PierM

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

5 minutes ago, rd2rk said:

You'll need to run Helix direct to Scarlett. What @PierM was probably going to say was that the MAC Input won't map internally to the output, same as on a PC. There are "pipe" programs available for MAC which make that possible, but a pair of cables is probably a lot easier.

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. :)

37 minutes ago, DunedinDragon said:

 

In theory that might work.  As a practical matter that works fine in a recording scenarios but for live sound it really comes down to the differences in how PA speakers are designed to work and how studio monitors are designed to work, and the difference really is significant.  Studio monitors allow for very little latitude as to where someone is positioned relative to the speaker, in fact they tend to give pretty specific guidelines about speaker placement and listener's position relative to the speakers, but that's a HUGE consideration when it comes to PA speaker design because speakers need to be positioned in various ways to cover the area as completely as possible or tuning the speaker based on how it will be used (front speakers or stage monitors).  Because of that they have very wide horizontal coverage areas and very limited vertical coverage in order to conserve sound energy in a big area from being lost in the floor or ceiling as well as specific tunings that can be applied to the speakers to compensate for differences.  But in all cases the sound stays pretty consistent within those limits but can sound overlly harsh when sitting too close.  Volume plays a factor with PA speakers in that PA speakers need a bit of space to blend the highs and lows as well as blend appropriately with the subs.  That's why no one in their right mind would want to stand next to a typical PA speaker or place a sub in such a way that it causes problems with the mains.

Aside from those differences, you can certainly run into acoustical differences in a live show, but there's a process built into most reputable PA mixers called RTA or Real Time Analysis that is broadly used to make global adjustments across all channels before the final output to correct for serious deficiencies.  That's why I'm a big believer in making sure you know what you're audience will be hearing by using powered PA speakers positioned vertically at chest height at a reasonably higher volume level (around 90 or 95dbSPL for dialing in live tones if you want to really get a feel for what people will be hearing.

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.

57 minutes ago, cruisinon2 said:

 

Ok... so I'm not exactly sure where we disagree...

 

Volume is critical as you said (global EQ, Fletcher Munson, etc). Speaker choice less so, but still significant. No patch that I've ever tinkered with at a nice comfy living room volume through a pair of 5" monitors or headphones has ever worked at stage volume without significant adjustments... and that's difficult, if not impossible to do at home and outside a mix. If there something wrong with my ears or approach, so be it... but that's been my experience for years on end. 

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. :)

53 minutes ago, cruisinon2 said:

 

This will always be the case, and the issue is two-fold:

1) You are switching to a different output device(s)

2) You are almost certainly playing at a much higher volume than at home.

 

Patches must be dialed in as you intend to use them, meaning through the same (or at least similar) speakers, and at or close to the same volume. There is no substitute for this... especially the volume, which is an ENORMOUS variable. This cannot be stated emphatically enough.... perception of tone varies drastically with volume. Nothing that you dial in at home with headphones will translate to live use without significant adjustments.

 

 

 

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;

11 hours ago, HonestOpinion said:

 

Air conditioners do a good job of dehumidifying as well. Don't think a small dehumidified room is the only safe method available for drying it out and getting it working again, but it is a good suggestion in tandem with some of the others. Assuming, as you mentioned, that there is not damage that will require a repair.

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; 

14 hours ago, Ozuna73 said:

So I have the same issue. The transmitter is fully charged as the LED light is green. but the halo on the receiver remains flashing red. this happened after the firmware update. Have you figured your out? is the normal with the new upgrade?

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

2 hours ago, Serhiy85 said:

Hello everybody!
Maybe it's a problem for someone too, or it's just me :)
I am a regular user of Line 6 Helix LT and do not have much time to tweak it everyday. I have my regular setting done. But I want to expand more potential of my device.
Therefore, I constantly have questions about what mean each of the parameters and knobs of AMP's, effects etc. that are available in Line 6.
I noticed that the description of effects and amplifiers appears when the new patch comes out.
But I can't find a common manual for everything in one place.
Is there somewhere something like that?

If no, is it possible that Line 6 should do this?
Thanks in advance.

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

1 hour ago, johnnyvlee said:

 

That does look like a fun guitar to play. I have a Schecter guitar with a Sustaniac that I could be using. I got it pretty inexpensively and I admit I do love how that guitar looks and feels.

 

But my current rig is Variax into Helix using DVI and I would like to avoid switching guitars if at all possible. That was one of the selling points of going with this rig. Guitar modeling. Sound like whatever axe I want to sound like.  Down side is it doesn't have the Sustaniac.

 

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. 

With this thing, I do have all the sustain I need (sustainer driven by a SD JB Jr). Also modded with a fishman battery pack, so the battery drain isnt a problem anymore. I know, not a valid answer, Im just showing off. :D

I would start isolating the problem;

-Is it happening with all presets, even stock?

-Is it happening with all output, even Headphones?

-Is it happening with any guitar?

If all are yes, then Id try with a full backup of your stuff and then a Global Reset, pressing C+D while booting the unit. Usually this is solving these kind of things...

If this isnt happening in certain conditions, then I'd investigate from there.

19 minutes ago, Anderton said:

Very cool! The crucial aspect is that loudness meters work differently from conventional meters, because they measure perceived loudness. I use LUFS (loudness) metering for matching bypassed/enabled levels in an FX chain, so that I can bring effects in and out without perceived level changes, even though the levels measure different peak values. Of course, you want some effects or presets to be louder or softer, but I find it's easier to deal with getting the right preset levels and such when they start from a standard baseline. The analogy I use is pickup pole pieces - it's easier to adjust them if you start with them all screwed in halfway. Then you can raise or lower as needed.

 

If you want to know more about LUFS, I wrote an article for inSync that you might find useful. It could be TMI because it covers LUFS more in terms of mastering and recording, but you may find some of the tidbits helpful. The part about true peak is also of interest to guitar players. Unlike standard peak meters, which measure the level of digital samples, true peak extrapolates the level after going through D/A converters. The conversion's smoothing process can produce levels that exceed zero (this is called intersample distortion), even if the meters measuring the sample levels indicate levels below zero.

 

Then again, if the audience claps, none of this really matters!  But audio is a fascinating subject, particularly when it comes to guitars. I've just always loved the sound of guitars, and finding out what creates that glorious sound has held my attention for decades. 

 

 

That Clarity Stereo is a proper tool to measure. ;)

Any metering happening outside the Helix via DAW, isnt telling you much about the real Helix "loudness", since your signal is passing through an audio interface preamps, gain stages, software leveling etc...Even if yor are going full digital, you'd want to know what's the measure you are doing; waveform peak, quasi peak, RMS, true RMS, Loudness, Perceived Loudness etc etc... It can be a huge delta.

Said all that, if your Helix isnt clipping red within its own Output meters, your Helix signal isnt clipping.