somebodyelse

The user manual. Jason Sadites on Youtube. Years of learning.

I do the sums on a calculator, though 120bpm I can figure out in my head.

Try - Closing & re-opening HX Edit. Switching HXFX off and back on. Reboot computer. Re-install HX Edit. Factory reset of HXFX. - one at a time. If none of them fix it, talk to Line 6 Support.

250 ms will give you the '1 and...', but you'll also have repeats on the beat. If you put the delay on a parallel path, 100% wet with 0% feedback, 250ms, you should get a single repeat on the 'and', then add a second delay directly after (also on the parallel path) set to 500ms, 100% wet, feedback to taste, and adjust the 'dry/wet mix' with the return block level. This will give you a repeat on every 'and', but not on the beat. EDIT: Thanks to @datacommandogetting my grey matter jumpstarted further down, it occurred to me that a simple Multitap 4 block set to 1s delay time, 25% and 75% taps (the other two taps silenced), mix and feedback to taste. This can be used without the need to employ a parallel path.

You're welcome. I use PCs with the L6 Link. In my case, I don't have any presets set up on the PC, aside from the stock ones. I went in and adjusted the Global settings on the Powercabs, I do all my 'preset' shenanigans in the Helix. As far as I remember, you can make all the same changes on the Helix to the PC preset that you can on the PC itself, it's just that those changes are saved in the Helix preset and not on the PC, the downside being that you have to enter those settings every time you make a new Helix preset. I think, it amounts to doing the same thing as switching Powercab presets via MIDI, except you're just sending info that temporarily edits the selected preset.

Saw this and replied straight away, so apologies if it was mentioned in other posts. In my case, as I mentioned earlier I'm trying to replicate my Triaxis-based setup, I have the MkIV Rhythm model and the MkIV Lead model in the same preset. What I've done is employ a split A/B block and put them on parallel paths. I have Snapshots setup that are set to 'direct' the signal down either Path A or Path B, depending on the sound I want. If your preference is to have it set up like a traditional stompbox pedal board, you could employ one footswitch to simultaneously switch one amp model off and switch the other on, as if you were channel switching on a conventional amp. Whether it would be seamless, I don't know, as I haven't tried it, but the snapshot method is seamless. Even if it isn't I would doubt the transition would be any slower than switching channels on an amp... c'mon, we're both oldies (I'm 57), we're used to dealing with it. ;) The reason I use snapshots is because I'm used to having a MIDI floor unit switch my amp and effect on one press of a footswitch, which the snapshot mode allows me to do. You have lots of options and it's almost certain it can be set up to do exactly what you want it to do. Take time to learn it. It's overwhelming at first, but you soon find it's not as complicated as you thought. There are plenty of willing helpers here, for when you get stuck.

The clue is in the name. If you wanted amps/cabs, there are other options in the range. IIRC, when HXFX was released your options were Helix Rack, Helix Floor, Helix LT. All about a grand and above. The HX FX came along for people who didn't want/need amp modelling, but wanted the same quality in effects modelling. You have to remember, the market wasn't flooded with the level of modellers then, that it is today. Up until only 2 or 3 years ago, the 'which is best' argument was 'Helix vs Axe FX vs Kemper'. The other stuff hasn't been around as long as it seems.

Hmm? In HX Edit, on the output block you have a tab for adjusting the Powercab setup, BUT be aware it doesn't switch the PC's presets, it just changes the settings (temporarily) within the preset that is selected on the PC, and you'll need to be connected using the L6 Link for it to do that. If you want the Helix to switch presets on the Powercab, you'll have to do that using MIDI commands down MIDI cables.

