theElevators

I also added 2 Grolsch washers to up/down buttons and the mode button to make them slightly more difficult to press. That seems to help with accidentally pressing those buttons.

Yes when wearing unfamiliar shoes. For me my set is quite a tap dance, so as ridiculous as it may sound, I practice the actual switching while wearing shoes I'll wear at the gig. My shoes of choice are Vans without shoe laces. Something flat no heels, etc for me. It took me some time to press buttons on the back row correctly, by arching the foot. And yes, I wish there was a step design like on HD 500X or the Kemper floor... Consistency is important, that's the bottom line with everything.

I'm away from home now, so cannot try this, but I think we can do it like this: Have a delay with the right tempo with a feedback parameter at 80 percent, delay tempo that sounds good, both controlled by the EXP pedal. Also have a pitch shifter that is also controlled by the same EXP pedal within a certain range. So with the EXP pedal, we can control: 1. the feedback parameter of the delay. So that it goes from 80% to 100%. At 100% the delay plays indefinitely and continously. 2. the tempo within like 20 bpms. If you depress the EXP pedal, the seagul squawking gets faster. 3. the pitch within one octave. If you depress the EXP pedal, the pitch is raised. So now, if you play a note and engage the EXP pedal, your pitch will shift up, the note will keep repeating and the tempo will increase. I'm sure you can get pretty close to the sound, but it'll take a while....

https://line6.com/support/topic/62215-building-presets-to-accommodate-multiple-guitar-output-levels-eg-les-paul-tele-using-return-1-2-etc/?tab=comments#comment-404576 we discussed it recently, and I offered a workaround.

I really hope Line 6 reevaluates the default settings on its gear... I don't know a single person who likes to hear this glitchy noise when tapping in their tempo......

Or you can assign it to the exp pedal itself. Past 5 percent and it’s wah & delay. At heel, wah turns off after 500 ms, delay turns off after 1 second. I find clicking the pedal in to be difficult and takes an extra effort, so I just use percentage of engagement of the exp pedal to control things. I actually control 5 different parameaters of various effects as well as bypass with the same exp pedal in one preset.

I personally find my ideal sound with Mail Order Twin combo amp + cab with default virtual mic placement. I thought it was a Fender Twin based on the name, but turns out it's that Sears crappy amp from the 1960's that guitarists like Jack White use. Long story short, it's got my sound, and I copy-pasted it into all of my presets. I don't need anything else. The main advantage of using what's already in the Helix is that you have the various parameters like the mic placement you can control. An IR does not. I did briefly experiment with IRs to reproduce an acoustic guitar sound. This was before Helix had the acoustic simulator. Now I have no use for it.

Your replies speak volumes about your lack of musical abilities. Why don’t you show us your great musical creations. Until then, take the high horse you rode on back to your bedroom and practice.

Thanks for the “review” of my music. Great to hear the “feedback” from a bedroom noodler with a humongous ego about music, music that is played on the radio and has millions of views. Can you say the same about your music? Go ahead I’ll wait. A bunch of clowns.

Охренительно! По мне бы побольше кнопок добавить. А так просто класс. Самодельный хеликс!!

Except... I suffered from the elusive bug where it does not actually mix it down properly for 2 years... That bug was ultimately resolved by performing a system reset and restoring everything from the backup. So now I have a 'sound test' preset where I have a hard-panned delay and check that it in fact mixes it down in mono before I play a show. Before the bug went I way, what I had to do is plug something into the right, then plug something into the left jack. As crazy as it sounds, to me it was necessary on both my Helix LT and Helix Floor, in order for it to mix down my signal to mono.

What kind of a mic is it? does it need phantom power? Check the phantom power voltage setting. Check the microphone itself, cable...

yay!!! go make some crappy music in your bedroom, loser.

Here you go, take a look at what I'm doing. It may work for you. Like I said, this feedback method works at all volumes surprisingly consistently. https://drive.google.com/file/d/1wRcNUNghN9IQ-dNHjDCQfpXJEK53ppIu/view?usp=sharing So, until Line 6 releases this as an effect in the Helix firmware, you can try my method. There's a snapshot called "feedback", kind of self-explanatory. Good luck.

