you dial in your sound/EQ, this thing sounds and feels as good as your old-school combo does. I always have it in my car's trunk and have used it quite a few times. So light, and so powerful, it's awesome. I played last weekend on a small stage at the outdoor festival, and the sound guy said there was plenty of sound coming from it, that he didn't even need to add my sound to the PA.

What you CAN do is you can use the MIX parameter of various blocks where at 0%, it's inaudible. When it's inadible, then bypassed or not bypassed makes no difference. Snapshots allow you to control all parameters in your block. So I don't know your exact need, but you can assign like 4 blocks to the same footswitch in pedalboard mode, but depending on the snapshot, some blocks are mixed at 0% (meaning they are not audible), and the others are audible. So in effect, your stomps can "change" on a per-snapshot basis... if you mute certain blocks and unmute the others. For example you can assign vibrato, delay, reverb to footswitch 1. In snapshot 1, delay and reverb are mixed at 0%, but vibrato is mixed at 30%. In snapshot 2, vibrato is mixed at 0%, but the other 2 blocks are mixed at 40%. So using the same footswitch, your sound will change differently. Your one switch controls vibrato or delay + reverb depending on which snapshot you're in.

In other news, I have a backpack that I have had since 9th grade that I use daily and it's still intact.

My bag, that I got on eBay met the same fate.. Lots of fraying and so on. A year and a half of very very light use.... I was told that since it's more than 90 days (a year and a half).

Or just use what's in the Helix. The whole point of using a processor is to stop using all your heavy gear. So many choices for amps.... cabs, IRs... I really honestly don't see the point of using a physical amp using 4cbl method.

One advantage of the LT over the Floor is that the virtual scribble strips are a lot easier to read in the direct sunlight. LT is lighter in terms of weight slightly. That's where the advantages end. Floor is more rugged, more inputs and the actual scribble strips are amazing on a dark stage.

One of the things that are very important to the Beatles guitar sound is the compression. A bright sustain-y compressed sound.

Try adding these in a parallel path. I did it by accident at first, and now all my presets have the delay in parallel with the main path. That parallel path just sounds more organic. More subtle and the mix also does not mess with the balance as much. Otherwise, some blocks start doing weird things. There is ubiquitous vibe, when mixed at 0 changes to loudness of your signal path, when you compared to it being completely bypassed. It takes some "A/B"'ing and you may need to boost the overall snapshot loudness as you tweak the mix parameters of your delays. It definitely needs to be done. Good luck.