aggravation

Thank You! 3.1 here I come!

Would it be possible to have a global setting where you choose between the current Edit mode and a new mode that gives access to other blocks not assigned tone of the 6 foot switches? So when you hit both buttons instead of going to 'foot edit' mode you open up the other three blocks and temporarily have foot switches reassigned to toggle them. I'd put the looper in a lot of presets but only use it occasionally so accessing it that way would be a real benefit. The same with other things that I only use occasionally like a pitch block to give me an octave down for example. Also, can the foot switches be given a secondary assignment for long press you could have the same block but different settings...like a Tube Screamer set for low gain and for high gain... It seems like there is a lot of potential in the HX Effects that is going to waste!

I have purchased Native, I have an Activation code and although there is a place to 'Authorize' the computer you are running native in there seems to be no way to Activate your purchase to turn a trial version into an owned version. Was I supposed to be able to download the 'full' version instead of what turned out to be a 'trial' version? That wasn't a choice that I saw

Its kind of ironic the most forward thinking user interface in the industry featured in Helix would have come from a company that has ignored the auto start function through so many generations of their foot controlled devices. And then, as if to mock us, they install a toe switch instead that requires all sorts of cursing and stomping to activate! (this tough love brought to you Line 6, by one of your loyal followers)

When you select a block, then push the Action button, then use the toggle to 'drag' the selected block from its path...thus creating a parallel path to the original location...then push Action again to exit the Action mode, a "Spilt" and a "Merge Mixer" are automatically created to accommodate the creation of the new path.

I think if you compared at the volume/frequency of 'customer' posts in each location then you see they went to the right place first...

I'm doing it now. It works great. I simply name any AxeFx presets with the prefix "Ax"...like "Ax Plexi"...."Ax Twin Reverb"...etc. So when I scroll through the banks and presets I know what is where. I have tap tempo sending, the expression pedal sending, toggle scene 1&2 (I only use two scenes per preset right now due to programming limitations).... toggle individual effects blocks and of course it sends the Program Change number upon selecting the preset. What would be great is if there was two way communication so the state of the effect blocks would update Helix led's when you change them from the front of the AxeFx or your DAW sends a change, etc.. Also, when switching to Looper Mode, it would be great if the stomp switches that are designated for looper control could have a separate cc#'s assigned when Helix is in that Looper mode than those switches are assigned when they aren't a part of that mode. Also, if you could assign more than one cc# to a stomp so you could program 'scenes' properly without having to use the AxeFx scene paradigm. The AxeFx looks for cc#34 followed by a the scene number to specify which scene you want. Over all it is working really well and has lots of flexibility. It isn't quite as good as the LiquidFoot+ controllers but then they can't provide great amp modeling, USB audio/midi interface and analogue and digital routing like Helix does. I didn't buy Helix to 'be a controller' for the AxeFx. I bought it to see if it sounds good. It does. Since it also does these other things really well it is also the hub of my sound and controller for numerous devices....S Gear and Fishman Triple Play into MainStage 3....AmpliFIRE...AxeFxII. It has really cleaned up the rig and made more time for being creative instead of time spent swapping cables in and out of devices.

I think it was DI who said he was sort of making them up for each video on the spot and not saving them because the firmware he was using was constantly changing...pre release. I'm hoping he has made some since the release of the public firmware and he will find some time to share a few though.

Done! Vote it up here: http://line6.ideascale.com/a/dtd/Default-to-10-switches-IA-s-upon-selecting-preset/796488-23508?submitted=1

I use the option to have 10 switches/scribble strips set for instant access and then step on the Mode switch if I want to get to the Bank switches to change presets. I'd like that to be the default arrangement once a preset is selected instead of having to hit the Mode switch to get there every time I load a preset.... It might seem like a minor thing but for a device that is so well thought out the option for that feature being absent is really aggravating. Is that possible to do in a future update? Chime in here fellow Helix acolytes if you too would like that as an option. I'll make a post to the IdeaScale site if I'm not alone in this desire.