“Volumes and opuses”. Show me the way, oh grand wizard of guitar! I have seen the Andy from Pro Guitar Shop video demonstrating the pedal a few years ago. I watched it and saw no need to get it when it came out. It sounds like a cross between a freeze pedal and a harmonizer. It creates a sample of the last thing you played and transposes it up a couple octaves, and a fifth or whatever. Latching or nonlatching. Except it doesn’t really feedback. It is a trick of a sample and transposition. It doesn’t move with your playing like if you use a whammy bar, notes don’t pop out.

I have been adding a 2nd distortion block to my presets and I can engage it with a snapshot. I have very natural-sounding and musical feedback that works at all volumes. I played outdoor festivals, I played small shows and it always sounds like a natural guitar amp max'ed out and feeding back. Always reliable, always at my disposal. I love feedback, and it's an important part of my sound. I can also invoke the feedback when I am away from my monitor, simply from the PA. That's because I dialed it in right. I played at somebody's outdoor pattio -- no monitors and just a bose pa -- same feedback. I use it to have endings of the notes sustain indefinitely. Like "don't fear the reaper" last note of the solo -- works every time for me with my 2nd classic distortion block. At home, I can go to my kitchen from the music room and get feedback. That's why to me the designated "feedbacker" sounds like it's something crazy and unnecessary. Maybe I'll change my mind once I see it. Clean sound + feedback... like an e-bow thing? Wanna hear my non-feedbacker feedback? Here you go: 1. https://youtu.be/Aqz-lOHRoDo?t=119 This song has over 2 million views. The feedback starts at 1:59. I achieved it with studio monitors and my Vox Starstream guitar. 2. Another studio example is this song https://youtu.be/eyly-i8njD0 . I am again using my feedback method and adding a Leslie speaker sim as well. It sustains notes indefinitely and sounds like an organ. Feedback is again achieved with studio monitors at low volume, with the same Vox Starstream guitar. 3. Here is yet another example, here we have a chord turning into feedback -- same setting as above. Getting feedback from an FRFR at home. https://youtu.be/cYnyjMGb3Hc?t=163 . I'm playing my Brian May Red Special this time. Muzak... lol

Welcome to the Line 6 forum, as$wipe!

IDK why somebody would need a "feedbacker"... I have been feedbacking feeding back, with no issues with a max'ed out distortion pedal, when needed. Works great in the studio or on stage. I don't understand the purpose of a special designated effect that is already there... Why not do something useful instead...

Or touch the tap tempo button and select the setting you need. To me it’s a setting I don’t ever want to use since all my presets and snapshots are timed to our backing track.

Headrush 108 is excellent: light, compact and loud. I leave it in the trunk of my car all the time. You can even play bass through it (if you don't blast it through it). I don't know, but all the amps I've had are so ridiculously heavy, it's as if they are loaded with bricks. If you play through a processor, then FRFR is really the only thing you need. Just keep in mind they tend to bee too boomy, so use your mixing monitors to dial in your sound instead of relying on the FRFR.

HX edit is excellent! The night before the show when I know the order of the songs, I rearrange my presets with it. So super-easy! Then it's just pressing "next" throughout the show, no need for a set list. If you play in several bands, you can use the folders to organize all your presets for each project. Or use the folders to back up your entire preset collection. I have a backup folder for everything, in case I do something stupid right before the show, I have an entire folder of untouched presets.

