theElevators

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.

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.