PierM

Is not my comment. It's a pinned request from L6. :)

By Line6Tony 08/27/2020 As a reminder, do not perform service operations beyond those described in the Relay G10, G10S, or G10T manuals. The Lithium-Ion battery is not user-serviceable and any attempt to open or modify these products will void your warranty. Pursuant to the safety of our customers, we will remove any forum posts that offer advice for modifying Relay G10, G10S, or G10T products. Please be safe and help us keep our community safe! Stay safe and healthy, Line 6 Customer Service and Support

What's the plan exactly? I mean, are those synth and apps running all at the same time? Do they need dedicated effects per each? It all depends what's the goal here. For the iPad, you can just use a USB path, and then mix the synths through something like AUM. For the other stuff, it all depends the way you are routing them all, before and within the Helix path. The delta is pretty big, as you could be fine even with a HXStomp, or on the other edge, even a Helix Rack or Floor could be not enough for your expectations.

Of course you can do clean tones with Helix, I only play clean and never had any issue with that. Your routing has plenty of potential impedance and level mismatch, so you need to find out what's the correct setup. A bad mismatch between impedance/load can easily produce signal distortion, even without any Helix block in the middle. Also be 100% sure you are not sending phantom power from that mixer to the Helix. Mixer settings (mic/line/pad etc...), amp loop return specs (why going into a loop return?), and once you know all that stuff, you need to set the Helix globals in/out settings accordingly.

Always found dual cabs killing the overall headroom. I hate to be on the edge with the available dynamic, but I guess it depends on what kind of tone you are after.

The biggest "monitor" affecting the fidelity of the listening is the room. I do mix with 5" because my home studio is a perfect and small cube, so everything above that speaker size would mean a boomy fest, even with the acoustic correction on the walls. Size of the speakers is just one of the many variables in the equation...

The deeper is the editing, the bigger is the wasted time behind these things. I mean, it's cool to have all those params to deal with, but at some point we need to decide if we like to play the damn guitar or we'd like to work as sound engineer. I'm in a age that the less the better...(which means way more time to play and improve for me...)

That one you cleaned is a molex grid connector, and it's rare that they needs attention. I meant the flex ribbon cables that connects the strips to the main PCB. Sorry for the confusion. :) Check them out if the problem will come back, but without use any cleaner for those. Just unplug and carefully re-sit.

You gigged with it for "several years" without a glitch. Why losing confidence the first time you have a problem in years? Just reset the unit and see if problem is gone. At least that way you know that if it will come back after a full reset, it's stuff that probably needs service attention.

Shuffling looper is awesome and unique, and it's one of the best feature of 3.0. I did linked all its core parameters to a Zoia modules, and voilà, it's like having the entire arsenal of Chase Bliss, right there. Of course I'm that one in a million weirdos that uses these effects...but I'm glad they did it.

I did experienced few faulty scribble strips, that I fixed myself swapping them with replacement parts, and even if they looked exactly like your strips (plus flashing), I doubt you have 6/6 faulty scribble strips, so it could be the main ribbon cable (that bridge the PCBs) that came loose. If your unit is still under warranty, it worth it to have it fixed by service. If it's not, and you have some experience with electronics, you could check yourself, if all the ribbon cables are properly inserted. Good luck.

2.30 is from November 2017, but that has been valid until Feb 2018, when they released 2.50. This means your unit probably has been produced in between these dates, or even later (new firmware aren't instantly installed on new units), but since the helix floor is made of the same hardware as day one in 2015, doesn't matter anything for you, as I guess Yamaha doesn't store their stocks in a basement with wine and cheese, so 4 years or 4 weeks, makes no difference. Anyway, Line 6 won't read your complain over here, so if for you is a big deal, you should contact Yamaha directly, or your distributor/reseller. (Im sure you have already installed 3.11 and having fun with it)

That's normal noise floor (plus EMI due the missing load at 1MOhm), and you need to plug that cable to the instrument to close the ground loop and load proper impedance to that input.

If I have to think about it, sounds an expected behaviour if you are trying to get a mono sum, out of a stereo block that isnt being merged to mono before to hit the out. I guess that's also why we have mono version of many blocks. For example, if I'd just use a ping/pong delay, plugging just the left output, Im expecting to hear only the left "ping". I could be wrong, but never faced this issue myself, as I always work my presets in stereo for stereo out, and in mono, for mono out (many times is just a matter of placing a "dummy" mono volume/gain block before to hit the out stage).

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. :)