silverhead

The above does not mention the DT25 at all, but it is the comprehensive compatibility list. What is it you want to control in the DT25?

In POD Go Edit login to your account as described by phil_m above. In your account navigate to an item named Marketplace Purchases. There you will be able to download and install the pack. You may also need to authorize your computer if prompted to do so.

How is the Wah turned on/off? Is the same thing assigned to amp bypass?

Check your preset’s controller settings. Sounds like your amp is being controlled by the same controller assigned to your Wah.

The best way to do this is probably with Helix Native. If you don’t already have it you can use the free trail period. Helix Native uses a Hardware Compatibility (HC) mode to translate presets into the various formats used by the different Helix devices. You would use HX Edit to export your HX Effects presets. Then use Helix Native in the Helix LT HC mode to import the presets and convert them into LT format. Then, still in Helix Native, Save the presets to Disk. Then, in HX Edit with the LT connected, import the presets. They will then be stored in your Helix LT. The manuals for both Helix Native and HX Edit provide full details.

Might be a driver issue if you’re on Windows. Try reinstalling HX Edit and choose to install all components.

To update your JTV guitar you need to use either a compatible Line 6 device or a piece of hardware called the Workbench USB Hardware Interface. It comes included with the original guitar but often is not included by the seller in a used purchase. It is rather expensive for what it does and is sometimes in short supply. However, it seems you may already have established a connection to the computer because you say WBHD recognizes that a guitar is connected. I mention it just in case. No point in using the original Variax Workbench product - it’s not compatible with the JTV guitars. Same with Line 6 Updater - not for JTV’s. I don’t know what to say about Monkey. I’m not a Mac guy. Perhaps someone else can help you out here. You could also open a support ticket.

Check the hardware compatibility (HC) mode in Helix Native. Set it to Helix Floor.

There are two versions of the Workbench product. The Original Variax Workbench (not HD) works with Variax guitars prior to the JTV series, including your Variax 300. The POD HD 500 (not X) works with Variax Workbench. Workbench HD (no Variax in the name) works with Variax guitars starting with the JTV and with the POD HD500X. Yes. those are your two options with your Variax 300. For full compatibility you should get the POD HD500 (not X).

If the guitar is a Variax JTV or later model then yes, but in that case it’s actually the guitar doing the transposing. The HD500X is just sending a command to the Variax telling it guitar to do it. With a regular guitar you are limited to using one of the monophonic pitch shift FX blocks. It works reasonably well for individual notes (e.g. a solo part) but not so well for chords.

This post will be of interest to those who record a dry guitar (or other) track in your DAW and use the Helix Native plugin for reamping. The dry track, of course, does not capture all the fancy footwork you do while playing the song live. You switch snapshots, turn FX blocks on/off, and use expression pedals. Have you ever wished you could capture all that tap dancing in your DAW track with Helix Native? This thread is for you! I just learned this myself and documented it for my own future reference, so thought I'd share. It's a rather long post describing step-by-step how to use MIDI automation data to capture all your tap dancing so the dry track playback with HN applied sounds just like it would if you had recorded the wet track. Buckle up! Environment: Windows 10, Cakewalk by Bandlab v2022.11, Helix Rack firmware v3.5, Helix Native (HN) v3.5 (VST3) NOTES HN does not support MIDI PC commands on Windows (it does on Mac) so can’t automate preset changes. But it does support CC commands, including Snapshot changes. The following is written for the Cakewalk by Bandlab DAW. Other DAWs may or may not have similar capabilities. Configuration details will differ. Consult your DAW’s documentation. The following is also written for using Helix Rack as the audio interface to the DAW. PROCEDURES Enable MIDI in all components. Global Settings in Helix Rack, esp. Snapshots Assign Helix Rack as MIDI IN device in Cakewalk Preferences Enable MIDI IN for Helix Native plugin in Cakewalk Configure Helix Native preset. Use Snapshots as usual for tonal changes involving multiple blocks Assign MIDI Bypass CC for (non-snapshot) individual blocks Assign other MIDI CC Receive commands, controllers, and parameters as desired Save preset Configure Helix Rack preset. Command Centre to assign appropriate CC commands to footswitches and pedals, matching HN preset assignments above Global Settings to display Snapshot and other required controller footswitches Save preset Add and configure Cakewalk MIDI automation track to project. Assign Helix Rack as input and Helix Native as output Enable MIDI track Write automation parameter Record the automation track using Helix Control to send/record automation events to MIDI automation track at appropriate moments in real time. If unfamiliar with recording automation data (I was) consult Cakewalk documentation. You need to arm and record the automation track just like any other. You 'play' Helix Control in real time to record the data. Change Snapshots, use expression pedals, turn blocks on/off, etc. as if you were playing live. Disable MIDI track Write automation parameter and enable Read parameter Test track playback. MIDI In activity indicator in Helix Native should blink when MID commands are received and intended tonal changes should be audible as HN responds to incoming commands. Adjust if desired by repeating one or more of above procedures. SAVE your Cakewalk project! Hope this helps someone!

