kdog

Actually, it's pretty simple: You have something that s*cks but is easy and something that doesn't but requires slightly more effort. You decide what type of artist you are. ;)

I have an Amplifire and it is quite a bit more powerful in some regards. In others the Stomp is better. I would definitely say they are comparable products and if I could only keep one it would not be the Stomp. The Amplifire is not big at all very close in size to the stomp and some people are likely picking up the Stomp to experience Helix modeling for cheap rather than for the size. The Headrush Gigboard might be a great option for those kinds of folks who want top quality sounds without the full cost of some bigger units, too. The Stomp is extremely cool but not the only game in town.

Thanks Phil, that is helpful. I used that info when experimenting with the Stomp as a laptop interface. Unfortunately the stomp always connects the input to the output, though, and not all of my Apps recognize anything but input 1. I tried it on the computer and it works using your info as long as I create a patch that mutes the input 1->output 1 path (i.e. a volume pedal set to 0). But if the DAW issues a command on the MIDI bus it will change the preset unless I specifically block program changes being sent to the stomp; so it is still kind of a pain and not as useful as say my Scarlett where I can just flick a switch to stop the direct monitoring. Summary: stomp is not a very good choice as an audio interface for me because its own DSP path is always wired on and cannot be disabled. (I understand this is not its primary function, and is in fact the behavior most users want most of the time, so I am not complaining; but I am a little bummed because this was a value added feature for me and has turned out to be not really worth the effort).

This cannot be true, the Helix stock cabs do not sound anywhere near as good as the now dated Redwirez IRs. LOL.

I appreciate the response but on an iPad I am not always using a DAW. There are a number of stand alone apps that process an audio signal directly and they vary in their capabilities, since most interfaces built for an iOS device have the opposite default behavior (not direct monitored by default) a true DAW is about the only thing the Stomp does work with if you want processing in the app. Also, given that other interfaces on both PC and iOS can invariably control their signal flow directly with regard to direct monitoring; it would be useful for the Stomp to be able to do this without relying on some feature, which may or may not be present, in the software being used.

So, I got around to trying out my HX Stomp with my iPad(s) as an iOS audio interface. It works pretty nicely in terms of sound and latency. One big issue (for me) though, is it seems like any software on the iPad sees the audio input as 'post processed' so to use the Stomp as a dry input you must run it through a blank preset. This is all well and good but as near as I can tell it always direct monitors the output (was listening through headphones). This means you always hear the processed signal from any software coming to the output through the USB interface and the dry direct monitored input signal mixed together. Sometimes this is what you want but often, you don't. If you try to get around this by muting the stomp's output level or similar it also kills the input to the software on the iPad because it is sending the signal after any processing on the USB. Is there some way to defeat the Stomp's direct monitoring of it's input without killing the signal going to the connected device? This basic feature would really improve its utility as an audio interface and I am wondering if I may have overlooked it. If not, hopefully it could be added with a mixer app or setting on the device. The stomp is a cool little interface in addition to being a handy processor.

The Native GUI is borderline unusable on a large monitor, IMHO. It looks okay on my laptop but on my big monitor I cannot read it even with my glasses on sometimes. The black background and general color scheme do not help at all, either. It seriously needs to be completely redone. I do not get why so many GUIs for VSTs seem to be stuck about ten years back in terms of their scalability. Big monitors have been around for years now. If you are using a heavy DAW you likely have not one but multiple really BIG monitors. The ability to resize up and down seems so fundamental that it absolutely stunning so few have any concept of it. Revalver is about the only one I can think of that supports it off hand. Anyway, I consider Helix Native particularly bad given its sticker price because the text is unreadable and on such a minimalist GUI a lot of settings are difficult to discern. It's pretty lacking in a number of areas as a stand alone product, TBH, it feels like the absolute minimum product they could do and still declare victory in implementing the concept for the Helix in VST. If it were a standalone product I am not sure it would actually be a success.

Agreed. I am a 'Native-only' Helix user. I was considering picking up some of Glen D's or Fremen's paid preset packs so I could learn from them but without the snapshots they are really not viable. I have found a few good ones on custom tone but a lot of those use them too. I am glad they went ahead and released Native and it is a really good tool but I am very anxious for snapshots, will be psyched when they get here.

Posters above are incorrect. Native supports parameter automation right out of the box today. It's trivial to setup a foot controller in a DAW/Host that supports MIDI automation. Helix Native supports 16 MIDI automation switches and if your host is setup correctly will work with program change commands also. Setup is DAW dependent because Native is not stand alone. See Page 29 of the Helix Native Manual for detailed info. I don't know how the hardware Helix behaves wrt MIDI (I don't use/own a Helix hardware unit I just have Native) but it works great with a generic MIDI floorboard connected to your audio interface.

