silverhead

Very interesting. Please double check your connections and settings. Do you also have your keyboard connected to the computer via USB? What midi device is your DAW configured to use? I think the OP is talking about the situation where your keyboard is connected only to the POD HD MIDI IN/THRU port, with no direct connection to the computer, and also where the DAW recognizes the POD as its midi device. Please confirm that this is your setup. If so, it seems that Line 6 has made a major upgrade in its midi implementation without announcing it.

I expect you would need to go through Sweetwater. They are the ones who are responsible for honouring the second year of the warranty, not Line 6 nor the local service center. The local service center gets paid for their work, by the warranty provider (no longer Line 6) or by the customer. Sweetwater will have to authorize the work and make the payment.

I know. As am I..... I think I finally get what you mean, and what you describe might work. Throw it on ideascale. I still think it might be more complex than we think, and the ROI might be low, but I guess that's up to Line 6 to decide.

Whether it's the toe switch or a footswitch, the issue is its operation. Even if you assign a footswitch to 'toggle' between exp1 and exp2, what exactly are you toggling? Are you just switching the pedal sweep as controller of the wah vs. vol FX, or are you also turning the associated FX on/off at the same time? The way the toe switch is implemented, is also turns the FX on/off. In other words, when you switch from exp1 (wah) to exp2 (vol) the wah FX is turned off. Same thing the other way, which is another reason (not only the pedal position being at max when you switch) why the VOL FX is always at max when you are operating the wah; the VOL FX has been turned off by the toe switch, and when it is off (bypassed) it operates at its assigned max. So, yes, you still have the problem of the Vol being at max. The alternative, I suppose, is to have a footswitch that does not turn the associated FX on/off - it just toggles the operation of the pedal as controller of the two FX. But do you really want the Wah FX to remain on when you switch the pedal to Vol controller? Hence the complexity about which phil_m speaks............ If you can come up with a simple explanation and implementation of how some combination of the onboard toe switch, pedal and footswitch(es) could work, please describe it and then it will make a good ideascale submission.. I think the requirement is that the implementation allows the VOL FX to remain on with its level somewhere between min/max levels while you switch the pedal sweep to control the WAH FX (simultaneously turning it on) and then be able to switch the pedal sweep back to Vol and have the WAH FX simultaneously turn off.........

No - the POD HD does not provide a full midi implementation. In particular, the note on/off messages from your keyboard are ignored by the POD and will not be passed through to your PC.

I moved this thread from Lounge area to improve visibility.

Check out this thread.... http://line6.com/support/topic/17062-hd-500x-strange-behavior-with-expression-pedal-controlling-parameters/ I'm not sure that Helix behaves exactly like the HD500 but I expect so.

Maybe you could post a sound sample of the preset you are talking about through both devices? If they are as completely different as you describe then maybe someone here will have had a similar experience and can point to a real problem that was eventually resolved.

Why does it matter?

I'm not sure there's a 'problem' at all. You're getting a different sound from two different models of POD devices. That doesn't surprise me even though I understand the underlying amps and modelling is the same. Why expect them to sound absolutely identical, and when they don't, conclude that there is a problem that needs solving? The real question is: can you get sounds out of the Pod Pro that you like? Maybe even better than the pod 2.0? Also, it seems like you now have both devices. Why not just use the one you prefer in different situations?

Make sure you select the MIC (not guitar) signal from the UX1 as the Record Source (input) to your GarageBand / Logic Pro track for recording.

You need to make sure the wall wart you are using matches these specs exactly: http://store.line6.com/accessories/px-2g-ac-power-supply.html