Apologies if I missed that in your post - cut me some slack, I'm sight impaired :D

In theory, 'amp + cab' in to a PA/FRFR cab. 'Amp only' in to an amp + cab. In the real world, do whatever sounds best. Experiment - within the bounds of the unit, you can't break anything. Worst case, it'll sound like sh*t, but as long as you know why, it's all good. It's the best way to find out what works and hat doesn't. PS: My real world rig for the last 30 years involved using a Mesa Triaxis. The Mk IV models get me exactly the same sounds, so if you don't get your results straight away by just replicating the same 'numbers' in the Helix, keep working away at it - you will get there. In terms of having 'a PA setup and an amp setup', if it were me I'd write my presets and then setup Snapshots in each one with the cab turned off, for the occasions when you go through the amp and speaker. Alternatively, and perhaps a more practical way would be to write your presets with a send block between the amp and cab blocks, then use the main Helix output when you use a PA, and a send output when you use an amp - this way, you only have to remember where to plug the cable depending on which monitoring system you're using, and you could actually use an amp and PA at the same time if the occasion arose. Don't be afraid to come back with questions if any of this doesn't make sense.

A couple of other reasons (in theory), balanced cables should be less prone to picking up 'stray noise', and (correct me if I'm wrong) they are better for taking signal long distances without loss of high end signal.

How ironic. Just yesterday, youtube put a Jason Sadites video in my 'feed' explaining exactly how to do this. Initially, you might think this doesn't apply to you, but give it a watch, anyway.

Not familiar with the Spider, but it sounds like you need to go to the Global settings - the button with the three lines - Footswitch settings, turn Knob 2 from '8 presets' to 'Stomp/Preset'. This will give you four presets on FS8-11 and four stompboxes (from the selected preset) on FS2-5. Hope this is what you mean. In terms of the best monitoring system to play through... sheesh? I have both a Powercab 112+ & 212+ and am very happy with them. Other people hate 'em. Maybe I know something they don't? Maybe I have cloth ears - though based on what some of their youtube 'sound-a-like' videos are like, I seriously doubt it's me with the hearing problems. Only advice I've got is really learn the unit. Don't give up after a month. "The tones are in there (Jesse), you just gotta know how to get 'em out" Cheers

^What he said. In addition to being advised to backup, you're also advised at the end to do a factory reset and then restore your backup. In the event you don't have a backup, Global >Footswitches - Knob 2. If I'm understanding you correctly, the unit is defaulting to '8 presets', which is normal, but when you cycle through the modes by pressing both bank buttons, the Snapshot Mode is not displaying as you expect it to? In this case, check the Global/footswitch setting, Knob 2 is set to '8 Presets' or '8 Snapshots' (at either end of the knob travel) and not one of the intermediate settings - it sounds like it might be set to 'Snapshot/Stompbox'.

Oh boy... I have a Helix Floor and a POD Go, and I'm intimately familiar with the LT's manual. The LT can do everything (and much, much more) that the POD Go can do without breaking a sweat. If you're mulling over whether it'd be worth getting a Helix LT, at the price they're selling them in the UK at the moment, it's a 'no brainer'. It's by far the 'best value for the money' product Line 6 currently sells.

Only reason I would do it would be if I wanted to separate my delay & reverb from the dry signal, ie. run the delays and reverb 100% wet, so the reverb is only applied to the delays and not the dry signal, and then adjust their levels on the blocks. I'd actually be more inclined to keep the delayed signal in series, and have the reverb parallel with the delay, so the reverb wasn't applied to the delay. Why is your signal louder? My guess, you're not sending 'half the signal' in to each branch of the signal chain; you're sending two lots of '100%'. If you're not using a 100% mix through the delay or reverb, then you're sending dry signal out of the parallel loop, and it'll sum up when it returns causing it to gain in level. Depending on the latency caused by the DSP demands of some effects you might use on a parallel chain, you can also get a phasing/chorus effect from running a %age of dry signal out of the parallel loop back in to a dry path.

Having notes on a preset in the Editor might be handy, but to be honest, if I want to know what's in the preset, it's only a mouseclick and some reading away. Otherwise, I don't need to know that sh*t in the middle of a show. As for lyrics, chords, blah, blah, blah, I find rehearsals useful for memorising that stuff.

