theElevators

To make signals louder/softer, simply add a gain block, and boost the sound as much as you want...

Honestly, to avoid confusion, have 2 wah blocks: one for 2 cocked wah sounds, and another one for conventional wah usage. So in the first block: remove the expression pedal assignment completely, and instead take the wah % and assign it to snapshots. You can enable this first wah block in snapshots 1 and 2, have it be engaged with a specific value. Then have the 2nd wah block and use it as auto-engaged wah. What I like to do is use the mix parameter of the wah--it's very simple. Just assign the mix parameter of wah 2 block to snapshots. Save it as 0% and the wah 2 is inaudible, even if it turns on for snapshots 1 and 2. Then for the snapshot 3, set the mix at 100%. That way, if you start rocking your expression pedal, you won't have 2 wah blocks on at the same time. Helix allows you to repurpose one block for many things, but I find it is much easier to use multiple blocks, if you can. The easier, the better. Cheers!

try factory presets first.

How does it behave on a new blank preset in snapshot view? For your "new preset" preset, the buttons should all glow in red when you activate a snapshot. You can also test the LEDs are working:

You must really push that knob/button in a lot, or your case is damaging it. Maybe the gig bag, or the case is applying constant pressure to the encoder/knob when the Helix is inside. I almost never press those buttons: save, presets, amp, etc, or the joystick. They are extremely flimsy. Before I go to my gig, I leave my Helix in the correct set list. I also order my presets at home (unless the singer decides to change the order at the last second). I do all of that on the computer, using HX Edit. Same applies to building my presets--HX Edit is the way to go.

FRFRs are all terrible IMO. It will sound like a wedge monitor. It will not chug or move air. Want a guitar cabinet feel? Get a guitar cabinet and power it by a power amp. The post below goes over what works for me.

Is it a stereo delay? Just curious.

Play around with the different volume settings for the effects loop (instrument, line)

In my 5+ years of Helix ownership, presets never sound worse after an update. Everything sounds exactly the same, maybe even better when oversampling was introduced. The only explanation is that your global settings got reset from what you used to use prior to the update. These can be the input pad, output levels. That's why it's good to always back up your Helix religiously. Also for the latest firmware update, there was an initial bug with HX Edit, where it messed up the global settings. So if you are now experiencing weird behavior, please update HX Edit to the latest version with the fix. Line 6 released a fix for this issue shortly after releasing 3.8. Also there was a pesky Left/Mono not being mono, but instead only the left side.... bug (until you plugged something into the right side, then unplugged it). This bug got seemingly fixed for good. So it could be that you are now getting left/mono mixdown and it sounds unusual to you.

On the Helix, unity is the volume knob on max. You also have different level settings for your effects loops, 1/4" out, XLR out (mic, instrument, line). For 4-cable method, line makes the most sense. To overdrive your tubes better, you can even use a compressor, or a gain block.

There are many ways to connect your Helix. Helix offers "balanced" (noise-free) XLR outputs and "non-balanced" (potentially noisy) 1/4" outs. When you record or play live, you want the balanced outputs to go to the mixing console to avoid any degradation of your sound. Then you can use what's left -- 1/4" for your personal monitor mix. Helix and other guitar modellers have an ability to create a sound of an amp/cab being mic'ed up with a virtual microphone. That is very convenient, as there is no reason to blast a physical amp/cab on stage for that great sound. So simply run that signal to the sound guy, and use a speaker cab onstage to hear yourself and get feedback, etc. To clarify, balanced output is basically like the humbucker for sound signal cables, two signals cancel out the hum. Instead of one signal, you have 2. XLR jacks already have that extra pin that takes care of the noise. There are also 1/4" cables that have balanced outputs called TRS--they are basically stereo 1/4" cables. Pod Go for example has balanced 1/4" instead of XLR, and you can get the same noise canceling effect by plugging cables into yoru TRS jacks (you can even use TRS-XLR adapters). But Helix only has balanced XLR outputs, 1/4" are non-balanced. I recorded a bunch of stuff simply using 1/4" outs, because the place where I recorded didn't have XLR cables, and it worked out just fine. Balanced outs usually solve the occasional potential noise problem when the cables are traveling a long distance and there are outside factors (lighting, other signals). So in summary, how I set up my sound, and most people do: 1. XLR L/R straight to the mixer (set at mic level). Volume knob doesn't affect it 2. 1/4" L/Mono to my power amp for a personal mix. I can turn myself up/down with the volume knob. This is the same exact signal (including amp/cab sim).

The easiest and most bulletproof way is to have the same exact signal chain throughout your presets (minus different delays, chorus, reverb). In the practical sense, you absolutely should not change your sound drastically between songs, otherwise it will be a nightmare for the sound guy. Even if you level your presets in terms of loudness, due to the nature of how sound works in a band context, there will be volume discrepancies because of how each distortion pedal/amp are EQ'ed. You can have 2 presets be the same loudness, but one uses a Vox AC30, while the other uses a Marshall, and they will behave completely differently. Oftentimes, these differences will be apparent only when you play through a powerful PA. Depending on how the sound person sets your sound, these differences will be different each time. Imagine instead of having one sound check, having 20 different sound checks--one for each one of your potential sounds. Each preset is essentially its own independent rig, and in order for guitar to be sitting in the mix correctly, each rig has to be sound-checked and adjusted independently. So bottom line: pick a setup and stick with it. Just because you can have different amps in every song, doesn't mean you should. Even going from one pickup on your guitar to another will give you a different sound, so minimize these differences by sticking with the same basic preset, and only add certain colors/variations. Take it from me, I've toured with my Helix extensively and know what to avoid. The last thing you need is scrambling at sound check.

