somebodyelse

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.

Download the latest versions of 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 mentioned you'd 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.

It would be possible to use it like a channel switcher by plugging left out to one input on the amp and right out to anther and then directing your preset to output either left or right depending on the input you want to use. The Helix Floor/LT could do what you're suggesting, by setting up separate parallel paths in the preset, connecting up and directing outputs as above, but I don't know whether the HXFX can do two separate parallel paths in a preset.

We escaped Manchester in the mid '70s when I was 7. Grew up in the High Peak. Definitely (not even maybe ;)) NOT an Oasis fan, although Liam has been in my old local a couple of times. Nice enough bloke - nothing like the 'public persona'. I've been down in Brum for nearly 25 years - a work thing. I say I'm not 'a mad HBM fan', but him and Bruce Welsh would be on my 'Top 20 Favourites' list. I struggled a bit when I first got my Helix in '21. Doing these presets actually taught me a lot. I'm not a 'tribute act' player, but I have to say, I get as much enjoyment out of trying to match 'famous sounds' on it for my friends, as I do playing through it. I can actually get it to sound like my own rig, as well!

LOL. Well, the forums are usually full of Yanks, half my age - I'm a 57 year Mancunian. Very interesting and (sort of) confirms what I was thinking. In terms of the 'fuzz' sounds mentioned in that thread, my gut feeling is either Dallas Rangemaster or a Fuzz Face - those are the only ones in the Helix that work (for me) with a Vox amp. I'm inclined to thin that where a rotary speaker was used the distortion may have actually been generated within it's amplifier, though. I should add, Over the last 10-15 years, I've produced echo patches for several different multi fx units and detailed fx chains for my DAW. Did them for the Helix a couple of years back, and then a friend asked if I could do some for his POD Go - he was already using my Zoom G3 patches. Anyhoo., they were originally just echo unit emulations - EQs and delay chains to emulate the tonal characteristics of the units HBM used 'back in the day'. With what the Helix can do, I added amps cabs, blah, blah, blah... Then when I did them again for my mate's POD Go, it occurred to me I could actually go back and add all those effects he used on recordings between around '67-'76, use Snapshots. etc I'm not really a mad Shadows/Hank Marvin fan, myself - it's more my Dad's era, but heard their stuff around the house a lot growing up, as my Dad also plays. I got in to the patches thing whilst trying to really get my Dad's sound nailed on. I have to say, while everyone else seems to lean towards the early stuff, I really like that period between '67-'76ish when they were working with John Farrar and experimenting with sound and style a bit. Once again, thanks for the info.

Sorry, most around here are unlikely to have heard of him. The track is called Aquarius (yeah, a cover of that) by Hank Marvin of the Shadows, from his first solo album. A lot of his guitar-playing fans believe it's a flanger, which isn't possible as it was recorded approximately 8 years before the first commercially available unit. I very much doubt it's the studio staff creating the effect, as he's the kind of guy who doesn't tend to do on record what he can't do on stage. The album seems to feature this effect throughout, along with the De Armond 610 volume/tone pedal, and my train of thought was that it could only realistically be either the Univibe or a Leslie cabinet. When I tried the Univibe model, t didn't really get close. The brief flirtation with the 145 Rotary has me 99% convinced... Him n George were good friends, not on 'wife-swapping terms', AFAIK :D, but it's possible he borrowed George's Leslie rig. The guitar on the recording is a Burns (surprise, surprise) Marvin, The only way it wouldn't be an AC30 amp is if it just wasn't technically possible/necessary to somehow rig it up with the Leslie. It's not really about 'nailing the tone' - I can do that in my sleep - but speculating about how it would have been created back then, ie. I assume a guitar wouldn't be plugged directly in to a Leslie amp, since it was designed for use with an organ, so could it be a case of micing an amp, sending that through a pre-amp and in to the Leslie, or using direct box/pre-amp in to the Leslie - I'm assuming impedance and level mis-matching, otherwise. Thanks

Any and all ideas gratefully received... as it happens, it's likely the guitarist in question may have borrowed Harrison's Leslie, especially if he/it was hanging around Abbey Road at the time.

