timmyo

29 minutes ago, rd2rk said:

The "Instant Commands" (IC) are the lightning bolt icons in Command Center. See page 41 of the manual (Rev C).

They load each time you load a preset and each time you change Snapshots.

You load a Snapshot, select an IC, set it to MIDI CC with the CC# and Value, then SAVE the Snapshot.

Repeat for each Snapshot. Your final SAVE should be on the Snapshot you want active when the Preset loads.

You can set footswitches in Pedal view to load Snapshots (Command Center), so no view changing required unless you run out of footswitches.

thanks for that. 

Yes - had the IC working on patch load, but hadn't worked out how to assign ti snapshots - will do as you say, thanks. 

And I hadn't thought about having a mix of snapshot and pedals on screen together - that could work! 

cheers man. 

OK lemme try and explain what I want to do:

I've confirmed by lots of manual fiddling that I can get a bunch of sounds I like but telling my Bluguitar AMP1 Mercury to be on full gain and clean channel with built-in boost for my "loud clean Mayer-like" sound, and on the AMP1 Vintage channel at a different (reduced) ax gain setting (which has a MIDI CC associated) for bluesy sound, AMP1 Classic channel at a different-different midi gain setting for another sound. 

Challenge 1 : I'd like to be able to switch between those using Snapshots, so each snapshot needs to send a specific value for max gain on a known MIDI CC# - I don't know how to add that to a snapshot - any pointers? 

Challenge 2 : I'd also like to be able to turn on and off my delay (Transistor Tape - I love you) at will, ditto Minotaur and possibly phaser or tremolo, at will - so it sounds like I need to be able to get easily between snapshot view and pedals view - how's the best way to set up the view do you think - now I'm typing it out it seems obvious - snapshot mode and then hit mode button to get to pedals view? 

So yes I think the main one is - how do I add MIDI CC instant command to a snapshot? 

cheers! 

Anyone got a neat way of doing this so that time faffing with it in the rehearsal room / jam night is minimised? 

The only simple way I can think of right now is to hook up a DAW via USB - any other suggestions? 

Thanks folks 

Is anyone using their Helix for a primarily acoustic singer-songwriter type gig?  (rather than acoustic in a band mix gig) 

I'm about to start digging around and sorting a patch or 2, but if anyone has starting points for a nice bit of multiband compression and some saturation I'd be interested to see how you're achieving it.

cheers

It is a thing - any real amp with really fast response and no negative feedback is going to feel very immediate and direct to play - this is why some people really feel uncomfortable playing some amps.

My Dr Z Maz was like this, but my playing improved a LOT while I owned it (and it sounded great) 

I am told that this is a thing with the Dumbles too. 

I think part of the reason that the JC-120 gets that tag is because you barely touch the volume knob and it is LOUD which contributes to it. But also yes, very little compression or overdrive to soften the response. 

 FRFR ain't gonna keep up.

That's a nonsense statement. You're saying that PA can't out-shout a guitar amp. It's demonstrably not true. 

Another thought about your stereo situation.

 

Two guitarists in a band... One is using a 100W 4x12, the other is using stereo FRFR. Which one gets lost in the sauce. I'll give you a hint. It ain't the guy with the 100W amp.

 

 

You simply can't make generalisations like that.

Guitar cab drivers are very directional, ironically a 4x12 moreso.

PA drivers are not only far 'better' (and certainly more expensive) than cab drivers, they are less directional, and have far greater power handling with a more linear response as power goes up.

The DXR10 can put out 1100w / 131dB (I m aware that SPL generated by a constant-current device like a valve amp means the wattages are not comparable - but it's high for a PA speaker is the point) and I'd put a dollar on the cranked DXR at LEAST keeping up with the Marshall.

I've owned a 100w JCM800 head - it had a master volume and could be played at a range of different sound levels (I actually loved it through the Lo channel played clean!)

Let's not offer hard and fast 'facts' without knowing the setup eh :-) 

Does that hold full sized Helix?

yes - I have the same one

Hi guys,

 

I'm struggling to get anywhere near the patches I'm trying to build.

 

Nothing fancy, just trying to recreate my regular gig rig (clean / crunch, fuzz) with the Helix.

 

I've been trying for a while now, read so many posts etc. global settings options, IRs and IRs EQ settings etc.

 

I cannot get anywhere near something decent. It's either really harsh, or very digital sounding etc. I just can't get my head around it

 

(I have reasonable experience with amp sims and I've used the Amplifire 12 for a while without much problems for example, but I don't want to start a debate on that)

 

I just give up now. I spent so many days trying, I can't keep at it further.

 

I am looking for someone really good / experienced with the Helix, in London UK / nearby to help me hands on / work with me on this.

 

I'm happy to hire for a day, (providing we can agree a reasonable fee) to work with me and try build my base sounds.

 

If you'd be interested please let me know,

 

Thank you

 

Vinny

Hey Vinny - if you're still looking for help then I recommend heading to www.thefretboard.co.uk  - it's a UK-based forum with lots of London-based people and a really good Helix following (look for numerous threads in the FX section) 

How are you connected? Helix -> Apple camera connection kit -> lightning?

And the iRig and Apogee is just direct to lightning? 

There's a difference right away - you've got conversion to USB audio, followed by CCK vs just one digital interface (eg Apogee)

Also, what iPad? a recent one or an older one?

finally : why on earth use iPad guitar tones when Helix sounds are far superior (I also have those ipad apps) 

There has not been a date given. Beta testing is proceeding, and going well.

Awesome, thanks

Serious question - has a new target release date/period been shared re Native, or just 'we hoped it would have been by now, it'll be as soon as we can' ? 

 

I received an email from my bass player today and I responded to him but probably was not able to articulate myself well enough due to being new to studios and pa systems.

