silverhead

Have you tried what hurghanico suggested? Turn off the delay on your patch and see if the ‘reverb’ disappears.

You don't have to use 4CM with your existing drive pedals. If you don't want any of the HX FX blocks in front of your amp you could just put the HX FX in your amp's FX Loop. However, if you want to have complete flexibility about the pedal/FX ordering in your overall signal flow then, yes, use 4CM as documented. You can place you existing pedals anywhere - before the HX FX device and/or anywhere else in any of the loop sections/cables. Just make sure all Send/Return points are set to Amp/Instrument (not Line) level. The HX FX device provides you with a series of FX blocks just like analog pedals, with its own FX loop that allows you to tap into your amp's preamp section at any point in the chain. You can add external pedals anywhere except, of course, 'within' the HX FX box.

Check the Hum parameter in the Amp block. Perhaps it has somehow been adjusted?

Ummm, yeah. that’s the question I answered. You can do that.

Right. Sorry about the typo, and thanks for the correction. Also you might find it more practical with an acoustic guitar to record the guitar and vocal parts separately, not simultaneously. Presumably you won’t want the acoustic guitar to be picked up in the vocal track. For the same reason you will want to use headphones for the backing tracks when recording vocals.

Yes, you can use the USB connection to run both a DAW (recording program) and Pod GO Edit simultaneously.

Sure, you can do that using the Helix as your audio interface. You’ll need to use the Line 6 ASIO driver which likely is already installed on your computer as part of the HX Edit installation package. Just connect your Helix to your computer via USB and configure the audio settings in Reaper to use the Helix with its 8 USB channels as Reaper’s audio input and output device. Connect your acoustic guitar to the Helix Guitar input and your mic to the Helix Mic input. Use a dual path preset in Helix, one for guitar and the other for vocals. Set your path Input blocks accordingly. Make sure to adjust the Mic Gain level appropriately in Global Settings. If using a condenser mic make sure you enable phantom power. Set the Output block in your guitar path to USB 1/2. Set the Output block for your vocal path to USB 3/4. In Global settings, check the USB 7 and 8 assignments. By default I think these are USB 7 for Mic and USB 8 for Guitar. You can record 4 useful tracks simultaneously in Reaper. Arm 2 mono and 2 stereo tracks for recording. Assign the Record Input for the wet guitar track to USB 1/2, and USB 8 for the mono dry guitar track. Similarly, use USB 3/4 and 8 for the vocal wet and dry tracks. If you have Helix Native (or any other plugins) you can use it post-recording on your dry tracks.

The short answer is Yes, you can do that. But it’s not so simple. The setup depends on how you wish to use the external looper. If you only want to use it to playback pre-recorded loops that exist in the looper pedal you could set it up differently than if you also want to use it to record and playback loops during live play. In the latter case you would also have to consider whether you want it to record the entire signal chain or if there can be portions of the signal chain (e.g. certain FX blocks) that you don’t care about recording in the loop. First off, do you have an existing 4CM setup using your amp and HX FX? If so, you must currently be using an FX Loop block in your HX FX. If that’s not the case, it suggests that your HX FX sits in the FX Loop of your amp, and you actually have a 3CM setup: Guitar (cable) -> Amp -> Amp Send (cable) to HX FX Input -> HX FX Output (cable) to Amp Return. Please provide exact details of your existing cabling and setup, as well as your intended use of the external looper. Knowing that, we can better answer your question.

Please provide more setup and cabling details. Which device is in the FX Loop of the other? Which device is your guitar connected to, and which device is connected to your external speakers? The answer to your question is probably yes, but your setup will determine which settings on which device need to be adjusted.

I’m glad to hear that you’re getting help and support. Thanks for letting us know. I sincerely hope your journey of healing leads to a better place for you and your family.

As I understand it you are putting your HX FX device in the amp's FX Loop, correct? So your signal path is: Guitar -> Amp Guitar In -> Amp FX Loop Send - > HX FX -> Amp Fx Loop Return ..... Is that right? This setup is equivalent to putting a series of analog pedals in your amp's FX Loop. You are just using the HX FX device as a simple series of FX blocks/pedals. Nothing wrong with doing that, but you don't need/want to use the FX Loop in the HX FX device. You have 3 cables involved: your guitar to amp, the amp FX Send to the HX FX Guitar Input and the HX FX Output to the amp FX Return. Your HX FX preset should not use an FX Loop block. Make sure the Send/Receive signal levels between both cables connecting the amp to the HX FX are compatible (e.g. avoid sending a Line level signal from the amp FX Loop to the HX FX Guitar Input). If you want more flexibility with your routing, including making use of theFX Loop in the HX FX device you will need to move to 4CM.

