SaschaFranck

To adress this with minimum effort, you could just insert a gain block and switch it on/off per snapshot. This only won't work in case all blocks are used up (unlikely, from my experience, even in my kitchen sink preset there's usually a block or two left). Well, it's just one way of doing things - and IMO rather convoluted. Why? Well, in case you want to adjust the drive's output level on your snapshots where you're not using it as a boost, you'd have to re-adjust and re-save in all snapshots. Same goes for the drive-as-boost snapshots should you want to alter the boost level. With an additional gain block, you set the boost level independently of the drive level, which is a huge benefit in terms of ergonomics. In addition, should you try to fool around with the patch by exchanging the drive in question, you'd have to go through all snapshot parameter assignments again. With a gain block, you don't have to do that. Especially as your plans are to use the Helix as a big pedalboard, once it comes to live playing, adjusting your drive's output levels on whatever how many snapshots during, say, soundcheck, becomes a mess. However, adjusting both the drive and gain block level once is done in a matter of seconds. In my book, controling any other parameters than on/off via snapshots should always only be done in case there's no other options left. Simply because re-tuning your patch is becoming *much* more complexed and time consuming.

And fwiw, the "solution" you provided will result in an almost unmanageable patch mess, multiple things controlling multiple gain stages with one switch without providing any overviev. Which, fwiw, is one downside of snapshots, so especially in case of gain staging you need to be very careful about what levels you assign to snapshots - and whenever possible, especially in case the additional gain you want is static (aka just one value), it's a much better idea to insert, say, a gain block. The full Helix usually provides enough blocks doing so.

Because in order to answer a question, it's absolotely relevant to know why there's a problem in the fist place. Was that sufficient for you, Mr. Superclever?

I absolutely don't understand this. I mean, each of the drive blocks has gain and output level parameters that you can adjust. Every bit the same as on a standard drive pedal. When you experience volume jumps, turn the level up or down, case closed. And as far as stacking drives goes, keep the output volumes civil in case you also want to use the drives just on their own.

As said above, pretty much the same here. It's a good idea to leave spatial FX out until mixing (and only add them for monitoring pleasure, which isn't an issue at all), unless they're an integral part of whatever sound. But even in that case I'd possibly try to get them done non-destructively in my DAW, it's just a whole lot easier to deal with dry guitars when cutting, punching, rearranging and what not. And fwiw, ever since I "stepped back" (because I was tracking DI guitars only for quite some time), I got both more productive and quicker. Interestingly enough; even more so after I sold the Helix and went back to a hybrid system (analog dirt, dynamics and what not, digital amps). As I can't save patches that way anymore, this way of recording foces me to finish at least entire takes as there's no option for "ah, will do it tomorrow". This makes me concentrate on a single track a lot more (rather than adding tons and tons of tracks vertically) as well. And I have to follow at least a certain time management, because as said, usually there's no "let's start this now and finish later" (unless I don't touch a thing, which is unlikely). At first, all these points seem to be limiting (which, technically, they obviously are), but still, these were the things re-speeding up my working progress.

The latter for me. Always (regardless whether it's with the Helix or other tools). Ok, I usually record some modulation FX as well, because most often I like them in front of the dirt stages (or at least in front of the amp). I sometimes monitor with some spatial FX (delay/reverb) within the Helix (or rather the HX Stomp by now, sold my Floor), but usually I just monitor the dry signal and add some 100% wet bits from the delay and reverb busses in Logic, which are running there anyway. As far as reamping, using a DI guitar signal then sending it to HX Native or whatever, goes, I pretty much stopped doing that. Option paralysis. In case a take can't be adjusted to suit a mix using some standard EQing and such, it usually wasn't right to begin with and as a result I very likely also didn't play in an ideal way (as we always adjust our playing to suit the used sound) - and no reamping will help with the latter. Recording a bone dry amp sound usually leaves enough room for tweaking. At least for me. Fwiw, I still use reamping quite a bit, but that's rather to slap new sounds together without having to play while tweaking and still hearing everything in context.

Hm, not exactly (in fact not at all) what was asked for, no?

You will not exactly be able to do that directly from the Stomp as it's lacking of an audio loopback function. But there's file grabbers for all sorts of services, either as a separate program (such as ClipGrab for YT) or as browser plugins. Much more comfortable, too, as they're grabbing the file faster than in realtime.

Impedance should be largely irrelevant in this scenario. As said, I'd just give it a try.

Depends on the send level of your pedal, but usually, the Stomp can deal with a very wide range of levels on the "plain" input, so I'd possibly just use that as it's kinda the default (and who knows, maybe you want to abuse the Stomp's loops for something else one day). Just take a listen whether there's any clipping. I run my Stomp as a time based FX pedal only as well, using the "normal" input, sending, hm, let's say a sort of low level line signal into it. Works great.

