silverhead

Oh yeah! TONS more. And all of them will go to 11! There's even some that will require the new PowerCab ++ Titanium product. If you use these amps without the new cab you'll blow the speaker instantly. At least that's what I've heard on the interwebs. Can't remember exactly where at the moment.....

Open a support ticket or call Line 6. See 'Contact Us' at the bottom of this page.

I expect you've checked this already, but just to be sure..... have you tested using different headphones?

1) HX Edit includes a full system backup/restore capability. This restores all IRs to their proper locations. 2) Not sure I understand this completely but there''s really no way to easily audition new IRs with existing presets that reference IRs without doing 1 of 2 things. Either import all IRs at once into unused IR slots and then edit the preset(s) to reference the new slots, or import the IRs one at a time into the slot currently referenced by the preset. For simplified IR management many people rename the IRs to include a 3-digit prefix that indicates the IR slot number used in the presets. You can then save them in a folder in your computer - a folder eventually containing up to 128 files named 001-<IR name> to 128-<IR name>.

I do this too. Before updating firmware I make a full backup which includes global settings and IRs. Then I backup all custom setlists individually. Afer updating I restore Factory Setlists then make a backup of the latest versions of these. Then I restore the full backup except for the new Factory setlists (you can select the setlists you want to restore). I then have all individual setlists, including Factory, in reserve if I ever need/want them.

This thread is more than 4 yrs old. You might get better exposure if you start a new thread. Having said that, nothing wrong with responding here.... I suggest you open a support ticket to get an informed diagnosis of what the problem might be before (perhaps unnecessarily) taking the guitar apart. If Line 6 says it needs servicing then you can decide whether to send it in or attempt the DIY approach. Warranty considerations may apply.

Note: HX Edit v2.52 includes the Backup and Restore capabilities. This allows you to back up the full state of your Helix device, including IRS and Global Settings. I suggest you do this, as well as backing up individual setlists, before you update to v2.82. After updating you can then Restore your v2.52 backup into v2.82 HX Edit. This should eliminate the need to manually note your Global Settings before updating and will also restore your IRs to their proper locations.

I believe the model packs will survive a firmware update/installation. They will disappear if/when you run the License Manager.

First, identify the firmware version that is currently installed on your Helix device. Then download and install the compatible version (same or nearest prior version number) of HX Edit. Use this version of the editor to create backups of all your individual setlists. Also note all your non-default global settings - these will be reset during a firmware update. Once you have created the backups download and install HX Edit version 2.82 and carefully follow the detailed firmware update instructions.

..... but if you want to do it anyway, create a 3rd snapshot that has all blocks that are ON in either the Fender and Walsh snapshots turned ON. However, if the same FX block is already ON in both other snapshots but has different parameter value settings ... well, you have to pick one or the other. OR duplicate the FX block so that you can use both sets of parameter values. Which, of course, will lead to the wall of mud.

Here's one fairly effective way, I think, to be able to respond to short-notice cover gigs. Create 3 or 4 presets in a single bank that will cover a very wide range of sounds: clean, crunch, heavy gain, and perhaps a fourth if desired (ambient?). Within each preset create 4 snapshots that can cover a range of styles within the genre. For instance, the clean preset might use snapshots providing varying degrees of delay, chorus, light distortion, etc as desired. Use scribble strips to name both the presets and snapshots in a manner that makes sense to you (e.g. Verse, Lead, Rhythm, ... whatever). Also you may want to assign individual FX blocks to footswitches for on/off or parameter min/max values; if you do this make sure you set the Snapshot Edit global parameter to Discard, not Recall. Spend a good deal of time balancing levels among all these presets and snapshots so that you do not experience wild volume fluctuations as you switch among them all. For performing use the Preset/Snap and 10 switches views. You will be able to switch presets (between songs) with a single footswitch. During a song you can change snapshots with a single footswitch. You can also use the Mode switch at any time to display and use the individual FX block on/off switches. (Note: this is why it's important to set the Snapshot Edits parameter to Discard. If set to Recall your on/off changes in the Mode view will be retained and this will surprise you next time you recall the Snapshot. Surprises are not pleasant in real time. Of course, you may in fact want the Recall setting but it's important to understand what's going on here.) If you spend a lot of time doing this until you're satisfied you will be able to handle most cover gigs with little advance tweaking. Most of your prep will involve deciding which presets/snapshots to use for each song in the songlist, and writing down your cheat sheets. As an example, "SongnameX - use the Crunch preset, Snapshot 2. During the solo turn on the Dist FX".. At the gig venue you will just need to manage the master volume and perhaps global EQ, although in both cases a competent sound guy should be able to take that on.

