phil_m

It sounds like you're talking about the LFO start point for the tremolo. If you step on the tap tempo switch once, that will re-start the LFO. If you want to do that via MIDI, I believe sending one pulse of a CC64, value 127 (the CC for tap tempo) will do the same thing.

There is no way to do this with HX Edit, but on the unit itself you can do it. When you the Save button once, you'll be taken to a screen where you can rename the preset. Above Knob 5, it says "Destination", and that's where you can select the slot you want to save the preset to. It's similar on the HX Effects. As far as snapshots, those are a different. You can only save a snapshot while you're in that snapshot. You can copy and paste or swap them after the fact if you want.

It sounds like you got a bad unit... It really should just work out of the gate. Even with the old firmware, it should still work.

Yeah, you just need to adjust the min and max values after selecting the controller. I don't think it's a bug, per se. I just think the min and max values go back to their default values when you pick a new controller. I don't remember if this happens on HX Edit or not.

"Sound card" is a somewhat dated term anymore, as it seems they're always referred to as audio interfaces today. Any new computer you get will have a built in audio interface, and a lot of the time they're integrated into the main board. The HD500 is going to be a better interface than almost anything you'd get that actually comes with a new computer. If you're only doing limited recording, like recording guitar and some vocals, the HD500 should work fine. Latency isn't an issue when recording with the HD500 for guitar because you are using direct monitoring - the HD500 is doing the processing and that's what you're hearing. If you want to start doing more complex recording, like recording more than two tracks simultaneously, than you'd want to look at a separate interface. But that isn't something that you would order with a new computer. That would be a separate piece of hardware.

It sounds like you're changing scenes when you're in Scene Mode, and then when you go back into Stomp Mode, you simply have different effects set up in that scene than you did the first one. Each scene is a different layout of 12 effects, so if you want to have the same stomp setup in each scene, you just need to change the effects in each scene to be what you want them.

It's a lot easier to deal with if you have the Snapshots Edit parameter set to Recall rather than Discard. Than you don't have to re-save after making the change in each snapshot.

What does this mean?

No... The input pad only affects the 1/4" Guitar In.

Well, yeah, but what I'm saying is that you don't really need to render separate wet tracks prior to doing a final mixdown. I almost think of my Native tracks as virtual instrument tracks. The actual audio output from them is always being processed in real time as everything is playing.

The issue was that there was one metal stamping machine out a dozen or so that was cutting the housing incorrectly. This affected the first two production runs, but not every unit in those runs - just the ones with parts made on that machine. It has been corrected, but there’s a small chance that there may be defective ones flotation around still. The reports of this happening have drastically dropped off over the last few months, though so they seem to have made there way out of the system now. The long and short of it is that it shouldn’t dissuade you from buying an LT. Even if you are unlucky and manage to get a defective one, Line 6 will replace it.

I believe you need to set the min and max values for the controller after you use the "Learn Controller" function. That's how I've always done it, anyways. I think setting the controller resets them back to 0 and 100, respectively.

I replied to your thread over on the TGP, but I'll post it here because I think it's a worthwhile reminder. When you record with Native, only the dry track is being recorded, so that will be a mono track for most people. The playback is in stereo, and the audio is being processed through Native in real-time whenever you play it back. If you want to render a stereo wet track from the dry track you can do that, but there's not really any reason to do that unless you're running short on resources.

You're better off using one FX Loop block. On the Send block, there's a Dry Thru parameter, and its default value is 50%. What that means is that equal amount of the signal going into the Send block are being sent to the 1/4" send jack and through to the next block. So you have signal going straight through into the Return block in you case. That's why you're still hearing signal with your amp controls down. If you set the Dry Thru parameter to 0, you wouldn't hear that. But, really, don't use two separate blocks. Just use one FX Loop block. There's no reason to waste an additional block.

You need to insert an FX Loop block in your preset on the HX Effects. The FX Loop block should be between your pre and post effects. Without it, you're bypassing your amp's preamp and going straight into the effects return. This is why the controls don't work.

The G10 has Line 6’s Cable Tone tech built in. It rolls off the high end similar to what you would get with a 10ft cable (Cable Tone affects the 1/4” out only, not the XLR out).

Well, the input gate on the M9 isn’t global - it can be turned on and off per scene. But, you’re correct in that there’s no input gate in the input block on the HX Effects. There’s really not even a selectable input block on the HX Effects. It’s always just there.

Have you tried actually controlling the footswitch instead of the block? The footswitches actually behave exactly how you're saying. They simply toggle no matter what value they receive.

Are you sending CCs to control the footswitches or are you controlling the individual blocks themselves? They are really both set up to be controlled by CC Toggles already... Really, the issue happens because you're controlling the bypass states of blocks with snapshots. Even the Helix's own footswitches can get out of sync with the actual state of a block when you're using snapshots. It seems to me that it's much more useful to have dedicated on and off values for controlling effects blocks, because you know that whenever you send those CC values, those blocks will always be in the state you want them in. If the block continually went back and forth, you would have the same sort of problem you're having now, but it would be more unpredictable.

Open up a support ticket, and they'll take care of it for you.

Yeah, I don't even think that the PP2+ has enough capacity with all its 9V jack combined to power the HX Effects. It is a somewhat dated power supply now given the fact that its highest output jacks are rated at 250mA. It was designed at a time when the vast majority of pedal needed less than 100mA. Now with the prevalence of higher-powered digital pedals, it seems 500mA jack are becoming the new standard.

Can you give some more details? In what capacity are you trying to use it?

Like I said earlier, it pretty much always goes the other way - you gain more DSP in the sense that amp models and effects are optimized. Perhaps you had a preset that was borderline to begin with. Are you sure you were using the same channel of the SLO amp model before and after the update?

They should behave exactly the same as far as the DSP limit is concerned. It's really a self-imposed, fictional limit with Native, though, because it's not representing the actual DSP power available in someone's system. But they're the same so preset made in Native will transfer to the hardware and vice versa.