phil_m

That's the capacitive touch footswitches... The whole point of having them is for quickly being able to assign blocks to footswitches and being able to quickly navigate around presets.

I just throw the receiver on top of my gig bag and keep the transmitter in a little pouch I have with some other various and sundry items...

I don't know that Line 6 has ever announced anything at Summer NAMM... I wouldn't get your hopes up for anything major like that. Of course, Summer NAMM is at the end of June, so Helix Native should be hitting the streets around that time, so there is that. But I don't know that I'd expect anything in the way of announcements. Winter NAMM is always much bigger, more important show.

The Helix actually has automatic latency compensation for the type of situation you describe (having an FX loop in parallel path but not the other one). It delays the path without the FX loop a little bit so you don't get phasing/comb filtering.

I'm sorry, but your I call BS on your numbers. Something is wrong with your measurements. A round of conversion doesn't take anywhere near 9ms, and it hasn't been that high for, well, decades I imagine. If that were the case digital effects would be all but unusable. It is totally possible to have a round of conversion take under 1ms nowadays. The throughput latency of the Helix is something like 1.5 - 2 ms depending on the complexity of the preset. I'm not sure what is happening with your testing or whatever, but it's not correct. Think of it this way. I can set a delay for 20ms, and I can hear that. A 45ms latency would be like having a slapback echo... There's no way.

I'll repeat what others have said here. The Helix is simple to get up and running, but it's still a complex piece of gear. There's a lot to explore from a tonal perspective, and it really just takes some patience. I've had mine for over two years, and I still discover new things. I find myself using amp models that I initially wrote off for whatever reason, and I'm finding there are tons of things for me to explore. The familiar is always going to be more comfortable because it's just that - it's what you're familiar with.

I think you're confusing the 4 OSC Generator with the 3 OSC Synth. The Generator and Note blocks are drone effects that don't respond to the incoming signal. The Synth responds to the incoming signal.

No.

Yes, the AES/EBU port can be adapted to S/PDIF, but it's only an output, not an input. As far as re-amping, the only way to do it with a digital input is via USB.

I think there's significant differences in the way people palm mute, and, really, I think it has to do with the right hand technique and the way people use the pick more than anything. I have seen some people rest their hands on top of the saddles when they palm mute, for instance. I think some people are transferring a lot more energy into the strings than others, too. Not saying it's the only thing. I think there are hardware and software issues at play, too. But I think it's a multi-factorial problem.

I really believe that playing style is a big part of it as well. It seems some players play in such a way that the inherent issues with piezos are worse, and some player just naturally minimize it. So I think that can be part of the issue in trying to find a universal solution.

The modeling on the hardware and the plug-in are exactly the same... Latency will depend entirely on your computer and the interface you're using. I'm doubtful that any system will be able to achieve the low latency get with the hardware, though.

Not really, because master volume is affecting the actual tube power stage - it's part of the modeling. So depending on the amp, the master volume may act more like a volume control, or it can add more saturation. It just depends on how the amp being modeled reacts. Channel volume is just a volume control for the block. It's not part of the modeling.

Well, "master volume" is pretty much an industry standard for the power amp volume control on amps... I actually think it would be more confusing if it were renamed. As far Gain, I guess it I can see it, although, again, kind of one of those industry standard term. I do hear you on Channel Volume, though. I think that's simply a holdover from previous Line 6 devices.

Helix is the name of the editor application... That's why it shows up in both pulldown menus.

Yes, you can have multiple instances of the same Send block. Only one instance of each Return block, though.

The mix control is scaled differently on the Helix than it is on the HD500. On the Helix, the mix at 50 gives you equal parts wet and dry (100% wet and 100% dry). At 0, you have 100% dry, 0% wet. At 100, you have 0% dry, 100% wet. So think of it more like a balance control between wet and dry. On the HD500, you're mixing the wet into the dry signal. The dry signal remains at 100% until you turn the mix all the way up. It's more like the reverb knob on an amp would work.

The one thing that is a little different with this firmware is that if you've already installed 2.20, you don't actually need to download anything (Updater will download the latest firmware for you). You can back up your setlists and/or bundle with the 2.20 editor, close the editor, open Line 6 Updater and install the 2.21 firmware, do the FS 9+10 reset, and the re-open the editor to re-install your setlists or bundle. 2.20 is still the latest version of the editor.

There's no need for it on the regular Helix. Performance Mode was created because the LT doesn't have scribble strips. The scribble strips contain the same information.

I kind of think the Shuriken body would seem disproportionately large with a shorter scale neck. It's kind of how the Jaguar always looks a little weird compared to the Jazzmaster. Funny how having the neck a few inches longer seems to make such a large difference.

It can't. The Helix's USB port is USB-B, unpowered.

The only things I've read from the development side regarding the tuner have been the things DI and Ben Adrian have said here and over on TGP. And the last thing I remember reading from Ben was something akin to, "everyone has different tastes in tuners, and there's no way we can make everyone happy, so we made it easy to use third party tuners with the Helix for this very reason" (me paraphrasing). Don't think it means that the tuner is "off the table", but I don't know that they think there's something wrong with it. So that's why I've been saying if people are convinced it's acting like it's broken, they should make that clear to Line 6. And posting the same comments over and over on the forum really isn't the best way to that.

It seems to me that it's just the nature of how high gain amps react with reverb... It gets mushy and you lose articulation. I'm not sure how it would even be possible for this sort of thing to be a bug. It's not like the reverb block "knows" what amp block is active or what those settings are like. Have you tried running a parallel path with a reverb block in it?

Should be pretty straightforward. Just turn the MIDI clock send on on the Helix and MIDI clock receive on on the H9. MIDI clock is sent out on all channels, so it should just work as soon as you have the two connected.

I agree... I had a long response written to one of the other posts above, but then I realized it was all stuff I've pretty much said elsewhere and perhaps several times already. It is what it is at this point, and nobody posting here (at least in this thread) has any power to actually change it one way or the other. Presenting your observations to Line 6 in a straightforward way is still the best way to get things worked out.