It sounds from your description of using FS8 that you may be thinking of using only one preset/patch for the whole performance. I think the simplest thing to do for a live setting is to use several different presets (patches) corresponding to your different songs or basic tone types. I would set the FS Mode = ABCD (see Menu settings Page 1). That way the top row of footswitches (1-4) controls your FX and the bottom row is used to switch to the four available presets in the current bank (A-D, also numbered 5-8). If you prefer to use all 8 FS for FX you can use FS Mode = FS5-8, but it means you will have to use two presses of the footswitches to change presets. Use different presets for your different amps - clean, crunch, overdrive, and/or whatever. In each preset, select your preferred FX (Comp, Dist, Chorus, Delay, Reverb,...) and assign any of them to the 4 available footswitches 1-4. Save the presets in the state in which you want them recalled (i.e. set each FX ON/OFF as desired). Then, when playing live, you use the A-D footswitches to recall any one of the four presets in the current bank, and then FS1-4 to turn FX on/off during play. For more presets, use different banks to save/recall presets in groups of four. You could use this strategy to prepare up to four presets per song/type. In other words you could dedicate Bank 1 (presets 1A through 1D) to clean tones. You could have different clean amps with a similar set of FX, or different clean amps with a somewhat different set of FX. Then dedicate Bank 2 (presets 2A through 2D) to different blues tones, with one of the being a fairly clean rhythm tone, another being a more crunchy rhythm tone, and one being a lead solo tone. The possibilities are endless - it's a matter of finding what's right for you. But you'll find yourself severely limited if you try to use only one preset for the whole performance.

There's a notch on the L3t level knob about the mid-range (50%) point. Try to keep the speaker level there and adjust the Pod Master output level until you have the overall level you want.

Another thought..... A thin sound, especially through headphones, is often the result of using a pre-amp in the preset, rather than the full version of the amp that includes a cab/mic simulation. Listening through headphones with no cab/mic sim will usually sound thin.

Well, you've likely had the xt for years and have been tweaking and honing your tone to perfection (for your taste/style). You can't have had Helix long enough to really get to know it yet. Your tones (and much better than xt if you work at it) are in there! Be patient and experiment.

What Line 6 device are you using? What computer? What OS? Are you using Pod Farm when recording?

What you're doing is best, imho. I always save setlists, not the whole bundle, for exactly the reason you mention. Sometimes a firmware update can include new factory presets or even a new setlist which you would overwrite by reloading the entire saved bundle. For me, saving setlists is the most flexible way to do it.

Please confirm that you are using the Line 6 ASIO driver.

Audacity typically defaults to an ASIO driver (well, a kind-of-driver) called ASIO4ALL. If this is the current setting, change it to the Line 6 ASIO driver and specify the UX2 as both the audio input and output device. ASIO4ALL is known to cause issues with true ASIO devices like the Line 6 devices.

Please give us some info about your equipment. I presume you're using a Line 6 audio device. Which one? What computer OS are you using? What recording software? What are you using the mic for - vocal or instrument? What instrument?

What Line 6 looping device are you using? Line 6 loopers (except perhaps for the JM-4 looper) have no concept of tempo, beats, or timing. Recording starts when you press the footswitch and ends when you press it again. It's up to you to start/stop the loop recording on the 'beat' that is in your head. If you start recording before you start playing on the beat, or stop after the beat, the looper will record the silence before/after you start/stop playing.

That would be best. But if the seller won't/can't do that at the point of sale, visually inspect the USB port. You should see a piece of black plastic in the port. If that is missing and you can see the exposed connection pins, the port is damaged and likely doesn't work. That's a deal-breaker. Don't buy it.

Yes - that idea requires a design that includes dynamic DSP allocation, like the Pod HD500X. With dynamic DSP the user can keep placing FX blocks of any type in any order until the DSP limit of the device is inevitably reached. Then you can't add any more, and you get the system message that says "DSP Limit Reached". That's one design approach. The other, and more common, design approach is to constrain the number and placement of FX blocks so that the DSP limit can never be reached, and the user never sees such a message. That's the design that Firehawk uses, with the constraint that some FX blocks are fixed in type. That explains why you can't swap an EQ block for another (more DSP-intensive) FX type like Delay or Mod. You have a smaller number of FX blocks that are fully assignable in order to ensure that the DSP limit is never exceeded. .... so the short story is that you will never see fully flexible FX block assignment in Firehawk. If you really need that sort of design, look at the HD500X.

I suggest you reinstall the Firehawk firmware, preferably using the usb connection rather than Bluetooth. That error is usually a symptom of incompatible or corrupt presets/patches being loaded from the cloud. Some patches originally created in very early versions of Firehawk firmware can cause this.