This will fix it - Download the latest versions of the POD Go firmware, Line 6 Updater and POD Go Edit. Start your POD Go whilst holding down the 'Page Right' button. Don't worry about the grey screen. Make sure your computer is not running ANY background music streaming crap like Spotify. Make sure your USB cable is in good nick. Plug the POD Go to your computer. Start Line 6 Updater in Offline Mode'. Select POD Go, select 'Update from file' and try re-installing the v2.0 firmware that you downloaded. If it fails to install, download any previous firmware version and repeat the above. When that installs successfully, close the updater, Switch off the POD Go and do the 'Factory reset' startup procedure. Plug the POD Go in, start up POD Go Edit - NOT the Line 6 Updater. FOLLOW THE INSTRUCTIONS. The update will take about half an hour.

This will fix it - Download the latest versions of the POD Go firmware, Line 6 Updater and POD Go Edit. Start your POD Go whilst holding down the 'Page Right' button. Don't worry about the grey screen. Make sure your computer is not running ANY background music streaming crap like Spotify. Make sure your USB cable is in good nick. Plug the POD Go to your computer. Start Line 6 Updater in Offline Mode'. Select POD Go, select 'Update from file' and try re-installing the v2.0 firmware that you downloaded. If it fails to install, download any previous firmware version and repeat the above. When that installs successfully, close the updater, Switch off the POD Go and do the 'Factory reset' startup procedure. Plug the POD Go in, start up POD Go Edit - NOT the Line 6 Updater. FOLLOW THE INSTRUCTIONS. The update will take about half an hour. Let us know how you get on.

Hmm? THE only time I had a BSOD on W10 was the first time I ran the Line 6 updater when I got my Helix... my first 'rookie error' - should have used HX Edit, not L6 Updater. If I were you, first thing I'd do is plug the Helix in to another computer - laptop if you have one - install HX Edit (latest version + drivers) on that and get me a backup done. This will also help determine if the PC or the Helix/cable is knackered - might be neither... Once that's done, and I got to the bottom of the PC issue (if that was the case), I'd be inclined to update the Helix, but that one's your choice.

Possibly, context. Possibly, it's just a poor preset. Customtone presets are submitted by random peeps on the internet. Some will know what they're doing, some just don't. In terms of 'context', it may be that within a full 'mix', that preset is spot on. How we perceive a guitar part sounds in a mix is not usually how it sounds in isolation. EDIT: Just read your recent post. If the IRs are missing, throw in a cab model that is appropriate to the amp in the preset. The mic placemnt may need adjustng and the low/high cuts may need tweeking, but I'd doubt there'd be a 'night and day' difference between an IR and the stock Helix cab.

