phil_m

It really wouldn't make any difference if you were able to raise the level with some USB output parameter prior to it being in your DAW or doing it in your DAW, assuming you're talking about just normalizing up to a certain level. Both things are being done in the digital realm, so the signal to noise ratio won't be affected. This is another reason why recording via the USB out is superior to using the analog outs into a separate interface. These signal to noise considerations that come into play with the converters go away.

Yes, it should work fine. How close together are the output jacks?

Here are tones if anyone is interested in them. I forgot to mention that I'm using the Double Take on the rhythm tone. I actually think it works pretty well as long as you don't get too crazy with the settings. I find I usually like it best if I leave the "Doubles" parameter set to 1. Revv Purp - LD.hlx Revv Purp - RH.hlx

The Klon does roll off the bass frequencies when engaged. This is one reason why it works great as a boost for dirty amps. It’s not really a “transparent” overdrive (I think people overuse that word when it comes to overdrives, for the record).

Nope. The only global settings applying to the effects loop are the level setting and the settings that determines whether the returns serve as regular returns or an aux in. I’d also mention, though, that the effects loop block is always in every preset. You don’t have to put it in. You just have to determine where you want it in the signal chain.

Since I have this week off (having a staycation while working from is very weird, fwiw), I pulled out my old Akai Timbre Wolf and started messing around some sequences. It's really a pretty fun, albeit limited, 4 track sequencer. But it allows to do some neat rhythmic stuff in a short time. So this is what sprung from it. The guitar tracks are both using the Revv Purple model with the Horizon Drive as a boost with a York Audio V30 IR. It's actually one of the IRs from their $1 sample pack. It really does sound quite good, imo. I'm using my Les Paul for the main rhythm part, and my Fat Strat for the other. This more of an extended jam than a song, I guess, but I had fun...

This is expected. One clarification, though, if you haven't done a factory reset since updating to 3.00 or later, you won't get all the new factory presets. You either need to do a reset to get them (and then restore from backup without selecting Setlists 1,2 and 8 to be restored), or you can download and load them manually from here:

It probably has to do with the timing of the two commands. I'm not sure what the gap needs to be, but I believe there needs to be one, otherwise, I'm not sure the CC69 command will get though. As far as the snapshot that's active when you load the preset, it's always going to be whatever snapshot was active when the preset was last saved.

If you're turning the Ch Vol parameter off an on with snapshots, that will be a pretty abrupt change. If you want more of a seamless transition, you might want to think of using an expression pedal to go back and forth between the two paths. Snapshots will give you instantaneous transitions, but there's no guarantee that those transitions will always be smooth. You have to think of what's happening to the audio signal running through the paths. Abrupt changes can be noticeable and jarring.

Hmmm.... I've never had a BSOD in Windows 10 while turning off one of my devices before closing HX Edit. I don't have an LT, but I have the Helix Floor, Rack, Stomp, and HX Effects, and there's been many times when I've powered them off while HX Edit is still running. I just a message that says "Connection Lost" on the bottom of the screen in HX Edit.

This system has been around for quite a long time now. What hardware are you using? If you open up a support ticket, they'll take care of this for you. For what it's worth, the issue isn't the hardware. It's the software, and the customer never owns the software. You own a license for the software that entitles you to use it in certain ways.

I should have read the original post more closely. You can't change the target snapshot for these commands per snapshot. Whatever you assign to the footswitch will remain for the whole preset. This is the same for any of the commands that you assign to a footswitch (except for the MIDI CC, iirc, which you can have a different value per snapshot). I read this on my phone earlier, and didn't look closely at your screenshot. I assumed you were talking about the instant commands. You can have different values for each instant command per snapshot for those.

If you have the Snapshot Edits parameter under Global Settings>Preferences set to Discard, you have to re-save the preset after making changes in a snapshot in the Command Center to have them recalled with that snapshot. If you have it set to Recall, your changes will be saved automatically (at least temporarily until you save the whole preset).

Yep... If you want Native to sound *exactly* like the Helix hardware, you need to use the Helix hardware as the input source. You can record a dry track very easily with all the Helix hardware pieces, so this works very nicely. That being said, a decent interface with the proper gain staging and input impedance should still sound good. If you’re having trouble with all software modelers you’ve tried with the Scarlett, it very well could be the weak link.

I’d say there’s almost never any reason to adjust the Native input fader at all. Just let it alone. You want unity gain going into Native in most cases. I think the main reason they added the input fader on Native was perhaps from dealing with non-guitar sources. There might be times when attenuating the input might be useful with hot pickups, too.

Are you leaving the input into the Scarlett at unity gain? One of the most common mistakes I see is people boosting the input at the interface. Doing that tends to mess with the Helix modeling.

Windows 10 will still run the original Workbench fine. I don’t know if Windows will drop 32-bit support like Apple did, but I kind of doubt it given the ubiquitousness of older software in many corporate environments. I think this particular case is somewhat special in that there probably won’t be another leap like this for quite awhile. And to @cruisinon2’s point, the JTV line is actually over 10 years old now, as they started shipping in 2010. The original Workbench software was released back in 2004 or something like that.

This is what the Duplicate PC Send setting under Global Settings>MIDI/Tempo controls. If it's set to On, the PC you have set for an Instant Command will be sent every time you change snapshots, even if the value doesn't change. If you have it set to Off, the PC will only change if you have a different value set for the snapshot that's loading.

That sounds more like an actual wah pedal to me. Given the time it was recorded, I’d be surprised if was an envelope filter, given that the MuTron didn’t come out until 1972.

It’s powered from the Cat5e connection from the Rack.

It doesn’t have to be in the exact same location. It just has to be on the same processor path. It does have to be the same type of looper block, though.

No, they are not. The HD is a different generation of modeling. The PODxt and X3 series use the same models as POD Farm (more or less - there were some minor tweaks with the X3).

Wait... I just re-read your original post, and I noticed what you said about the firmware versions. Are you trying to use Workbench HD? Only the original Workbench will work with the 300, not Workbench HD.

Do you have a 1/4" cable plugged into the guitar?

What exactly is your setup here? Are you using the amp modeling in the POD Go? I’m not sure what you’re saying about the FX loop. Are you using it as a boost? Where is the FX Loop in your chain?