It is possible to do it. Any parameter, or on/off state of the block can be assigned to the position of the expression pedal. Use the bypass assign functionality in HX Edit, or you can even use the learn function. So you can have your wah turn on if it's past 5%, and less than 5% it turns off either immediately, or between 0--1000 milliseconds. Plenty of tutorials how to do that.

Input pad is fixed to be exactly -12 db. Quite useless IMO to have something so drastic. What if you want something less severe? Line 6 decided to not give users the option of how much of a pad it's providing--stupid! Do what others have suggested--add a simple volume block and match the two instruments' levels. Each instrument is different. Simply leveling up a Jazz Bass on the bridge pickup against a fat hollow body EB0 is apples to oranges. In other words, you need to play with the levels, use your ears, and simply identify where to set the volume so they are matched. Analyzing the db level is not enough, since the EQ is going to be different. I have 3 guitars, and I manually matched them all. For example, I know that if I want to use a different guitar at the gig as opposed to my usual one I'd need to add a 3db boost at the beginning of the chain. To identify how much to add or cut, I have a certain preset that has a very specific envelope filter. I know that sound very well. So I basically play the same passage and find the ideal setting where every one of my 3 guitars trigger that one envelope filter the same way. Even still, each guitar has a different EQ, and cleans up better/worse... Each guitar model has its own character and color. This is to be expected unless you have 3 identically-spec'ed guitars. also FYI..

I just needed to kill the hum that the record player always produces and EQ the sound so that it has a nice satisfying bottom. I will experiment some more I guess.

POD Go has an identical processing engine as the Helix. You have all the same blocks as on the big Helix, except some DSP-heavy effects are not supported yet. Also in terms of firmware versions, it's a few versions behind. But I was able to recreate my sound very easily on the Pod Go. The only thing is the tactile switches and the footswitch design is absolute garbage. My review of Pod Go is here:

I have this cheap turntable, and it has no EQ whatsoever. So I decided to macgyver it--RCA Left/Right are going into my Return 1/2 on the Helix. Then in the Helix I process each channel separately, apply noise gate, 3-band compressor, EQ, and I output it out to my mixing monitors. I know some think it's blasphemous to do that, but it works for for me. BTW, vinyl records have been pretty much digital since 1979, when a digital delay started being used in the record cutting process: direct signal is used to pre-measure how wide the groove needs to be, while the signal from the digital delay is what is cut on the record itself. And then recording was digital since the 1980s, especially all the classical music... Anyway, I have a bunch of old vinyl I'm listening to and it sounds fantastic through the Helix...

Maybe you were sold the wrong one, regarding noise. I used it live with no issue.

Then downgrade to the previous version. There is not anything that is worth upgrading to 3.8 IMO. One bass wah, and one amp... No reason to always upgrade to the latest. If it ain't broke, don't fix it.

In your delay block you can either sync the delay tempo to the tapped tempo, or provide milliseconds for the delay. If you use the tap tempo, it takes the tap tempo value, and multiplies it by the note value you have selected in your delay: 1/4, 1/8, etc... This setting (whether you are using tap tempo or milliseconds) cannot be changed between snapshots. Tapping in the delay is there for convenience, so you can tap in your tempo live, that's all. It sounds identically: whether you provide the millisecond value, or tap in the delay tempo/type in the tap tempo BPM. You can use a conversion chart to get the desired result: https://tuneform.com/tools/time-tempo-bpm-to-milliseconds-ms to get the desired delay time. If you absolutely need to sometimes tap in your delay, and sometimes sync it with MIDI, maybe you should have 2 delay blocks for each purpose...

My advice is to leave the cab sim intact. That way you can add delays, reverbs before/after and the sound will be consistent. I never bothered removing the cab sim and toured around the world with the Helix. Best to treat the amp on stage out as a monitor,

I cover that exact problem in my post. Restore global settings from Helix Floor backup. That’s the hack. I even link global settings in the YouTube video for people to use, as mentioned in the post. I also demo how it works on helix Lt!

I use 2 Grolsch beer bottle washers on up/down buttons and mode button to make it harder to press. And I also place a single washer on the Tap/Tuner button for symmetry. Since you have button toppers already, it would be pretty difficult to accidentally change your preset. On my Pod Go I have toppers and washers, and don't have any issues... But I have a better hack IMO: Watch my video how to disable up/down buttons. Command Center accomplishes that. The key is to enable 10-button stomp mode, then go into Command Center, and assign what each button does--in your case which snapshots it corresponds to. Command Center allows you to create a custom layout in the "stomp" mode. It can be snapshots, stomps, "next preset", etc. In this example, you recreate the snapshot view and place all your snapshots in the familiar place in the stomp view, using the Command Center. You may need to re-save the assignments for each of the buttons after clicking individual buttons--this is a new "Stacked" snapshot feature that was introduced a few versions back. It depends on your "Snapshot Reselect" global settings/General value. Basically you can customize your layout, so that if you press one button, the other buttons can change what they do based on that. End-result: you have an identical layout to your snapshot view in the stomp mode, minus the up/down buttons which don't do anything. The only thing is that on the Helix LT you cannot enable 10-button stomp mode, but you can simply restore Global Settings from a backup that was created for the Helix Floor. See link in the pinned comment in the video below to get the Global Settings, and watch the whole thing in action. With this hack combined with Grolsch washers, you are guaranteed to never accidentally change your presets live.

Here's another trick you can use: build your presets to allow for multiple inputs.

I made a preset a few months ago. Link in the description.