lou-kash

They will pry El Capitan from my cold, dead hands!

The Stomp's auto-wahs are pretty good. I use them both with basses as well as with guitars. But even though Mutant, V Tron, Tron Up and Tron Down are all based on the Mu-Tron, they don't work and sound exactly the same. I actually prefer Tron Up over the Mutant, even though in theory we should be able to dial up the same sound on both. Most of the time, I'm using the Autofilter though. It's very sensitive. I play a Les Paul with split humbuckers, and it was quite hard to dial up a sensitivity that works both for serial and parallel pickup mode. Interesting! Now, if only the Stomp had nine blocks… :D

I don't know if the Stomp will be able to import such a 2-path LT preset – likely not – but it is technically possible to recreate it from scratch.

Alright folks, so I connected the Stomp to Logic and plugged in my Ibanez SR1200 bass in passive mode. When slapping really, really hard, the dry input (USB5&6) peaks at -4.0 dBFS. I can crank up the signal directly on the bass in active mode so that it peaks at -2.0 dBFS in Logic Perfect. I still don't see the problem here. This is essentially and literally a "plug'n'play" device: plug it in, select the input channels in DAW, play away, and using the approximately default setting you don't have to worry about a too hot input level whatsoever because you can always make the recording/monitoring louder by other means. On the Stomp, I can still boost the Output block(s) by up to 20 dB – which affects USB as well – making the Logic wet inputs clip. Not sure why I would want that though…

Snapshot mode press Upper Knob select the offending Snapshot using Knob 2 press Action button press Rename Snapshot = Knob 1 press Page> button set Switch LED to Auto = Knob 3 Save preset Or use HX Edit: ctrl/right-click the snapshot name and change the color from the context menu. (Yeah, I'm using color LEDs with snapshots a lot… :)

record normalize the recorded waveform to make it look "healthy"… :D

Seriously, I don't see the problem here: HX Stomp provides 24-bit/96 kHz audio. In a DAW, you should be definitely recording at least 24-bit/44.1 kHz. At 24-bit, the low volume signal doesn't affect the sound quality whatsoever. As opposed to 16-bit recording where you might run into some sonic artifacts issues under extreme conditions. If the DAW input is too low compared to other tracks, add a Gain plugin at the beginning of your DAW track FX chain. In all my Logic Pro templates, I always have the Gain plugin at the top of every track.

Are you using the latest versions of HX Edit and Stomp firmware – both at version 3.11? Also, is it on Mac or Windows? It's no problem on Mac. Also, perhaps you may want to upload the offending preset that you're trying to set up so that we can check it out.

Drag the Mixer block out of path A down to path B. That seems to be a feature of the double-DSP Helixes. That's the correct way to do it on HX Stomp. I.e. use the Split Y Balance parameters. Theoretically not. :) Practically… well, this section doesn't seem to be frequented very often. I think this is the 2nd time in over a year that I, for one, have been here. Folks usually prefer to post in the corresponding Line6 hardware sections, i.e. in this case line6.com/support/forum/86-helix

Sure. Do whatever sounds good to you. The only limit is the Helix DSP. Having a HX Stomp with its single DSP, I've settled on the Deluxe Comp which is not as DSP hungry as the others. It's very flexible, you can dial in many different compressed and sustained sounds. Provided you know what you're doing and understand how compressor parameters work in general. For electric guitar, it's usually my 2nd block, right after Autofilter and right before Amp+Cab which is currently Mandarin 80, sometimes also US Small Tweed. For electric bass, however, the Deluxe Comp is my last block in the chain. To get long sustain, you need low threshold. I play a Les Paul with a six-way serial/parallel PU switch, so I've also set it so that it compensates for the loudness difference between serial/parallel. Values: -40 dB, 3:1, 6 ms, 100 ms, 70%, +3 dB, +7 dB Works fine for me. Additional sustain comes from the amp, i.e. mainly the Master and Sag along with its appropriate drive and amp EQ values. (Hence the Small Tweed being one of my favorite amps!) Of course, my values for acoustic guitar or for electric/acoustic basses are totally different. There's no "catch-all" compressor setting.

If you want to be using Helix combined with Logic regularly, you may want to look at Helix Native. As an HX Stomp owner you'll get a significant discount: line6.com/helix/helixnative.html

Split the signal path and put one of the FX Loops on the parallel path. Move the Split and Mixer blocks to the positions in the signal chain where you get the desired sound. I've been experimenting a lot with the Stomp, trying out various scenarios incl. e.g. a 4-channel "mixer" for 2 acoustic guitars and 2 vocal mics… There are many possibilities. What can be done. But it's always a matter of priorities, i.e. what you need vs what can be left out, and then it's a matter of the right block sequence. As in: order matters. In general, experiments like these are more manageable by using HX Edit via USB, rather than fiddling around on the unit itself.

Yes: FX Loop L and FX Loop R. You can also use Send and Return (L or R) instead to split the chain even more. Note that on the Stomp you can only have one parallel path though.