…. moved to POD XT forum ….

That’s a good summary. You shouldn’t have to change the individual presets when moving to different venues. If the levels of all presets are balanced you can make a global adjustment using the device’s main volume setting, and perhaps using the Global EQ. The Output volume will not be directly affected by changing Snapshots, unless you choose to assign it as a Snapshots parameter. You may wish to do this if certain Snapshots are inherently louder than others.

Here’s one….

This is a very good question that comes up periodically. It’s been answered in much detail in several previous threads. Problem is, the search feature on this forum an underperformer, and that’s being kind. I would love to just give you a few good links if I could only find them. So I’m reluctant to repeat all the helpful and thoughtful information that I KNOW is here somewhere. I’ll keep looking, and you might want to try (again?). If anyone has better luck finding this history please provide a link…

First thought is that there’s a Level mismatch between the XLR output of your Helix and the Input of your x32. The XLR input of your x32 is probably expecting a mic level signal. Check the XLR Output Level setting on your Helix and set it to Mic. See Global Settings -> Ins/Outs pg 2.

Maybe I’m confused. From the X3 manual, pg 8-3: “The Master Volume knob on POD X3, POD X3 Live or POD X3 Pro does NOT affect the USB, S/PDIF or AES/EBU output levels.” I don’t see anything about the Tone Volume controlling USB Send level.

I would try it using one of the Return 1/4” inputs, not the Guitar input. Unlike the Guitar input you can adjust the Level of the incoming signal at a Return input. You’ll likely need to do that for the incoming mic level signal. Before connecting the mic set the Return Level to minimum, then connect the mic and increase the level slowly until you get a good signal.

Have you tried the new cabs in v3.5 firmware? They are actually a multitude of individual IRs, wrapped into a convenient UI. Worth looking into if you haven't yet. I'm not sure where you will find (free) Fender IRs. Perhaps a sample pack from one of the many IR vendors?

Are you using the X3 as your audio interface to Reaper? If so, you should be aware that the Volume knob does not control the level of the USB signal being sent to Reaper so you should be able to use it to control your headphones level. The USB Send level is fixed in the X3. If it is too high you may be able to control it in Reaper after arming the track for recording.

If the signal clipped when recording it’s too late for that track. Can’t be unclipped now. The waveform might indicate clipping - the peak of a wave will hit (or be very close to) the top of the track lane. In general, input gain needs to be controlled at the input (recording) stage. Can’t be unbaked after recording.

Nothing wrong with your thinking. Your Helix DI track IS sufficient for analog reamping. Sounds like your producer is just not very interested in the digital world. Have fun with your recording!

This thought occurs to me in your situation... The producer does not want to use a digital signal for re-amping a dry track, yet it seems from your previous post that he/she is planning to record a DI track for later re-amping if needed. That implies that the DI track will be analog, no? Otherwise, why record a DI track you won't use? So your Helix-generated DI track is irrelevant. How would the two signals compare as the basis for re-amping? Probably very close but it's really apples to oranges. And sounds like the producer has little interest in finding out.

Aaaah... OK, that's a bit different. The two DI tracks will differ according to the quality of the A/D and D/A converters being used, if any. Helix uses very good converters (not saying there aren't better!). If the studio's equipment is analog (mixer to tape) then there's no conversion at all and it's hard to compare the signals. If a digital audio interface is being used unless it is very old or very low quality the difference should be minimal to negligible.

Nonetheless... if you're tied to him as producer, and he's not going to re-amp a DI track.... there's no point in producing one for him.