SaschaFranck

Hm, if there were gigs, I'd be tempted to try this thing out. Too bad there's still no gigs (and likely none to come in until open air is possible again, unless the dreaded C19 thing would magically dissapear). So maybe next year...

Well, as said, an open E6 string is kicking in at 82.5Hz. Use a Baritone and you may run into severe limitations already - obviously depending on the slope of the rolloff below 90Hz. Same here, I was especially looking for some stereo cabs, kinda like just in case because all that Corona business had me getting back into quite some stereo love affairs (ever since some crazy 90s wet/dry/wet rack experiments I have turned into a "live = strictly mono!" guy) and a single 2x12 cab is a lot easier to deal with onstage than 2 separate monitors. So yes, it's defenitely very new, not even available in Germany (home of Thomann) yet. I doubt there'll be much first hand reports at this point in time.

Yeah, I'm aware of that, but still, 90Hz seems to be quite high, especially compared to other contenders. Even my lowly Alto TS310 goes down to 50Hz (well, they even say 48), which, given my tests, seems to be pretty much correct, so that's almost an octave already. I'm not saying this will make it unusable, but given the specs, it might rule out some use scenarios. Of course, in case the rolloff below 90Hz isn't too steep, one might not even notice in daily life. Guess only a thorough hands on testride would reveal whether it's really a crucial limitation.

In case the specs shown at Thomann aren't wrong, this might not be a decent thing. Says it's going down to 90Hz. Now, the E6 string on a guitar in standard tuning is at 82.5Hz. Might not be too bad because the specs usually only decribe the range inside which the speaker will work linear, so frequencies below won't be completely lost and things may still be sufficient for any typical electric guitar sounds (real guitar cabs usually cutt the lows around that frequency range, too). But then, in case I'm using a modeler, I might as well use less typical sounds, such as a baritone guitar not running into a guitar cab. Or even a bass here and there. And I could very well imagine this cab to fall pretty short in any such cases. Incredible price, though, in case you only need typical sounds, it might be worth a consideration - but it might as well just be too cheap to deliver decent quality.

Fwiw, 200/400/600 IMO possibly isn't the best idea for this. The delays being multiples of each other will possibly generate note doublings which would stand out too much.

Hah - I never use that function myself (and no, it's no more "incorrectly" but just as valid as the other option, from all I can tell). Yet, it's pretty strange that it doesn't work on that one region. I just tried on various regions and it always worked. Ok, that got me thinking and testing (writing this 5 minutes after writing the previous paragraph). Now: You seem to have stumbled over a really strange bug in Logic. I took one region and lowered the gain (destructively) by several dB, so it was very low leveled, yet still audible. And - lo and behold! - all of a sudden the normalizing function available the way you described *doesn't* work anymore! To me, this very clearly is a Logic bug. In case I find the time I may try to narrow down the "can't normalize anymore" threshold and report it to Apple. Seriously, that's a pretty strange bug as we're talking about something that should just work under all circumstances. Anyway, you didn't do anything wrong, it's clearly not your fault at all.

Fwiw, that is a *very* weak recorded signal to be sure. I'd really think about other ways (as you've described yourself already) to tackle the issue. With recording levels as low as that, you may experience dynamic loss and possibly noise or whatsoever, regardless of using 24bit.

Well, after seeing your screenshot, it actually isn't strange. In the editor, click onto "File" rather than "Track" in the title row. You can only normalize individual files, not an entire track.

I think a part of the problem is that the return inputs, regardless whether you set them to "instrument" or not, are pretty weak, regarding the level of the dry signal recorded through USB. Even the normal guitar input is pretty weak. I would suspect the reason for this to be that Line 6 wanted to make sure there's always enough headroom so you wouldn't run into digital clipping even when using the hottest pickups possible. As a solution for this, if you really need to use more than the XLR and instrument inputs (which should at least deliver a decent volume for the dry recorded signal), I would consider some sort of small buffer/preamp pedal that you would then slap in front of the returns. However, what I'm wondering about is that you say there's a recorded signal that you can listen to (even if at very low levels) but that you can't normalize. I'm a (very longtime) Logic user as well and haven't experienced that ever in all these years. Sidenote: There's that little button in Logic, allowing you to vertically zoom in waveforms, which is a decent helper when dealing with weak audio recording levels. I use that all the time when cutting DI guitars. When you click-hold onto it, it allows you to adjust the level of zoom, after that it'll turn blue and a single click will then change between the zoomed and not zoomed levels.

This is more or less correct. "Edit Mode" was basically made for editing with your feet, so usually (unless you're playing with bare feet - which, btw, is sort of like a can of worms - I usually set touch sensivity off in case I'm playing barefoot for a longer period of time) it'd make little sense to keep the touch sensivity active in that mode. Ok, as far as "more or less correct" goes, the touch sensitive buttons also serve other purposes. You can for example select a block and bring up its bypass assignment by simply touching a switch for a little longer. Or you can exchange two switch assignments by touching the two simultaneously. Both of these options are actually incredibly useful and of tremendous help when getting patches "performance ready". I guess all that stuff is explained in the video above, too (didn't watch it yet).

I thought the intention was pretty clear...

Yes. From the moment your signal hits the Helix, it's a buffered, low impedance signal all throughout. And fwiw, I think you could go for pretty cheap cables because of that. I did some tests with patch cables in the past, comparing super expensive ones to pretty much the cheapest available, once the signal was buffered, I couldn't tell a difference anymore. Maybe there will be a greater difference when using longer cable runs, but as soon as you're using more or less decent quality, you should be just fine.

I don't think this is possible. On a sidenote: I think when using a MIDI CC, you would have more options. Which is quite the irony. With the internal pedal, the entire pedal range is always used. Btw, I wholeheartedly support the wish for more advanced pedal curves. What we have right now often isn't sufficient.

It's quite a lot of compression he dialed in though. From 1:04 to 1:08 you can hear the sound without compression, after that it's activated (Red Squeeze) and stays on for this passage of the video. Stays active at least until 2:13.

Even easier when you use Helix Native. And for quick and dirty sort-of-reamping: Slap a looper into the first slot of the signal chain, straight after the input. Record something and tweak to your hearts content while the looper will take over the guitar noodling duties.