Anytime I've used an acoustic live, I've plugged direct to the PA and adjusted the onboard EQ. Recording, I always use a mic or two; never the piezo. If I was setting up a preset for use with Helix/Powercab (212+ in my case), I'd probably start with a DI pre-amp block, followed by the parametric EQ, can't advise settings except for I generally apply a low cut at 100Hz and a high cut at 8kHz as an almost reflex action - adjust them as you see fit, don't be afraid to go lower on the high cut if that does the job. In terms of the PC, I'd be using the LF Flat, probably, but I wouldn't rule out FRFR - it just depends on whether I got the 'harshness handled. A tip I got from one of the gurus, here, a few years back was to go in to the PCs Global settings and turn the HF Trim down -6dB. I also switch the Low Cut 'on' - a switch on the back of the 112s, in the Globals on the 212.

Without seeing it, my guess is that the jack socket is too far in to the guitar, or something about the outside of the socket is 'different' to the others, preventing it from being pushed all the way home. For example, on the other guitars, there may be a thread or two of the socket exposed, whereas on the one that won't 'work' the end of the socket is only just inside the nut, or more likely, the sockets on the working guitars stick out further from the body than the problem one, and the sides of any recess are getting in the way. If a standard cable pushes home fine, then that would rule out the spring contact needing bending. My guess is that there's a nut on the inside of the socket that just needs winding in a turn or two to solve the problem.

One the gurus/hippies old enough to remember the late '60s. ;) I'm trying to emulate a sound effect used on an album recorded in '68/'69. I'm 99% certain the effect is a Leslie/Rotary cabinet, probably something to do with a B3 organ also used on the album. Question is, the guitarist was an 'exclusively' AC30 user back then, so in order to get the sound, would he have had to use a different amp to get sound in to the cabinet? Also, in emulating that on a Helix, would you use a rotary model without a cab block, or are the Rotary models based on pedals that emulate the rotary speaker sounds. I know, I know... use whatever gets the job done. I'm asking, because I want to try to get the sound the way it would have been done back then (virtually), before I resort to 'fudging it'. Thanks.

No arguments from me. I always say, "the tones are in there, you just gotta learn how to get 'em out." I bought a Helix and a Powercab a few years back. It took me a while to get the best from the Helix, and I used MIDI rackmounts for 30 years. If your heart's not in it, you're better off not bothering.

Well, the 'guitar in' on the amp is definitely going to be instrument level. FX loops on amps are usually either instrument level or switchable, since most punters over the decades would be using stompboxes or rackmounts, which tend to have switchable in/out levels. Line level on guitar multifx floor units has only really 'been a thing' since the Helix came out. Whilst I certainly wouldn't bet my house on it, I'd certainly be surprised if the loop wasnt instrument level. Anyhoo, point is, if your amp is sending instrument level to a Helix expecting to receive line level, stands to reason that the level is going to be significantly down on what it should be. Rules #1 & 2 - 'Get your ins and outs set correctly' and 'Write your presets while listening through the equipment you're going to be playing through.'

Hmm? Shouldn't all the cables to and from the amp be 'instrument' level, not 'line'?

I'm kinda both sides of the fence on this one. The EQs do what they do. I agree with the comment about needing 24 db of gain. If you do, you're doing something fundamentally wrong. I start getting 'itchy' if I go over +/-3 db. I'd have liked a 5 band Parametric - 3 plus high and low cut is okay, but...

Loose/disconnected cable, apparently - it's in a parallel thread which is about two below this one in the index, this morning. Which cable? My guess would be 'the one that is loose/not attached to something'.

