phil_m

Well, the noise is there even with the FX loop in the chain and on with nothing actually connected to the send and return, so it's not a ground loop or anything like that. It's just a self-noise inherent with the jack being activated. Putting the loop in front of a high gain amp block really accentuates that noise. It's similar to putting one of the distortion/OD blocks in front of that amp block.

I tried putting an FX loop block in front of the ANGL amp block, and yes, even with nothing in the loop, if the loop is on, it is quite noisy. I think it just that there is a little amount of noise added inherently, but when you put that in front of a high gain amp, that noise is multiplied (that's what high gain means, essentially), so it makes it really noticeable. With the drive at 8, that's almost making the amp as noisy as it can be. Oddly enough, putting the FX loop block after the amp model actually lowers the noise floor by quite a bit. In of a clean of mid-gain amp model, the noise isn't nearly as noticeable. You could try putting a noise gate block after the FX loop block. I tried that, and all the noise dropped right away. You'd have to mess with it to see what threshold and decay settings work with your signal, but that might be the way to go.

I imagine it is... There's only one version for Windows 10, and Microsoft actually makes a 32-bit version of Windows 10 for some reason. Anyway, why does it matter for the editor?

Yeah, I think that's right... Was going from memory.

Funny thing to me is that if someone posted a clip of this tone is isolation with no context, not playing this progression, and said it was from the Helix, there would probably be a chorus of people saying it sucked... I'm always struck how "uninspiring" some of these guitar tones sound in isolation. Just goes to show that what works in a mix and what we think sounds good on its own are often very different.

There's a couple shortcuts affecting snapshots that have been added since that guide was made. The two are really helpful are Shift + Left Mouse Click for assigning a parameter to a snapshot controller and Shift + Alt + Left Mouse Click for removing a snapshot controller assignment. You just click on the parameter you want assign or remove the assignment from.

The mix knob for the effects on the Helix is scaled differently than the M9. With it at 50, the dry and wet signals will be equal. Once you go past 50, the wet signal will stay the same and the dry signal will decrease. At 100, you'd have all wet, no dry. The Mix knob on the M9 works more like a reverb knob on an amp. It doesn't affect the dry signal at all until you get to 100%, when it goes away.

They should just delete the tuner completely on the next update...

Kind of funny to me that people are asking Line 6 to create a model of pedal that isn't even available for purchase yet... What if it sucks? :D

What are you talking about? This might be the most lightly moderated manufacturer's forum on the internet. Other than threads that are obvious spam (which the public never really sees because of the first post approval thing), almost nothing is deleted by moderators here. If threads get out of hand they are occasionally locked, but that's very rare. If a poster starts a thread, they can delete it, though. So if there are threads that are deleted, it's pretty much always because the original poster deleted it.

Yep, easily... It's like kindergarten level MIDI control. :)

I think that the XLR outs on Line 6 devices have always tended be a little hotter than a typical mic, but mic level is really a range. It can be anywhere from -60dBV to -40dBV, but even that's not set in stone. I find that I need to add very little gain, if any, on the channel strip most of the time, even with the XLR outs set to mic level. I remember Ben Adrian wrote on TGP that he creates all his patches with the master volume knob dimed, and keeps the signal running through the Helix relatively low, and only adjusts the level at the output block. There's nothing wrong with running the internal signal path lower - it's all digital, 32-bit floating point, so nothing is clipping internally. The way I see it, the mic and line level designation have less to do with the actual measured level coming from the XLR outs and more to do with what you're connecting to. If you're connecting to a preamp of any sort, you'd want mic level. If you're going directly into a power amp or bypassing the preamp on the board, you'd want line level. As far as the test with just a guitar, I'm not really sure what that shows. Instrument level is higher than mic level, but lower than line level. A better test to gauge the output would be to plug a mic into the Helix's mic in jack, and put nothing in the signal path. That would probably give you a better baseline.

Not all of the amps listed here would be considered flagships, for sure, but here's the comprehensive list of all Line 6 products over the last 20 years: http://line6.com/timeline/

http://store.line6.com/line-6-helix-signal-flow-t-shirt-black.html

I use the FX loops all the time and haven't had an issue. Do you have the mix parameter on the FX Loop block set to 100%?

Well, by "locking block", I'm assuming that a block that was locked would be in the same bypass state and maintain the same settings in each preset.

What I imagine they're doing to get "seamless" switching is something like having the ability to lock reverb and/or delay blocks while switching presets. This would make it so there wouldn't be an audible gap. There would still be a short lag for the new preset to load, though. Anyway, locking blocks or having global blocks would certainly be technically feasible for the Helix. Whether or not Line 6 will go down that road, I don't know.

What you describing is essentially how snapshots work. You should really look into using them.

There's always Pedal Edit mode... You can change any parameter of any block with just your feet this way.

You shouldn't need to adjust the dry signal level. It will be very low, because it's an instrument level signal. But for re-amping purposes that's what you want.

Will be here in a few weeks. http://line6.com/support/topic/25218-preview%E2%80%94helix-fw-220-the-get-low-update/ New Features - Global Settings > MIDI/Tempo > Send MIDI Clock—Helix can now transmit MIDI clock to synchronize the tempo of external pedals, rack gear, and software. Select “Off†(Helix does not transmit clock), “MIDI†(Helix transmits clock from only the MIDI OUT jack), “USB†(Helix transmits clock only via USB), or “MIDI+USB†(Helix transmits clock from both MIDI and USB) - Global Settings > MIDI/Tempo > Receive MIDI Clock—Helix can now synchronize its time-based effects (such as delay and modulation) to incoming MIDI clock from external DAW software, drum machines, keyboard workstations, or other modelers. Select “Off†(Helix ignores MIDI clock), “MIDI†(Helix responds to clock received at its MIDI IN jack), “USB†(Helix responds to clock received via USB), or “Auto†(Helix uses its internal tempo generator until receiving clock from either MIDI or USB)

Well, the Helix doesn't work as a Workbench interface yet (it will when 2.20 is release in February), so you'll have to use the VDI interface. That doesn't provide power to the Variax, so you have to use the battery, and the guitar has to be on - meaning you have to have a 1/4" cable plugged into it, and have the volume knob turned up.

I'm sure any similarity in features and looks is all just a big coincidence...

$99 for Helix owners, $399 for everyone else.