The ins and outs can have their level set to instrument or line level...that might get the quiet you need.

Ill post a couple of my presets soon

I'm having great success with a pair of CLR's and Helix. When using 3rd party ir's I often lower the Hi Cut (low pass...can't recall how it is named) in the ir block to around 3.5k It has a different effect than setting an EQ block low pass filter to such an extreme setting. It must have a different Q and/or shelf...however all that stuff works. All I know is cutting that way with Low and High Pass EQ block would make it too dull and muffled but doing that *within the ir block* makes it just right....there will still be plenty of high end coming out... I do put an EQ block of the Hi/Low pass type with the usual settings of around 70Hz hi pass and 5500 low pass right after the Cab or ir block. Also, some amps really don't need the Master to be on 10 to replicate a non-master volume amp, set it to 8 or even a bit lower and you still get the NMV sound. And finally, only after you get all that set, make your final 'preamp gain setting'start with low gain settings on the drive block and bring it up to taste. If you get a preset sounding good but it leaves the over all volume lower than you want put a gain block at the end and bump it up 6 db or so as needed.

I've been setting the big hardware Output knob to 50% so that once my presets are all created and balanced I have a way to increase or decrease my overall volume depending on the room. I'm playing into a pair of CLR's so I need the ability to control output from the source instead deal with it on the back of those two cab's. Is there any disadvantage to not keeping the Output knob up all the way? Am I working with a handicapped headroom situation doing it the way I am right now?

Trying to export bundle the Helix 1.1 times out at 50% every time saying it is 'waiting on device', I have to force quit the app (Yosemite 10.10.5) or it will sit there forever. After that happens Helix locks up after one preset change until you disconnect the USB cable...at which point the preset changes on Helix to the one you tried to select as soon as you unplug the USB without touching any footswitch.

After resetting from black screen (cause: I likely saved while output block was selected) I discovered the output levels sounded weak. I checked the settings and all 'looked' good. XLR's set for line etc. but it was obvious the levels were down lower... So after checking/trying everything that could have changed, on the third time looking at Global settings, XLR set to Line etc. I decided to push the knob associated with that setting and it was as if it was actually set for Mic, because although the text never changed...always read: Line the output level did and all was well with Helix again. So if you have to do a reset and the output level seems low check and PUSH the knob to ensure it is set for what the text reads...

push the pedal with your foot all the way in the toe down position. It might be a little too resistant at first and it probably has a tension adjustment screw to relieve some resistance if it doesn't break in and get easier after a few times. Thats the way the previous pedal was on the HD500 anyway. Look in the manual on the USB drive for details... Also, see if the manual mentions the switch is not 'live' if nothing is assigned to it...maybe you are triggering it but getting no results because there is no assignment made yet?

I'd go with the Divided by 13 9/15 model. It has some complex gain and a nice present overall sound. I've started using my DT25 by itself a lot and I put the same 4 amp models in the same slots for the A and B channels so I can set them up with a cleanish version and a dirty version and then just use a standard footswitch to treat the amp like a 2 channel amp. The Divided by 13 9/15 model is one of the 4 I picked and I use it at least as often if not more than any other.

My guess is the DT just using the master to tame overall volume will still be a better amp than the H&K at a same low volume level. I have the DT25 no first hand experience with H&K

I've owned the AxeFXII and used it primarily through a good power amp Randall RT2/50 tube, stereo power amp into lots of different guitar cabs. You can get the kind of experience you are talking about. Or not, depending on how you set it up. But generally yes that should be no problem. I have the DT 25 and a Pod HD500x and it too can get that, although the PodHD in front can be problematic just like the AxeFx was, if you tweak it poorly. Gain stages where you don't want them input mismatch sucking tone, etc. Basically the more links in the chain the more potential for trouble. And that is where I find the DT amp shines above everything else I've tried related to the modeling world. I can always just plug into the DT amp by itself and I'm there. Touch sensitive dynamics, killer tone, etc. Throw a few pedals in front...no problems. You can program the DT to have up to 8 different preamp 'flavors' available to you even when there is no Pod connected so you still have some variety but it behaves first and foremost like a good tube amp should. Right now I'm using the PodHD in Line6 Link to the DT 25 but I have a series of pedals in front of the PodHD and I keep the PodHD on one preset most of the time and use the pedals to bring in all my favorite flavors of drive and the PodHD effects for reverbs and delays and lots of other stuff. I've got other tube amps, boutique, expensive, sounding great kind of amps. Some of them can clearly outshine the DT in some particular way...nothing does Tweed Deluxe like a good tweed deluxe for example.... The DT however deserves to be there with them because it shines quite bright in so many ways.

