PierM

Not sure what's the message here. I do have the Stomp, and Rack too. If you have a TRS pedal, and you use a TRS/TRS cable, straight into the Exp port, it won't work. It will go 0/100/0. Pedals in Helix must be TS, but since 99% of the market is TRS, you either need to mod the pedal, or the cable, as I did for all my TRS pedals. Said that, not sure that's the problem with the OP, as he should still get 0 to 100 to 0. Just trying to help, like you.

If you don't need the tap/tempo then you have 3 switch available If you need more than 2 or 3 blocks to be controlled by a dedicated switch, then you need an extra MIDI controller, or 2 Footswitch to activate FS 4 and FS 5 If you need more visual feedback, you can keep the HX Stomp display in patch edit mode, so blocks are bigger and on/off status is more visible (but still, if you want a dedicated led, it's again point 1 and 2) You can switch blocks AND snapshot, on the same session (without using hands), if you use the external FS4 and FS5 for Snapshot Up and Snapshot Down and keeping the 3 Switches for Blocks. Remember you can assign more blocks per switch Remember you can set blocks to be ignored by a snapshot memory (Action button, set snapshot bypass to OFF) Said that, HX Stomp has max 8 blocks per patch. Assuming you are not tap dancing all of them, you should be totally fine with 3+2 Switches. If not, you need a more complex foot controller with leds, like an MC8 or similar. Or sell it and grab an HX Stomp XL.

Helix doesn't accept/work with TRS cables and exp pedals. The EXP port does only listen for tip and sleeve. You either need to mod the medal, or the cable, to make it a TRS to TS, isolating the Ring.

Well, while I do agree about the difficulty to describe a sound with words, we do also have to agree that (given the personal taste) hearing is a subjective experience. Not sure if you ever did an audiogram test, but as with speakers, we do also have our own "frequency response", and we are all different as humans, due age, high volume damages (yep, it's a serious thing between gigging people), etc etc.-. Also, when you are getting older, you start developing specific frequencies notches (typically on top of 4Khz), and an early falloff on both edges of the spectrum. This means you may want to pull more highs to compensate your hearing perception, while a young folk would perceive this as way too much. Same on the bass side. This is something people tends to ignore, but it's a fact... so yeah, I do tend to believe (or at least Im not bashing them) these folks that are hearing stuff that Im not, and viceversa. You could easily test this, "hiding" a generated tone above 8KHz@0dB SPL, in the middle of a guitar signal - and see how many will spot it. I do always suggest my friends gigging musicians to do an Audiogram, at least once a year. ;)

Whhaaaaaat? Oh my god, this is getting more intricate than watching Interstellar in reverse play...

Hmmmm, Im not sure I do believe that video. Im tempted to overlap the A with B and do a phase test... ;)

That's a really sneaky territory. You know, when it's about describing tone and sound with just words, in the context of subjective hearing spectrum and personal taste, variables are so many that sometimes it's like playing ping pong with 12 balls... Anyway, one of the thing to consider when using the Helix, as any other modeler, is that isn't trying to replicate an amp in the room, but a recorded/mic'ed system, to be listened through hi-fi, or FRFR speakers/monitors. This is already throwing into the equation everything above the typical 5.5KHz range of a guitar cab speaker, and sometimes may happen that our ears aren't liking stuff ringing too much above that area. So, first thing I'd try is to shape the high freq range to limit and/or remove stuff in the far right of the spectrum (I'd say above 7Khz you can start dropping, unless you are using Helix with non-guitar instruments, like a synth or similars). Also check your guitar signal is robust at the input and first stage of the path, keeping a good amount of headroom. A typical path to tone harshness is when you try to push a weak guitar signal (through gain, or multiple cabs, or doing a bad gain staging) trying to bring back some tone thickness, but there you are also pulling from the floor tons of noise and unpleasant harmonics because of hard clipping. My 3C. :)

Thanks for the accurate update.

Amazing! Would be such a great thing if I could use my Helix Control with the HX Stomp too...(I guess I'd still need an Host in the middle) Following!

AFAIK, with HX Effects you can only via MIDI, assigning a footswitch to send a #CC64 with values 64 and 127 for the two Tap impulses.

Dumb question I know...but, are you sure isnt the floor? I mean, happens to me all the time to get my controllers wobbling due floor tiles not perfectly coplanar.

Just wondering if they also silently changed something on the charger side, so people pairing new G10T II with old chargers are still gonna get the same crap as with the old transmitter... This would mean you have to re/buy the entire combo again to see some goodish result. Meh.

They both use the same AC adapter, which should be the L6 DC3H/9V/3A.

What pedal are we talking? Many exp pedals have a secondary level trim on the side, to set the min level (like BOSS pedals for example). If you have that trim pot, check it's set to minimum (0). Then, in theory, if you unplug the pedal, move the pedal to minimum, then plug again and move the pedal all up/all down, it should auto calibrate. Also check the Min value in the Helix volume assignation is set to 0.