Fwiw, my method to remove fizz and boom from any sound I'm using live is to use IRs that have both ends of the spectrum removed almost brutally. In the end, there's hardly any musically useful information in any kind of typical guitar sound above, say, 5-6kHz. So I cut there. I don't trim everything out but I'm using an extremely steep high cut. In the end, there's still a bit of the range above there, so should I ever need it, I could get it back with some EQ. Usually doesn't happen. As said, we're talking live purposes here. And fwiw, I'm doing this destructively straight on the IR. Admittely, with the new cabs, I don't have to do it when using the Stomp, but in my live rig it's for delay and reverb only, still need IRs for my other amp sims (Amplifirebox and Amp Academy).

Why would you put a speaker IR in front of an amp? If you really wanted to tame fizz there, you could use a simple EQ. Also, what would an additional DI offer to you? The Helix has a built in one. Ok, using an external one would help avoid the phantom power issue, but others than that? That's quite an awkward statement. Usually, at low levels your hearing will also perceive less high end. This has been proven in numerous listening tests and is the reason for a "loudness" button to exist on cheap HiFis (which is enhancing the low and top end). It's also kind of the base idea behind the "Fletcher Munson Effect". And as a result, it's usually the best idea to check for highs and lows at rehearsal or gig volume.

To me it sounds a lot as if you were hitting HX Native pretty hard. Just try again with lower input settings.

Modelers made with outdoor use intents should actually be white. In direct sunlight, it makes a world of a difference.

Lots of people have already been reporting similar things about the HX family devices. These things aren't made for direkt sunlight. The very bad visibility gives it away, too. If you have to play lots of such gigs, get some sort of sunshield or a different modeler.

https://line6.com/support/topic/65019-helixhx-update-doesnt-work-look-here/

An impedance output setting would make no sense. Input impedance of amps/pedals is all about the load your pickups "see". So, if you wanted the most faithful "straight into amp" feel, you'd have to find out about the JTMs input impedance and see whether there's an appropriate setting in the Floor's input block.

No. But you will need to use the Line 6 Updater for the update in case you want to do it offline. So, what you needed would be: - The actual update flash file - Line 6 Updater You can then tell the Updater to perform an offline update without even logging in. You will only need the appropriate version of HX Edit later on (to - well - edit, to re-load your preferences and presets). No, not in case he downloaded the firmware flash file already.

Why talk about it? I rather play around with it. https://drive.google.com/file/d/1TD1NX-VoaoAJa6dOkPp2Qi64zLOwvGYJ/view?usp=sharing

From all I know, to start the HX Effects up reliably you'll need at least 2 isolated (!) 500mA outlets for each HX FX device, which makes 4 in total. In addition you need a current doubler cable, combining 2 outlets into one supplying a total current of 1000mA. And as Line 6 had the stupid idea to use different than standard plugs (2.5mm instead of 2.1mm), you might need another adapter - but fortunately, Voodoo Lab has a current doubler with 2 x 2.1mm ins and 1 2.5mm out, directly suitable for the HX series, the name is "Voodoo Lab HX Curr. Doubler Adapter PPHX". As far as power supplies are concerned, you'd have to look for some overhead, especially as you're also planning to power up some more cables. So, given that your two HX Effects will already consume up to 2A, you might want a device supplying 3A or so in total. And as said, it's absolutely mandatory for the outlets to be isolated!

Does it really have to be a Helix for busking? You could get lots of other pretty decent devices with vastly more comfortable power requirements for pretty little money and run them from a stock powerbank. Would also massively reduce the size of the entire kit. And you might even save some money.

No idea what latency has got to do with this. Doesn't really matter when it's all about a backingtrack.

Let me tell you: It does. But let me also tell you: I had a tough time grasping the "concepts" behind things as well at first. Sure. But in that case, the Helix serves as a USB client (or "slave", if you will). I know. But for that to work, you need a USB host (or "master", if you will). You'd need that for power supplement as well (which USB B ports don't deliver). Feel free doing so. You got the explanation above, though. Your BT plug wouldn't even wake up as there's no bus power running on the Helix' USB port. Seriously, it's pointless to even just try.

No, won't work as the Helix is no USB host (which would be needed for that BT plug to work). The solution is using either a plain old audio cable (3.5mm to 6.3mm, TRS) and run it into the aux input or a camera connection kit running into the USB port. In that case, the Helix should become available as a playback device on your iPhone (no warranty, though, I'm not using an iPhone).

How did you create your patches at home? Listening to them in stereo? Otherwise, in case you're using the left/mono out with your amp, use whatever you feel like. I sometimes use stereo FX in my mono live setup because they're not available in mono (such as the ping pong delay, which defenitely makes sense in mono, too, once you use the offset parameter, which I do). On the left/mono out the L and R sides will be mixed to mono. Only problem would be in case you listened to them in stereo while creating them. Back in my HX/Floor days I always inserted a mono EQ block at the end of the chain because of that (which then serves the same purpose as the L/mono out, namely mixing things down to mono). Well, they all have a level control, which isn't related to the FX level but the overall output of the block. So just use that.