Seriously. If you want to love the PodHD into the DT-25 but cant get the Line6 distortion pedals to cooperate when you try to get the Marshall sound put a Catalin Bread Dirty Little Secret III in front of the PodHD and call up a Gibtone 185 Pre and let the matching cab stay there (not that other cabs don't sound good too). Then dial in some killer Marshall rock goodness on the pedal. DT - Pentode, Class A, Top III. The Gibtone is turning out to be a great pedal platform.

I have the amp model at the point before the path split, nothing in the two separated paths in that section, and of course the mixer is where the paths come together.... I have input 1 set for Guitar/Variax and input 2 set for Aux (not used). So, in theory I only have one input sending signal through to the amp pre model. If I have any effects active in the 'pre split' section they are mono. The mixer panned center on both channels. So if I drop the slider to one channel to Mute am I just cutting the output of the amp model for no good reason? For my presets that I use with the PodHD without the DT amp...instead sent to a DAW and monitors I tend to follow the thinking that I don't want dual amps or both inputs the 'Same' because it seems to be too much potential for noise so I mute one path as described above. But I'm thinking with the DT connected, and nothing in the second input if you mute one path you are only attenuating the signal as it is created at the Amp Pre model outlet.... It was a single path load of signal coming into the Amp model so there is only that much coming out...halving that downstream at the mixer is not doing any good (unless you happen to want it attenuated there for some reason) So am I correct in not muting that for that reason? Correct that I end up with only a single path of any gain, models, effects going into the amp and so no need to block one path leaving the mixer.

I dont think this will be a total solution but you might find some relief... I've been experimenting with the Tube Echo Platter in front of amp models. But not for echo, for the drive. Lots of my favorite old school players used different tube echo machines into the front of big loud Marshalls and Vox, etc. even when they weren't trying to get the echo effect because it gave a little bit of tube drive to the sound hitting the preamp. Put just the Echo Platter delay in front of your amp, Time set all the way down (20%) Mix at 50% Drive...start at 50% and see if that is too much. It has a lot of high end to it so that may become an issue but see what you think. Another one is, in the Pre-EQ category of effects is the Vintage Pre, I usually put it at the end of the signal chain for warming up a sound with settings in the 30-60 % range on both parameters but you can also use it in front of an amp to drive it some if you don't set it too high. Then one more. In the Dyn section of effects, the Boost Comp, it has a drive parameter...try that. Personally I think the Line6 distortions and overdrives are not very good. They are troublesome to dial in and that has always been my experience from the M9 M13 and all Pod's. And that goes for in front of real amps or the models. I'd say the HD's Tubescreamer is their best effort, good in fact...but I'm so bored with that sound I hate it too even though it is acurate and behaves better than the rest.

If you are sending a PodHD amp sim into the front of a guitar amp you are not going to get a good sound. Plugging into the front of a guitar amp, the instrument input jack, means you are sending the Pod's simulated pre amp, power amp and speaker cab simulation through your guitar amps real preamp, power amp and speaker cab... You can send effects with the Pod's amp and cab simulation turned off. Or find an amp the has an effects loop so you can use what is known as the 4 cable method and really have fun. Or get a powered PA floor monitor. But a guitar amp that only has an instrument input is not a good match for the Pod if you want to use its amp and cab simulations....

The Hiway model is terribly under 'powered' (for lack of a better term). Have you tried using a different model that has more inherent volume to it?