It's the Divided Duo Helix.amp model. http://www.dividedby13.com/jrt915.html

First off, I suggest you use either the HX Stomp (with the Line 6 ASIO driver) or a different audio interface for recording. I would avoid trying to use both, at least on Windows systems. Don't know about Mac. I think the HX Stomp is able to meet your requirements. For details, download the manual and read the section on USB Audio, particularly the DI Recording and Reamping section. As I understand it you can use the Guitar input to simultaneously record your dry (and optionally processed) guitar signal, while also simultaneously record the bass guitar DI (dry) using the Stomp's Aux In connection. If you apply guitar FX processing while recording you may introduce latency. I tend to only apply the guitar plug-in processing to the dry track after recording it. During recording I monitor latency-free using the Helix device.

Ha! Don’t worry. Sometimes I sleep. ;-)

What version of HX Edit and device firmware are you running? You seem to be looking at the Restore Backup feature which is method #1 in my response. For method #2, you need to use the ‘File -> Extract Files From Backup’ feature which was introduced to HX Edit fairly recently. Also, as I mentioned it’s a 2-step process. You can’t extract individual presets. You can extract an entire setlist, which places all individual preset files (*.hlx) into a single folder. Then you need to import the desired one into HX Edit.

There are two ways, both of which assume that you know which Setlist in the backup file contains the desired preset. 1) If you don’t care about overwriting all other presets in the Setlist you can just choose to restore only that Setlist from the backup using the Restore From Backup feature in HX Edit; or 2) If you want to keep the rest of the Setlist untouched you would go through a two-step procedure. First use the HX Edit feature called Extract Files From Backup. In that case you would first extract the given Setlist into a folder on your computer; that puts all presets in the Setlist into the folder. Then drag/drop the desired preset into HX Edit. If you don’t know which Setlist your target preset is in you would have to do method 2 for all setlists until you find the preset.

I may be misunderstanding you. If pasting a snapshot would completely replace the routing and blocks in the existing (target) preset - what's the point of having a target preset? Seems to me it's no longer relevant. Why not just copy the preset that contains the snapshot you want to copy? That, too, will replace all routing and blocks in the target preset, and it's an existing capability. Seems to me you end up in the same place. What am I missing?

I’m sorry to hear of your situation. If you haven’t done so already, please seek local counselling. I think you would benefit greatly by talking to a qualified professional about your trauma.

https://line6.com/data/6/0a060b316ac34f0593f9471cf/application/pdf/M13/M9/M5 Model Gallery - English ( Rev D ).pdf https://line6.com/data/6/0a060b316ac34f05940701d12/application/pdf/Stompbox Pilot's Guide - English .pdf

Since you are routing the output to a physical guitar amp, make sure you are using the preamp version of all amps. If you use the full amp model, including cab/mic models, and route that output to a physical guitar amp I would expect it to sound…. nasal and thin.

In order to copy a snapshot between presets I think the two presets would need to be identical in terms of blocks and routing. The same exact blocks would need to appear in the presets in the same exact order. They may even need to be identical in terms of which parameters are assigned to the Snapshot controller. Even if implemented I don’t think it would be very practical or commonly used.

Snapshot copy only works within a given preset. Not between presets. And yes, the only way to ‘delete’ a preset is to copy another preset over it.

No, there’s no way to identify the sort of IR that is missing. The preset creator/poster should include that information in the notes when they post the preset. If they don’t you really have no option but experiment with different cab/IR blocks. There’s no way of knowing what the preset creator was going for in terms of ‘original sound’.

I generally do it by ear but I know many use meters of some sort. There are many threads in here that discuss this so you will get other ideas by searching and reading. But here’s how I approach(ed) it: Start by setting your Main Output volume level at about 80% or even higher. This will deliver a strong clear signal to the outputs - something the FOH willl appreciate. There are two main controls that I use - the Volume setting in the Mixer block and the Volume setting in the Amp block. These are best because they don’t affect the tone. You can obviously adjust the amp Gain/Drive parameter, or Master Volume parameter but they also have a dramatic effect on tone. I haven’t found a good way to do this other than one preset at a time. Begin with your clean presets and adjust the above parameters until you can switch among all of them without causing noticeable volume level issues. Then move on to the crunchy tones, and finally the hi-gain tones. It takes time but you’ll get there. After normalizing all existing presets you’ll quickly learn to get any new presets to the same level.

No there’s no way to decouple the main volume knob from the outputs. That’s its job. Otherwise, what would the volume knob control? And the main volume is at a fixed level; the issue is the different volume levels among your presets. You shouldn’t have to change the main volume level often. The intent is to balance the output level of all your presets so that you don’t have to adjust the main volume knob when you change presets. You want to be able to set the main volume level at the beginning of each session, based on the room you’re in, and then not touch it again. Ideally you want the main volume knob at a fairly high level to deliver a strong clear signal to the amp/speakers/mixer. There are many threads here that discuss options for levelling the volume of presets. Search and read. The preferred options are to use the amp’s Channel Volume setting (not Drive or Master Volume, both of which affect tone), and/or the Output blocks’s Level setting. Start by setting the main volume knob at about 80%. Begin with your clean patches and adjust the above settings in each patch until there is no noticeable difference in overall volume level when you switch among them. Then move on to your crunch patches, then your hi-gain stuff. It will take some time and attention but will be worth it.