Yes - living is fatal.

You need to download the editor program to your computer. You'll find it in the Downloads section of this website (see top of this page). Select 'Spider V Remote' in the Software field. (I'm assuming this is your product since this post is in the Spider V sub-forum.)

I'm not jumping on the OP for his request and I didn't say it's out of line. I was responding to the "P.S." in his post. I am saying that he knows exactly what he is doing (stirring a well-recognized pot) and that contrary to his claim he is not sorry about it or he wouldn't have done it.

The VOL pedal at the front of the signal chain acts much like the Guitar Vol knob. Increasing the level impacts the amount of gain/distortion effect. The VOL pedal at the end of the signal chain acts like a master volume level, increasing the volume but not affecting the FX. Keep in mind that the human ear is also responsive to volume level according to the Fletcher-Munson effect. At lower volume levels we hear effects such as gain/distortion quite differently; the louder the level the more we hear them. It's simple physics that you don't hear a 'satisfying' crunch at low volume levels.

Sorry? C'mon, man.

I agree with the above comments by cruisinon2. To illustrate....., to my knowledge L6t format tone files are compatible with one (but likely only one) of several earlier Line 6 multi-FX products such as Pod XT or Pod X3. The respective editors for those products require that the associated hardware device be connected in order to load and inspect the tone file in the editor. So in my opinion the effort you would have to go through to achieve what you want is: 1) identify which hardware device your specific L6t tone file is compatible with; 2) obtain the associated hardware device and connect it to your computer; 3) download and install the device editor; 4) listen to the preset/tone. IF you like it, proceed..... 5) manually take detailed notes of the preset, including all blocks and parameter settings. 6) reconstruct the preset in Helix based on your notes in step 5. 7) listen to the sound and compare it to the sound in step 4. For the reasons mentioned by cruisinon2 you will likely be very surprised and disappointed 8) begin tweaking in HX Edit to achieve the tone you imagined. OR..... forget steps 1-7, listen to cruisinon2, and begin with step 8.

I would consider the HX FX rather than the M13. It has everything the M13 has and more, and has a better future. In fact I have just ordered an HX FX with exactly this purpose in mind - replacing the HD500 in a DT-25 setup. I believe the HX FX presets can control the DT-25 configuration using instant MIDI commands but that remains to be confirmed (by me, at least. Others?)

I think you answered your own question. The more FX you apply (especially heavy gain/distortion) the more the FX outweigh the natural guitar signal. The inverse of that is also true: the less/fewer FX you apply the more the natural guitar signal is heard.

Have you opened a support ticket? I suppose it's possible, though highly unlikely, that there's a hardware fault in the memory chipset at the location associated with that preset. Line 6 support may be able to decode the specific error messages.

I'm not sure how magical it was but yes, they did have to do something to make the old models compatible with Helix. What I am saying is that this 'something' involved porting the software/coding of the old models so that it would run on the Helix hardware. What they did NOT do was start from scratch, draggng the physical analog device on which the Legacy model was based from storage and apply the new Helix modelling technology to create completely new DSP software for that analog device. It was a port of old DSP software, not new DSP software creation.

The receiver is a 1/2 rack dimension, so slightly less than 9.5" wide (half of 19") and 1.75" high. Depth is approx 9" but I can't say exactly. Transmitter is in the handheld microphone which, well, fits in your hand ;-). The system includes a carrying case for the mic.

I understand your problem in general but I am unclear on the details of the procedure that you have already used. Please elaborate on what you mean by 'copy/pasting to clear it out to use the new preset templates...' Once I understand that I may be able to suggest alternative methods.

This is not a fairly simple matter of just sync'ing two time-based signals. Right now the Looper has no concept of tempo so there's nothing to sync. It's simply a recorder that captures a non-tempo-based audio signal for the time duration book-ended by the start/stop signals. But within that duration there is no concept of bars, beats or bpm. Before it could be synced to tempo the Looper would have to be completely overhauled to include tempo. Not likely to happen in this product. But who knows? It's certainly worth posting the suggestion in Ideascale, or upvoting it if it's already there. At the very least it can be considered for future product development.

The Legacy category of FX are ported to Helix from earlier modeling technologies; they are not based on Helix modeling. They don't work any differently but they were built differently. Nonetheless they are very good and popular models and Line 6 decided to make them available in Helix but tagged them as Legacy for easy identification.