phil_m

If it is some sort of systemic problem because of a production issue or part or whatnot, Line 6 will most likely change the design of the pedal. It's not necessarily uncommon for these sorts of changes to be made between production runs. As far as the warranty, the standard warranty was recently extended to two years, so you have a while yet. Also, historically, for genuine systemic hardware issues, Line 6 has offered lifetime warranties for servicing those parts. This is what they did for the switches on the X3L, for example. All that being said, I have no way of knowing how common this particular problem is. I've seen a few accounts, like less than half a dozen, between here and Facebook, so it's hard to extrapolate that to some sort of real world failure rate.

In my opinion, you'd be better off using one of the XLRs for the electric and another output, such as one of the 1/4" outs or sends, for the acoustic (along with a direct box). There's nothing wrong, per se, with how you have it, I just think it's easier to set up patches without having to worry about the panning. This is actually what I do. I use one of the Sends for my acoustic, and the XLR out for my electric, and then I keep the 1/4" outs as a feed for my monitor.

And you've tried a different cable?

Well, mine has been fine for over a year now, so I guess I'm just special... I did order one of these breakaway cords the other day, though, just because it does seem like a good idea.

What are you plugged into?

I have to admit, I lol'ed at the part where he recommended talking to the guitar guy at Sam Ash... and the part about no one using amp modeling live... I'm sure he means well, but I'm not sure what his main concern is. Do you have your own FRFR system or are you using a PA monitor at the rehearsal space?

Hard to say, really... Compared to other issues on previous units, like the footswitches on the X3L or USB port on the HD500, it seems like a lot fewer complaints overall. Anyway, I'm sure Line 6 will fx it regardless. I imagine this is one of those issues where there's something like an unstated lifetime warranty on. Line 6 doesn't want to leave people stranded, I'm sure.

I believe the issue with the joystick that people have had is mainly because of cable coming loose underneath, not the solder joints breaking. If it were weak solder joints, there would probably be many more failures than there are.

Yes, Native will require a DAW or at least a plug-in loader to run.

What kind of noise exactly? After you do the FS 9&10 reset procedure post-update, all the global settings are reset to default, so it is possible that you might be clipping something depending on what you have the Helix connected to.

That MagSafe cord is a nice solution... Would honestly be a good idea even if you aren't worried about the connected because it prevents you from pulling the base with the cord. I should also add that I saw Frank Ritchotte, Line 6's Senior Director of Operations, mentioned on TGP that they have strengthened the G10's USB input a bit at the factory.

The feature set as far as the amp, cabs, and effects for Native at launch will be the same as the current Helix firmware - 2.21. Any additions from that point will be across the whole Helix platform.

Some amount of fizz is simply inherent in guitar amps, and I think people tend to notice it more with modelers than with real amps because they're not used to listening to the close-miced sound of their amps. Some of it can be dialed out using the amp parameters - master volume and bias are probably the two biggest ones. I also think that running some distortions into clean amps will always sound fizzy. The Rat, for instance, is like a fizz machine, imo. Anyway, take a look at this thread in the Fractal boards: https://forum.fractalaudio.com/threads/ghost-fizz-revisited.108721/

It's a cool idea, but it's not possible with the current Variax technology. Each string is processed individually in the Variax itself, but there are only two channels of digit audio coming from the Variax to the VDI input (one for the models, one for the magnetic. You can do something close to what you're talking about now, though, with Workbench and a dual tone on the Helix. You could create a custom model where the bottom three strings are muted, for instance, and have that processed through one path while the magnetic pickups are processed through the other path.

Well, with the editor, the shortcuts for assigning unassigning snapshot controllers are as follows: - Snapshot Assign Shortcut—OPTION-click (Mac) or ALT-click (PC) any Home screen parameter to quickly assign its value to the Snapshots controller - Unassign Controller Shortcut—SHIFT-OPTION-click (Mac) or SHIFT-ALT-click (PC) any Home screen parameter to instantly remove any controller assignment

You have to set up the parameters to be controlled by snapshot controllers in order for their values to be recalled by snapshots. On the unit itself, press and turn the knob under the parameter you're wanting to control, and you'll see brackets appear around the parameter. Then when you set the values for each snapshot, they will be recalled accordingly (assuming you have the Snapshot Edits parameter set "recall" rather than "discard" or have saved the preset after editing the snapshot).

Makes me wonder if the case you're keeping it in isn't putting pressure on the joystick in some way. So you've gotten replacement units each time, or just gotten the one repaired?

I was messing around with the 63 Spring reverb model last night, and turning up the predelay makes a huge difference as far as getting more of the actual springiness... The default has it set to zero, but I found that turning it up relatively high, like 150ms or higher gives it more of that signature bounce or splash.

It's actually not all that difficult to set up, and I believe there is a temple in Setlist 8 that shows this, but I'm not in front of my Helix right now. But, basically, to get started, you create a parallel path by selecting a block and moving it down. Then navigate over to the input block, and move it down. It will create another input block for path 1B. You'd set the input for 1A to be Variax and 1B to be Varaix Magnetics. You can select between them either by controlling the merge block or by using a volume block in each path. This is one of those things that's more complicated to type out instructions for compared to just doing.

Open up a support ticket and Line 6 will definitely take care of it for you.

Why did you just go to 2.11 and not to the latest, 2.21? Did you do the 9 + 10 FS reset procedure after updating? In any case, I'd try doing the update again.

The issue is that the Variax Magnetics are seen as a different input, not just a Variax model. So the easiest way to go about doing what you want to do is to set up a dual input patch where you feed two inputs into one path. Then you can select between those two inputs on a per snapshot basis. The other option is to create a custom model in Workbench where you have the mix for the model set to zero and the mix for the magnetics set to 100%. That way you could select that model through the Helix.

Yep... The headphone volume knob is the only analog pot on the Helix, actually.

Well, sorry to burst your bubble, but I think DI has pretty much stated that's not going to be the case... I mean, they are going to update the editor, but it's not going to be released simultaneously with Native. And there will be a new firmware update, but not simultaneous with the release of Native. Native is in beta right now, and they're methodically working through bugs. I think the big thing is that it's just a powerful and deep plug-in with a lot to work through. Consider that the development of the Helix took five years. Porting that over to a plug-in isn't simply a matter of copying and pasting...

Tuning by its very nature is a compromise. In the West, we have pretty much agreed to equal temperament tuning, meaning the frequency interval between any pair of adjacent notes is the same. This means that we can easily play songs in different keys and they'll still maintain the same character. It used to be that composers thought of the different keys having particular characters, and that is because with previous tuning systems (Meantone and Just being probably the most popular) certain keys had intervals that were right on and others that were more off. Some keys sounded particularly bad... Anyway, with Equal Temperament, the intervals that are most off are the major and minor thirds. The sort of compensation being talked about here is an attempt to make those sound a bit sweeter for most common guitar chords.