PierM

Go to the Global Settings ---------> Displays -------------> Tap Tempo flashing LED on/off This is NOT turning Tap Tempo off (you can't), but it's shutting the flashing red LED off.

Before the 3.0 firmware, I was selling my Helix Rack. After the 3.0, I kept the Rack and also grabbed a HX Stomp. Imho they perfectly know what to do to revamp the beast, and keep it in the market. The introduction of kind of granular approach (even if isn't a real granular algo), with glitches effects, shuffling loop, drift effects and a solid ambient reverb etc... means to me they are watching the entire market (not really only ODs, high gain, and rock stuff) and patching the Helix to keep it on this century. I don't remember anyone asking for those effects, they aren't really meanstream algos, but instead of just feeding the old userbase and the average Helix user, they did it - making the device ready for a even wider sound design palette (usually territory of Empress, Glou Glou, Chase Bliss etc.) . And this is why I kept my rack, and bought another HX device - instead jumping on a different brand. Just to say, let them do their job. ;)

To my ears sounds like a run of the mill Marshall hi gain tone...Collen is also using a sustainer, and that's the "compression" you are probably hearing.

If it's a new order, you should ask for a G10TII, which should not have this problem. If they sent you the old version, ask them for a replacement with the new model, or return it and ask for a refund. Buying the old model doesn't make sense. This is the new one; https://www.gear4music.com/PA-DJ-and-Lighting/Line-6-RELAY-G10-MKII-Digital-Wireless-Guitar-System/3TDX I

Exactly that, but I wasnt sure if Mac has some magic bullet to map different IN and OUT straight from CP. If isnt possible, then indeed, it's Helix into Scarlett, and mix between backing track and scarlett hardware input (to reduce latency).

Hmmm.. I removed my previous answer, which is valid for windows and PCs, but not sure it is also valid for Mac. Im sure someone who knows better about that situation will pop up soon. :)

I agree with many things here (it's all correct), but I'm assuming we are talking small venues here, so easy situations. Not talking complex FOHs, or stadiums etc.. I do have a cheap behringer deq2496, coupled with a SoundID Ref microphone, listening the room and doing a realtime correction. Works great for small venues, and can be also used in between your output and the FOH, if you put the Ref mic listening the PA speakers.

Yeah could be we are just sharing different experience, not saying you are wrong on your method. :) For me, the biggest variables are probably 3; room/enviroment, speaker/monitor and volume. Of course I'm assuming we have couple of constants here, like player, playing style/dynamic, and guitar/s. Well, for my experience, doing presets in a "calibrated" environment, the room, volume and speaker/monitor variables can be handled through a good EQ'ing, in between Helix and Monitors, or FOH. I rarely had to touch anything else, within my presets. Actually, I never edit my presets, between different places where I have to play, and my opinion is that this is because I do my presets in a "calibrated" environment. If I would calibrate my presets on my two PC212+, then I'd be in trouble when hitting different monitors, because those powercab are extremely coloured, boomy and they needs some free air around to work fine. I'd probably end messing with block amp eq, cab mic (like using a 57 instead a good condenser, to tame the boomy tone) etc etc... I would probably end with something sounding fine with that specific speaker (in that room), but not good for something else. Of course you know as I'm stating the obvious, but this is why Studio/Reference monitors do exist. Powercabs are the most distant thing from an ideal FRFR, and they are so biased that it's even hard doing a calibration profile for a corrected room, so I do prefer going to basics, and use studio monitors. This is not different than doing a master in your studio, and then listening that same master in your car, in your headphones, with a pair of budget spakers, or a tacky set of Moon Audio Opulence. Of course I wouldn't suggest anyone to do a master/mix just for one of these, because will only work for that exact condition (that speaker, that volume, that room). Anyway, just sharing my opinion based on personal experience, not arguing. :)

Disagree with that. Modeling is just like a recording; there is a mic, an amp, a cab, a room and pedals. The great thing of modeling, is that you can work your presets as if they were a mix in a daw, and the first rule for a good mix/master, is to make it sounding good and solid, in any speaker configuration. You dont do a different mix/master for every single speaker, or room size. Without that concept, modeling wouldnt make sense. The volume variable can be easily managed through global EQ, to compensate the Fletcher Munson curve. As soon as you have a good room correction (mandatory), and a good pair of reference studio monitors, I can garantee that 80% of the job is done, and it will work good in any condition, given the EQ for room and volume compensation. Of course Im not talking stadiums. That's a completely different beast, but I dont think it's the OP's problem atm...;) That's a bit an oversimplified version of what Im saying;

Sure, there are other ways, but people tends to believe direct or indirect "heat" is the solution, while it isnt, because water is trapped in a occluded area. In fact, with just heat we'd risk to do other damages, other than producing more condensation. Same with putting a device outside in the sun. Key is air umidity, more than temperature (well, they are correlated). So, if we put a device outside in the sun, but in a day with high humidity (above ~55%), we are not doing much, maybe doing worse. You are of course right about ACs. They do have the option to work very similar as dedicated dehumifiers, removing water from the room air to reduce the thermoreception. Of course this is my opinion based on my own experience, restoring a bunch of guitars and devices from a flood, back in 2018. I'm sure there are more solutions. :)

Yamaha HS5 + Room Correction are my suggestion. They are perfect for a small studio and they really dont add any colour to your sound. I do all my presets with these, and usually the only thing I need, when moving from different places, is a bit of EQ on the fly. Most important, they are affordable. :)

The Helix LCD display, as any other similar display, isnt sealed and if you spill a liquid over it, there is nothing preventing a leak between the matrix and the screen surface. The bright you see is the water/humid trapped there, or it's already permanently damaged. Imho the best option is to leave the unit closed in a very small room (windows/doors closed), with a dehumidifier. This is the only device that can safely suck out all the humidity from the environment, and from your Helix. You probably have something similar to that;

Did you flash BOTH receiver and transmitter with latest firmware? Be sure you did. :)

This is why I always suggest my friends to develop some solid experience with real pedals and real amps, before jumping into modeling...If you know those basics, you dont need to know what those Helix params are for, since they are just doing what they are doing in the real counterpart. Anyway, this unofficial guide is a nice place to start. You can find good info on models, and sometimes you also get access to original manuals of those pedals and amps. https://helixhelp.com

I have to be honest, never been a fan of these systems, but with this one Fender (and Ed O' Brien) nailed it! Very easy to setup and balance for your own needs, and it just sounds amazing. I'm a loooong time Ebow user, so this one for me it's like a sort of polyphonic Ebow. Great neck and finish, just a lovely instrument... The only downside for me was the extremely quick battery drain (especially with my own sustainer settings), but I solved installing a Fishman battery back on the back (see the pic), which gives you a stable 9V for a week average, and then starts flashing red just few hours before running out of juice. With a standard 9V alcaline battery, you'd get the proper tone just the first hours of playing, then everything starts sounding weeker and weeker, until the battery is gone, in a matter of few days. With this mod, you just get a stable tone, as it should, for the entire battery charge.