My apologies, buddy. In situations like this, I always assume the other person isn't experienced in 'digital' - better to state the obvious than blind someone with science. According to the manual, the Powercab's XLR outs are set to mic by default, so the head-scratching may not be over... I'm going to have a play around here, try something - I don't have a PA, but I might be able to test a theory through my audio interface. I'll be back ;) EDIT: Okay, did a quick experiment. Plugged my POD Go in to a PC112+, using a 1/4" set to Line Level. If you're like me (I suspect this may be the reason for the clipping), you set your preset output levels by using the Powercab input light next to the volume knob - I do 'em so they just tickle the red when I really give it some 'welly'. So, I took an XLR from the PC to a mic input on my audio interface, and with the preset just 'tickling the red' on the PC, with no clipping heard at the speaker, it was making the peak' light on interface blink, even with no gain, and I could hear mild clipping in the headphones. By the way, the XLRs are not affected by the volume knob on the PC. The easiest options are; drop the input level a dB or two in the PC's global settings and turn the volume up to compensate, but this could ruin how your presets sound/feel. Turn down the QC a couple of dB - same 'risk' as altering the PC. The other idea I had... If you're anything like me, you set a preset up, as I said before, to tickle the red in the calm of the living room/rehearsal room. When you hit the stage, the adrenaline kicks in and you hit it a little harder. On clean sounds that can be really 'peaky', whereas in an edge of break-up/distorted sound those peaks tend to be damped a little by the amp/cab model. So, I thought 'compressor at the end of the acoustic preset'. Nothing dramatic, just enough to reign in the peaks when it gets a bit energetic. On the POD (and the Helix) there's one called the 'Deluxe Comp', which has Ratio, Threshold, Attack, Release, Mix Level & Knee controls. Obviously, these are the settings that worked in my situation, but they're a good place to start. I set the ratio to 4:1, the attack to it's lowest possible setting - 0.2ms in this case - the release to 100ms, then brought the threshold down until the Powercab's light stopped turning red, no matter how hard I hit the guitar. I adjusted the compressor output level to until I got the same whether it's on or off and checked that it still wasn't lighting up the red when hitting the guitar hard. When I checked it through the interface, the peak light didn't light, until I wound some gain on, no clipping. No change in sound that I could detect. Result! I ended up with settings as follows - Threshold - -9dB Ratio - 4:1 Attack - 0.2 ms Release - 100ms Mix 100 % Level - 0.0 dB Knee (Default) - 6.0 dB There'll be a similar style of compressor in the QC, I'm sure. Find one, put it last in the chain. It's not about compressing the guitar for tonal reasons, just controlling the attack when the adrenaline kicks in.

My pleasure, mate. I had a similar situation with my Helix, 20 minutes after I got it. Blue screened my PC, too. I got lucky, rebooted 'em both and it carried on, but they usually don't fix themselves like that. Since then, no problems, but I made a point of making sure I know how to recover it, just in case. Line 6 makes them so that if an update fails, you can get it working again pretty quickly. I actually deliberately screwed my new POD Go a couple of weeks back, just to prove I could get it working again. Keep on plucking.

Hmm? Okay, if it was a Helix, in place of the QC, I'd suggest that the XLR to PA needs level matching. You need to check whether the PA mixer takes a mic level or line level and set the XLR to match it. The PC takes line level input signal, so the QC should be set to send line level signal to it. Now, if that was set incorrectly when you set the preset up, then it's plausible that you may have set your levels within the preset 'wrong' to (subconsciously) compensate for a mismatch. If that was the case, then you'd potentially get level headaches 'down the line' when using other output situations. Now, as said previously, I don't know the Quad Cortex; my 'advice' is based on my Helix experience, but I'm assuming the QC will have pretty much all the same settings for sending and receiving signal. Again, those levels need to be right. Your preset may still be clipping or too quiet, BUT you have to remember, if the preset was written with those levels wrong, then it will need revising. EDIT: Just occurred to me... Did you mean the XLR out from the Powercab, or the Quad Cortex? If from the Powercab, it might be the XLR output is set to Line Level when it needs to be set to Mic Level - Another trip in to Global settings ;) If it's the QC's XLR out... I downloaded the manual, but I'm hoping you mean the PC XLR out :)

No probs. Like I said, I haven't used it for acoustic, so far, but that HF Trim setting has helped for electric. I wouldn't think it would hurt acoustic guitar, either. Theoretically, high cutting the preset should negate it, but that's theoretical. I only use a Helix, with the L6 Link, so I'm not familiar with the Quad Cortex. If it can be setup up to send MIDI commands, you could set up a preset on the PC tailored to the acoustic, and then have your QC send a MIDI command to switch the PC when you select the QC's acoustic preset - obviously you'd need to connect them together with a MIDI cable, as well. I know @rd2rk uses MIDI commands to do this with his Helix/PC setup... hopefully he'll chime in on how to do it, but if not I'm sure I can help figure it out, if necessary. Regarding the different speaker modes and so on, just remember you can try stuff out on a whim. You're not committed until you press the 'save' button. It's well worth giving the manuals a read, too.