Yep, since more than a year now: for electric or acoustic bass guitars for electric or acoustic guitars as a multi-channel (!) mixer for e.g. two guitars/two mics (it's a bit awkward to set up the preset and find the right balance, but it really works as a 4-channel mixer!) at home, in rehearsal rooms and on stage plugging it into whatever is there – mixing console, powered speaker, an amp – and fine-tuning the sound with the Global EQ or by enabling/disabling cabs as needed Frankly, I'm still keeping my old amps. Especially the bass combo is important in my live setup with a rock band where I play bass, as I still need it on stage as a monitor while going straight to FOH from the Stomp. Also, I have expanded the Stomp with a few external switches and an expression pedal – which I'd plug in only when needed, however. Modularity and small footprint was my primary goal from the start. At the moment though, I'm only adding the DMC.micro via MIDI when playing electric guitar to have two additional multifunctional footswitches. Other than that, I can do fine with just the Stomp alone. (I'm a musician, not a tap dancer… ;)

30 years ago while touring Czechia, I had a tuner stolen off stage during the gig. Went to the police the next day – Czech being my mother tongue so no language barrier – and eventually weeks later they caught a guy bragging in a pub to have stolen a tuner from a Swiss band. Eventually my Czech buddies picked it up. I think they are still using it to this day, haha. Not so much luck in 1992 after my PRS and Ibanez AM-250 were stolen from the backstage area due to sloppy security. At least I got all my money back partially via insurance, the rest from the event promoter. But I do miss the Ibanez (same as this one).

You can't split the Input block. It's either Main L/R or USB 5/6. But you can feed the Stomp with analog and USB signal at the same time nonetheless: Input block > USB 5/6; make sure your computer software plays via USB 5/6 directly (on Mac, a DAW like Logic can do, but regular music player apps like iTunes can't do without using 3rd party audio routing workarounds like Blackhole or Soundflower; at least not on El Capitan) on the Stomp > Global Settings > Ins/Outs > Send/Return L/R: Inst; & Return Type: Aux In Return add mono or stereo Return block(s), distribute them on paths A or B as you see fit split or mix the USB signal to paths A or B as you see fit plug guitar(s) into Return/Aux In jack(s) Voilà. The Stomp is extremely flexible even though it appears limited at first glance. Just recently I've figured out that I can use it as a 4-channel mixer for two mics and two acoustic guitars by using Aux In and adding two Return blocks on each path. It's a bit awkward to set up and adjust the EQs for each input because you have to run two inputs in series, but it works. The benefit of using the Stomp rather than a small mixer is – apart from size – that I can set the Stomp's output to Inst level and plug it into the sole input jack of my small 15W guitar combo. Also, my small mixer doesn't have built-in effects while on the Stomp I still have free blocks for reverb, delay, compressor when needed. Even after a year of almost daily usage, the Stomp can still amaze me. :)

The Stomp is even more flexible than that: 2×mono in create a parallel path right after the input by adding any dummy block as a placeholder split the input channels at the Split block to paths A and B as needed move the mixer block to FX/Aux output add any number of the 8 available blocks to any path you want: 1+7, 2+6, 3+5, 4+4, whatever you need there you have 2×stereo out I'm using it this way e.g. for an acoustic bass guitar and a stomp box (a self-made plank with a built-in piezzo pickup)

As always, it depends: when I play bass, the 3 footswitches is enough when I play guitar, I need more options, so I'd add small external footswitches or an expression pedal as needed for the particular project I'm at in both cases, size and modularity matter I can always expand the Stomp when I need it. But I cannot cut off the footswitches from an XL if I wouldn't need them. When the XL was released, at no time I had the feeling that I made a "bad choice" by buying the "regular" Stomp last year. In other words, something like the XL never was on my radar in the first place because too big…

A TRS-to-XLR-male adapter should work fine. I've used it this way on stage already with a self-soldered adapter. However, I've run into noise issues when testing it in a rehearsal room on a board with a global phantom power switch. The Stomp didn't like to be fed with 48V at all… Not a big deal for me as I have a regular DI box – the brilliant Tech 21 Q-Strip – which I'm taking with me as a "backup" anyway.

Speaking of which – and for the record since we're discussing the Helix Driver here: Anyone on El Capitan, stay with v1.0.7! It's much more reliable than v1.1.0, even though the latter essentially works as well. But it has repeatedly frozen the complete MacOS (!) e.g. when disconnecting the Stomp while HX Edit was still running. Downgrading back to 1.0.7 has immediately fixed it.

In late 2019, I was finally ready to upgrade my MacBooks from Mountain Lion to El Capitan. And even though I also have working partitions up to Catalina, the Capt'n is still my reliable OS of choice. Heck, I can even still use my perfectly working M-Audio FW410 that I bought back in 2003. That's thanks to user-hacked inofficial drivers, but they just work.

It seems that you've been heard, and here you go:

I had a defective FS1 that refused to "touch" on my new Stomp last year. I opened a ticket and it was then repaired on warranty. That said… Just last week I noticed that a bunch of the new v3.11 features don't work directly on the Stomp and require HX Edit. Example: Input, Split, Mixer or Output block parameters/bypass assigned to a footswitch cannot have a custom name or color unless edited in HX Edit, because on the Stomp display, there's no "Customize" option for them. Looks like a bug / UI oversight to me.

I'd expect the XL to work the same as my regular Stomp. For the record, I'm using CC#71>4 (next footswitch mode) via DMC.micro. But it's just on the Micro's "secondary" page, it's not something I'd need often.

In theory, yes. In practice, this doesn't currently work the way we all would want it to work. The only workaround is to physically connect the Stomp's MIDI-out with the MIDI-in using a patch cable…