You didn't read the thread, did you? "Least complicated do it all setup" (from Line 6, that doesn't cost a fortune) for my Dad would be a CX100, HX Effects, three 1 meter 1/4" cables and a MIDI cable... ... if he'd let me, a Helix LT, my spare Powercab 112+ and an L6 Link cable would be the answer, since a store local to me is doing the LT for the same price as a CX100 + HXFX, at the moment. Importing presets that I write and email to him is about as involved as he wants to get.

LOL...I did wonder if that might be the case. I'm a long time user of MIDIOX - it's been my 'go-to' for backing up my rackmount SYSEX files for... maybe 20 years? At the moment, I'm figuring out what would be the least complicated 'do it all' setup for my Dad... without spending crazy money.

Hmmm? You've sort of answered my question - thanks. So, do you mean it'd need a MIDI/DIN to USB cable to connect to the Cat., since the CX60 doesn't have a MIDI socket...? I coming around to the idea that it would just be less hassle to get the CX100. Thanks again.

Thanks. Follow-up question, assuming I can get hold of a USB-B to USB-B cable, could the CX60 receive MIDI commands from the HX Effects?

He also mentioned the HX Effects. Would that be a better option/capable of what he's looking to do?

OK. From my own experience. Log in to your L6 account, download the latest versions of HX Edit AND Line 6 Updater. Also, download any version of the firmware for your unit that ISN'T the one that failed during the update process - eg v3.50. Assuming your USB cable is sound, switch off any music/streaming apps that may be running in the background, such as Spotify. Boot Helix LT in to 'update mode' - hold down switches 6 & 12, while switching the unit on. Hold them for a few seconds, as you might not see any indications on screen. Plug it in to your PC. Start Line 6 Updater in 'offline mode'. Hopefully, you'll be presented with a list of units to choose from. Choose the appropriate one - Helix LT. Choose to manually install the firmware you've downloaded. Let nature take it's course - DON'T use the computer for anything else or minimise the Updater window while it's trying to install firmware. When the install has 'successfully completed', do a factory reset on the Helix (switches 9 & 10 while switching on the unit), and close L6 Updater. Start up HX Edit. Hopefully, it recognizes your unit, and that there's an update available. Follow ALL the instructions. After about 25-30 minutes, you should be golden. Do another factory reset, install the backup of your presets -you DO back it up occasionally, right? Assuming it all worked out, next time there's an update, use HX Edit, not L6 Updater. Updater is good for recovering from a disaster, but it's not unknown for it to cause the disaster in the first place.

There's not much, if any, mystery in the pedal world. Where a schematic hasn't officially been published, someone has opened a pedal up, cloned it, and published the schematic, anyway. For the most part, 'the specs' are 'printed' on the components - it wouldn't take long for an electronics geek to clone a Helix. Where 'he'd' stumble is writing the software to bring it to life.

...plus, it isn't good business sense making your cheapest product to the same spec as the most expensive.

I'm inclined to say, 'calm down'. Learn how to get it sounding great, first. Worry about 'complicated' later, but like Schmalle said, one cable each from left and right outputs to normal and top boost inputs. Set your preset to output left or right, depending on which channel you want to use. Once you get in to Snapshots... the world's your lobster :) Like I say, get familiar with the manual, watch some videos. You might find parallel paths useful as you get familiar with it all. You don't have to use all the clever tricks, but once in awhile you'll be scratching your head wondering how to do something, and one of those clever tricks might just be the answer.

Hiya, I posted on your thread in the POD Go forum. Once you get used to all the in/outs, you'll probably find you're able to set it up so that you can have it plugged in to both inputs and choose which output to direct the signal too - like having channel switching. I've been a Helix Floor user for nearly five years. My advice: don't expect to be an expert in five minutes. Work at it. Give it time. Learn the unit, properly. Get familiar with the manual. Make use of HX Edit. I'm five years in and I'm still finding new tricks with it. These things do sound spectacular - there are enough videos out there of people making them sound great. If/when it doesn't, it's you, not the unit. Once you accept that, it gets easier - been there, believe me. 'The tones are in there, you just have to learn how to get them out'