Darn, yes, you are correct, I misread the OP. Thanks for the correction.

If you hover above the cab icon there is 'power' symbol that can toggle it off. It is also present on the settings screen where you select the mic and such to bypass the cab.

What platform are you on? If it is a Mac, I would recommend Mainstage. It is an excellent and easy to use plugin host. Not too expensive at all.

Sorry if you did not like the tone of my response, but nonetheless you clearly have it setup incorrectly. You can either take it (along with the more gentle input from others) as good advice and fix it, enjoying the product as it was designed to be used or you can ignore others advice, not learn anything, and move on, missing out on a great product. Your choice. Shrug.

The way it is working on my Mac with Mainstage as a host: In the plugin it has a set of knob and switch controls defined but not assigned to anything (at least I don't think they are assigned by default). In the plugin you assign a control to a particular thing like say, the knob1 automation control to the gain knob on an amp. Then in mainstage (the host) I assign that knob1 parameter to one of the mainstage controls that has been assigned to some MIDI control and it all just works. It is almost exactly how Amplitube is setup in terms of mapping things. I do not directly assign MIDI control->Plugin Element in the plugin. Amplitube doesn't allow you to do that when it is invoked in a plugin either (if memory serves), the direct MIDI control in AT is only available in standalone which Native does not do. In a host it uses this automation parameter paradigm (AFAIK).

Based on what you are describing, you still have your direct signal coming into your DAW. LOL. You probably should not be critical of VSTs in general if you can't get the most basic details of setting them up correct.

I would expect it to be very similar to POD Farm. I have always felt that POD Farm's license management is pretty well done and it has never given me any issues. I've had it for many years now and used it across many computers.

Mainstage is a great option if you are on a Mac for a plugin host. DAWs like Ableton and Logic are popular choices, too, of course.

It means I will be re-entering the Line 6 fold. :D

Thanks for the tips... I tried the XLR and 1/4" simultaneously but no-go. They are both on the same strip... Will try battery power for the G10 base, too, before sinking anything into more hardware. Thanks!

Hey All, Just picked up a G10 to setup my home practice and recording rig and am impressed so far. One issue I have though is driving two devices at once (Audio Interface and an AxeFx 2)... using the XLR for one and 1/4 for the other yielded some serious hum and a pulsing noise. I tried unplugging the XLR out and using a passive A/B switch to select the device (I only need one at a time) but that doesn't work either. It does this even when the AxeFx is powered down, too, if both are plugged in the monitors produce noise. I figure this makes it clear the noise is on a ground loop somewhere since A/B box is going to share a common group line regardless of which unit is selected. I'd like to keep both connected, so I was thinking about maybe picking up a different box. Maybe an active switcher like the Boss LS-2 or the Radial Bigshot I/O which has an isolation transformer on one of its outputs. Anyone have any ideas or tips? Anyone solve the issue a different way?

This is a moronic expectation. L6 sells a MUCH greater volume of product than Fractal, they also sell a much wider range of products (how many just slightly different HD units are there? How many AxeFx 2 models?). Most users are likely practical consumers who are NOT caught up in constant internet p*ssing contests, they are just looking for a musical tool, finding one that works and getting on with their life. Monthly F/W updates that added or changed significant features would be a nightmare and a huge cost for L6 from a support standpoint (repeat after me: they are a business). Fractal can do it because they have a tiny user base virtually all of whom are completely bonkers about the gear just waiting to flash the next update, redial all their patches, and then jump on the net and talk about how much "better" their unit is now (even though they would have defended it to the death as being nearly flawless before the update). That said. I think L6 HAS been too slow with F/W updates. I think they should add new models and features to their products more regularly than they have to reach a happy medium. I think twice a year should be their goal. My personal top things would be: Global EQ Fix existing EQs or add new ones. EQ is frequency not %. The existing EQs are nearly unusable without notes or a guide Loadable Cab IRs (convolution cab FX block). Those three things would make the HD a legitimate Fractal competitor, IMHO. The flexibility and "unlimited" feeling you get with AxeFx is pretty excellent/glorious the signal chain model is amazing. But, honestly, that can be worked around, it is more of a convenience/workflow thing. Tonally, those three things stand in the way of making tones on the HDs that are in the Axe class. IMHO. Along with CPU resource, which they are addressing with new hardware. And of course, everyone loves a couple of new amps and FX, those give the users a feeling of moving forward. Full Disclosure: I own both an AxeFx and a POD HD.