My take on this, from an electronics POV. Assuming the HX Stomp has a proper thermal management across the entire device, and I really think so - keeping these kind of electronics up and running for long time might produce less stress, less wear and less strain, then multiple power cycling on top of that same hypothetical timeframe. There is a thing called thermal cycling, which happens every time you turn on an electronic device, as well as when you turn it off. During these cycles, there are materials expansions (ON) and materials contractions (OFF), which will cause and accelerate strain along the time. So yes, during the lifespan of a device, the strain/fatigue curve (from brand new to fracture/cracking in a component/connection/path etc) can be affected by the amount of these cycles, especially if they are very close each other (also ambient temp is in the equation). For example, turning 5 times ON, and 5 times OFF, in an hour - it will cause much more strain and fatigue than leaving the unit ON for the entire hour. You need to find your own balance, avoiding multiple cycles in a short timeframe, and limit those for the long pauses (like overnight, during work, lunch or dinner etc...) Said that, in general, you should not worry about a device that goes warm, especially when extremely busy as the HX Stomp is internally. The important factor here is that the engineers did a proper thermal management, so that the heat is well distributed along the entire structure of the device, as happens most of the time with CE marked product. Of course, then there is the chapter about power consumption, pollution, electric bill etc....but that's another story. :)

Yes it's possible. It's a very useful feature, but for some reason not properly placed in the manual (it's kind of buried in a general section, away from the snapshot chapter). All you have to do is to select the gain blocks (or whatever block you don't want to be affected by snapshots memory), then press the Action button, then set Snapshot Bypass to Off. This will just ignore the bypass status of the block, so it will stay as it is when you change snapshot.

Apart this place, I'm also reading good reviews about the mark II transmitter, so something is odd here.

Yes, absolutely. The longer the cable, the less the connection stability. I tested myself that stability starts to degrade after 1.5 meters and totally drops after 5. Use the original cable, or the shortest available.

Unbelievable...

I believe you have an offender preset coming from a veeeery old firmware, which is freezing Helix while trying to rebuild it. Maaaany things changed from firmware 1. Id try to clean up all the old setlist and restore at the boot. To do so, press FS 10 and 11 while booting. Assuming you have a Helix Floor. (in the title you said rack, then floor in the OP) HELIX FLOOR: Erase and restore/reset all factory and user presets: Hold footswitches 10 + 11. HELIX RACK: Erase and restore/reset all factory and user presets: Hold encoders 1 + 3.

Your Helix only works with TS EXP pedals, and 99% of the market is TRS. Easy fix, without modding the pedal; Take a TRS cable, then cut or remove one of the jacks, doesnt matter which. On the side where you removed the TRS jack, find and isolate the ring wire (we dont need that) with electric tape and keep only Tip and Sleeve wires. Now take a TS jack and solder the Tip wire to Tip jack terminal, and Sleeve wire to Sleeve jack terminal. Done. Now all you have to do us to plug the TRS side to the pedal, and the TS side to Helix control. I do have 5 Exp pedals, all TRS, they all works perfect with these cables. That's what you need;

Well, I hope not. Especially if this means forcing me to use a specific wireless audio. Just look the terrible story of the G10 device....dont need to say more. (honestly I cant see the point to make the Helix MKII going towards the PodGo market. Doesnt make sense to me, but who knows...) Also, WiFi and wirelss audio are not the same thing. So it depends, wireless to do what? WiFi for what? BT for what? BT audio? BT Midi? BT for editor? Wireless Audio? WiFi for editor? What about LAN? See, all depends what we are talking about, and what is doing what and why.

Not sure if you're trolling or just 15 years old. Im sure we will see plenty of paid musicians using QC, as well using any other pedal in the market. This doesnt change the fact there is tour grade and studio grade hardware, and then there is all the rest. Is not a Good vs Bad wannabe contest for kids. Again, doesnt mean Bonamassa wont use a 50$ Boss DD3, or whatever rock god you like wouldnt and shouldnt use anything than tour grade racks. There are iphones, which arent deisgned specifically to make movies, but you can do it. Doesnt tell anything about how good or bad that movie will be, or how good or bad that director is. Maybe they will bring 5 iPhones on the set, as a backup, instead just a Panaflex 35mm, or a RED Dsmc2...but everything is possible with today average quality and standards. Still, the more technology you squeeze into a single small pedal, the more the parts, more the code, more the shortcuts, more the current draw and heat, higher the number of parts that could fail etc... That's it. Is that hard to understand? Why people tends to feel so judged for everything?

That's a so 2010 cliché... When you don't want to spend your days folded in half, you discover racks. The most natural device for the human being.