silverhead

I don’t understand what you mean by ‘the Snapshot icon on screen’. Can you elaborate?

No. The FX Loop block itself consumes a small amount of the POD Go’s DSP capacity. That does not change whether or not it is on or off, and whether or not external pedals are connected.

The Command Center operates on a preset basis. You should not assign a looper function to an already assigned switch in the same preset, and once the looper function is assigned to a footswitch you should not assign another function to the same switch.

Yes it makes a difference. If you set Snapshots Edit to Recall you won't have to SAVE the preset after editing each snapshot. You can just SAVE the preset once, after you've finished all snapshot edits. Give it a try. Note: You may want to set it back to Discard after your editing session. Sometimes the Recall setting can play havoc when playing live.

The word 'good' in all your criteria makes this difficult since it's so subjective. Both devices provide 'good' results in all your criteria, imho. But your good and my good may be different. If you can be more specific and quantitative that would help. Consider their technical and differences differences - e.g. size, number of switches, number of simultaneous FX, built-in expression pedal, ..... You don't mention any of those considerations in your criteria. Are NONE of those important to you?

It sounds like a hardware failure of some sort. Your X3 probably needs servicing at an authorized Line 6 service centre. https://line6.com/support/tickets/

.... and after you’ve used your old Firehawk device to save them to My Tones (the cloud) you can disconnect your old Firehawk from Bluetooth. Establish a new Bluetooth connection to the app using your new Firehawk. You can then transfer all of your presets in My Tones, one by one, to your new Firehawk by using the Store on Firehawk option for saving tones.

I suspect it has something to do with your USB connection. Try different USB ports on your computer (USB 2, not 3; avoid using a hub); try a different cable.

C’mon man! The turtle is standing on another turtle, who’s standing on yet another turtle. It’s just turtles, all the way down.

Also check that the Level settings on your Helix outputs are matched with your speaker’s expected input level. (line vs. amp)

This phenomenon is wired into the human ear. Google the Fletcher-Munson effect. It’s why guitarists should build their tones at stage volume.

There are two concepts here and we tend to use the term DSP to refer to both which can cause confusion. The first concept is DSP (Digital Signal Processing). The DSP in a device refers to the actual algorithms that produce the output signal. The quality of the DSP is critical to the sound. The second concept is DSP Capacity which is essentially the processing power of the device and its ability (or not) to handle powerful DSP. This is different from the DSP itself and is embedded in the machine architecture. When we say that the device is running out of DSP we typically mean DSP Capacity. The algorithms are still there. Increasing DSP capacity will not by itself improve the sound quality. It might allow the device to support more powerful DSP but it won’t deliver better sound unless the DSP itself is improved. The evolution of computing is a constant leapfrogging of better hardware and software, with an improvement in one enabling or demanding an improvement in the other.

Contact Line 6. It’s not a self-appointed capability.

The most common explanation for this is the output connections from Helix. I believe Jason’s presets are designed for direct output to studio monitors, FRFR speakers, or mixer/PA system. If your Helix output is connected to the input of a regular guitar amp it’s almost guaranteed to sound like $hite. Describe your output equipment and we’ll ty to help.

Yes. I think if your first few taps are not right you’re best to wait at least 2 seconds and start over. Then try to do three or four accurate taps. You don’t really need 10 as long as you’re paying attention at the start.

You’re welcome. Glad you got it sorted out.

. Actually I call myself CDO now. I can’t stand that they’re not alphabetical! ;-)

2 seconds according to my observations.

The Input-Z parameter is only available through the 1/4” Guitar input on Helix. It is an analog circuit and does not affect the VDI input.

One of the bugs in v2.90 was Tap Tempo. I believe it's now fixed in v2.91 but I never really noticed the bug so can't confirm that it's been fixed. However, the discussion at the time left me with an unresolved question: How many 'taps' in sequence are considered in the calculation of the tempo that is then applied to time-based FX? Clearly if you only tap twice that defines a specific tempo based on the one interval between the two taps. But what if you tap 3 times? Does it take an average of the two intervals or only use the final interval? And if it takes an average of a sequence of taps, what is the maximum number of taps/intervals it uses to calculate the final tempo? So I did some further testing. My initial (poor) testing told me at the time that only the final two taps were considered and I stated that wrongly in one of my posts. Time to correct myself. Further testing shows that Helix takes an average of up to 10 (yes, 10) taps! That surprised me. To test for yourself use a metronome at 60bpm. Test#1: Tap the full beat once. This requires two taps. (counting 1...2) Observe that the tempo is set to 60bpm (more or less depending on the accuracy your tap timing). Test #2: Tap the full beat once followed by two half-beat taps (1...2.&.3). Notice that the tempo calculated up to any point is displayed immediately after each tap. Observe that the final tempo in this test is set to 90bpm, the average of the three intervals created by the 4 taps. The final tempo is not 120bpm which is the duration of the last two taps that define the third and final interval. Repeat this test reversing the intervals. (1.&.2...3). The average is still 90bpm. Test#3 and onward: Continue tapping the half-beat after the first full beat for multiple different trials (1...2.&.3.&.4), then (1...2.&.3.&.4.&.5). In each trial observe that the final tempo increases following each tap until you have completed at least 10 taps, after which the calculated tempo finally ignores the first long tap and settles at 120bpm (again depending on the accuracy of your tapping). So what does this mean? For those of us who use Tap Tempo in a live setting we should tap at least 10 times to get the best accuracy. In particular, DON'T make an erratic first few taps and then stop after you've tapped accurately 3 or 4 times. Those first few badly timed ones will count and throw your time-based FX off tempo! And yes, I am a bit OCD. This was just bugging me!

Indeed. Those hippos are just so damn greedy and selfish.

Just an FYI.... The Helix Native manual has been update to v1.90 (compatible with Helix v2.90). Many of the features and operations are similar if not identical. The Native manual might help with features that have been introduced to Helix since v2.0.

The message you are getting is correct. The device presets are not compatible. You can’t load a Helix preset into the POD Go. The POD Go uses Helix models and DSP algorithms and the sounds are virtually identical. That doesn’t mean the presets are compatible. It does mean that if you manually recreate a simple Helix preset in the POD Go the sound of the two presets will be very close if not identical. I say a ‘simple’ Helix preset because the POD Go preset structure is much more limited than Helix. That’s why the presets are incompatible. ... and no, there is no preset converter.

I didn’t know about that freebie..... Thanks hurghanico.

Since at least a couple of people have found this analogy useful, let me expand on it to answer a question that comes up repeatedly: How can I delete a preset? Not just overwrite it - I want to DELETE it! As described above a setlist is an organizer. A shelf holding 128 little boxes can still be quite disorganized with boxes piled in any manner. So let’s subdivide each shelf into 128 identical compartments, in a 32x4 grid. And let’s index each box so that it has its own location in the grid and never moves. You can choose one of two index methods - number them 000-127, or consider rows and columns from 1A to 32D. The point is that each box is ALWAYS in the same location. You can put a temporary name on a box and change the contents of the box at any time, but you can’t change it’s location and you can’t pretend that it’s not there. It’s always there. You can empty the box but you can’t throw it away. Copying New Preset (a preset with no blocks) into any box is deleting the preset.