My advice is to see how many sounds you need at the moment. Do you need to have clean, distortion, wah and an occasional solo and that's it? Or do you need crazy U2 sounds in every single song? As others have mentioned, Pod Go is an excellent machine. I have the Helix and Pod Go. The Helix is big, heavy and powerful. The Pod Go is light, compact and can easily fit into your gig bag. The limiting thing about the Pod Go is that you must always have your amp/cab block in your signal chain, even if you don't need it. It's wasting DSP. But this setup is ideal for most applications, including how I have my signal chain setup. I say this with confidence, for non-complicated cover bands, bar bands, etc, Pod Go will get the job done. If you have a couple of sounds and don't need to have different effects and complicated signal processing, this is the way to go. It has all your amps, pedals. It runs in stereo and can work as a recording interface. It has all the sounds of the Helix, but has more limited signal paths, fewer buttons. It has an expression pedal, switches, etc. HX Stomp to me personally is way to limiting. But if I only played AC/DC covers, then this would suit me perfectly fine. IMO, Pod Go > Stomp for sure! Stomp XL to me is a stupid product. It's just the Stomp + more buttons and no expression pedal. Stomp is already limited and is 1/2 the power of a Helix, so why not use an almost equally-limited Pod Go instead that is lighter and has an expression pedal. Now for me personally, I need the big Helix because of how complicated some of the songs I play are. Not all, but some. My band requires a lot of effects, time-based effects. I would not be able to easily play some songs with only one preset on the Pod Go. I would have to break up my presets into "part 1" and "part 2" to get the job done. I play more straight-forward music with my other band and use the Pod Go there. In that punk band I just need: distortion, delay, wah, solo boost. So I can get by with only one preset on the Pod Go easily.

There are volume levels that you can set on the Helix for all your outputs. Mic < Instrument < Line. These are just your volume ranges. And you can always turn down your signal on the Line level enough so it becomes what the passive Mic level typically is. https://www.sweetwater.com/sweetcare/articles/whats-the-difference-between-mic-instrument-line-and-speaker-level-signals/# I have XLR outputs at Microphone level. The volume knob does not control the loudness of the signal, it's always at Mic level. It goes to Front of the House. For FOH, you don't want any distortion/compression of your signal, so you set it to the cleanest level. The 1/4 inch outputs are at Instrument level. As most people do, I use it as my personal monitor mix. The volume control is used to make myself louder/softer on stage. I also apply Global EQ to my personal monitor mix as needed. On a big Marshall cabinet, I have to dial out the boomy lows. On a Fender amp's speaker there is no need to do so. I run the 1/4 out signal into an effects loop of an amp, but recently I favor a stand-alone mini power amp: Mooer Baby Bomb. The mini power amp is connected to the speaker cabinet directly. I have had excellent results running it through speakers of a Fender Deluxe or Fender Reverb. When you run your personal monitor mix on an unbiased power amp, or monitor or whatever it is, there is no need to dime your signal. I set up my loudness on the amp itself so that the volume knob has room to turn myself up or down. You know how it is on stage: you start playing a show and realize you can't hear yourself enough, so you just turn yourself up. The front of the house mix remains unchanged. If my personal monitor mix does not get loud enough on stage and my volume knob is maxed out, then I can change the setting of my output level for 1/4 inch out to be Line. I have never had to do it. Usually the knob is turned half-way and there is plenty of volume.

Regarding the original post: In the manual it says: Global Settings > Displays Knob Parameter Description 1 LED Ring Brightness Determines whether the Stomp mode footswitches’ colored LED rings appear dim when bypassed or off when bypassed. When playing in bright sunlight, you may want to set this to “Off/Bright” to increase contrast In reality this works ONLY when you save the LED ring color that is NOT "Auto". The easiest way to change the LED color is to right-click on the Snapshot, etc, in HX edit. You will see LED ring options. Select an actual color, for example: green, red, pink, etc.. and save. Then, when you toggle this setting to "dim", the rings will be dimly-lit when the snapshot, etc is not engaged. So if you want to take advantage of this "dim" feature, you first need to change the ring colors of all the things you want to be "dimly" lit.... It's actually good, because it gives you extra flexibility to not have the outline of some buttons light up. On Helix LT, I could see this as a useful, whenever I need to see where the buttons are. On Helix Floor, the scribble strips are more than enough to be able to see what I'm doing and where I'm pressing. I played on a completely dark stage and had no issue switching my sounds. Or you can just go with the old school approach and get a music stand light! If the stage is so dark, you won't trip over the cables...

No, this cannot be done. I also wanted to have a consistent predictable flanger sweep going "woooooosh". not "shwoooooo". The only thing you can do is to assign something to EXP pedal and manually engage it with the pedal.