 

I'd like some input on his concerns...  (his email is below)

 

First some helpful background....

 

I am the only guitar player in a new band and things are off to a good start.  we play popular classic Rock.  We're all over the place musically, so I need the helix (I would use it anyway as I am a big fan of it) to play a wide range of tones, from Hendrix, to soft non distortion tones, to early 60's, 80's, and things like Plush from the Stone Temple Pilots.

 

My tones are top notch - I've downloaded and tweaked the best Helix tones on this site, plus I purchased the Fremen pack and use them quite a bit.

 

We played in a new rehearsal studio last evening and the helix did not sound great through the pa system (the culprit was probably the pa system or the speakers).

 

Any thoughts of what the Bass player thinks I should do at future rehearsals?

 

His email:

 

=================================================

 

I'm familiar with the current multi-effects processors out there, the LIne 6 Helix LT, for example, provides some 67 amp models, 37 cabinet models, etc. I get the feeling that you're under the wrong impression as to what these amp models are for: they're for recording, playing straight into the console. These effects units, when deployed for live performance, do not need modeling. Amp modeling might work in a rehearsal studio because the PA is not really a PA, it's an over-glorified monitor system, and the speakers are pointing at us. In a live situation, the PA is facing the audience, and we won't be able to hear you. You won't be able to hear you. In a live performance, you should still use an amp, and since these rehearsal studios have an abundance of Marshalls, Blackstars, etc, there's no reason not to use them. In fact, we need to rehearse in real-world conditions as much as possible. 

 

You may be under the belief that these multi effects MUST be plugged into a mixer, but that is simply not the case. It might be helpful to take a closer look at the variety configurations that can be used that do not use amp modeling. Amp modeling is only to be used when using a real amp is not practical, rare as those occasions may be.Your multi-effects has a lot more than amp modeling, and these effects can be used without modeling, which is preferable. Think about it, why simulate a Marshall when you actually have a Marshall? Simulated amps and cabs are never as good as the real thing, no matter what the manufacturer claims.

 

Looking ahead, when we play out we will probably not have the luxury of a super monitor system. Musicians need an amplifier on stage mostly so they and the other performers can hear themselves play. You also need speaker presence for sustain. We generally don't re-organize the entire sound reinforcement system simply to accommodate amp modeling, that would be the tail wagging the dog. I know you paid a lot for the system, and you want to get the most out of it, but amp modeling is mostly a sales gimmick and doesn't serve much purpose in the real world. You do have lots of other great effects there, I'm only suggesting you look at ways to use them without modeling. Talk to the guitar guy at Sam Ash, or ask some questions on the guitar forums, you may be surprised what you hear. No one uses amp modeling for live performance. I saw Eddie Van Halen at Jones Beach and I could see the mic in front of one of his amps.

 

I'm not trying to rant, I just don't want to take up time in the studio discussing it. Please think about it, and read about it.

 

==========================================

 

Tell him to have a coke and a smile, and stfu :-)  

Helix is amazing - I'm a huge fan

But the tuner is crap. Whatever approach has been taken isn't ideal and it should be simple to sort.

If the reason it is 'fine' is because you can adopt and extremely prescriptive procedure to make it ok then - well come on - think about it - hardly great

Thanks for the that!

Yes I have the input on the return - not sure if I have used its gain parameter though, I'll check that.

Thanks for the pointers - as you say, lots of options!

OK folks - an update:

I created my 4-channel patch, and connected the 2nd mic (a dynamic) to Return 4 using an XLR->unbalanced 1/4" cable I had lying around from years ago. 

I give it 6db on a gain block, then 8db in the tube pre block, a smidge of eq, add reverb to taste and it seems to be doing the job.

Comparable volume with the condenser I use as Vox1 (into the Helix mic input) 

It'll be a little while before I can get it somewhere to crank and check that at volume there isn't a noise issue on the 2nd vocal channel but it certainly works. 

This is certainly the 'agricultural' approach rather than for best fidelity but it sounds to be holding up, and means no extra gear. If the sound suffers at volume, then I'll go the external preamp route. 

OP, you didn't say what your PA system is?

 

I use an L2t... It's got a built in Mixer that works great for combining Helix with "stuff"... I put my mic and acoustic into channel 2 and 1 respectively, use the acoustic simulator on the acoustic, and connect Helix using L6 Link, and there's still the line in available on the back, plus the RCA jacks for other stuffs.  So you could use the mic in on the Helix for your mic... that should about cover you....  Then for more power, you could use the L6 Link out to another L2m (which in turn would process your Helix stereo signal appropriately between the two speakers).... 

 

Lots of other PA's have built in mixers, one of the things I liked about my old JBL EON15 G2's....

 

If you're worried about the cost of the StageSources, keep an eye on Guitar Center's used section, they can be had for great prices there... got my L2t and L2m for $500 and $400 respectively, shipping is about $35 apiece or less depending... (for the L2t, I got a Helix, L2t and mic shipped to my local GC for $40).  Mine look brand new, the L2t even had the Line 6 rolling case included in the $500 price.

Thanks for that - yes I should have said, using a DXR10 at the moment.

I'm in the UK - the used market here for this kind of thing seems to be far less attractive!

that is interesting, thanks for explaining your setup. 

or an ART Tube MP perhaps

Thanks folks.

I'm not keen initially to combine the mics in any way that means I can't control their relative levels, so I guess that means a mixer, or something that bumps a dynamic mic level up.

This thing https://www.bhphotovideo.com/c/product/155445-REG/Rolls_MP13_MP13_Mini_Microphone_Preamp.html looks like it might do a job - XLR in, 1/4" out.

I'll have a think :-)

Thanks again

Help me think aloud folks. My solo thing has become a duo and now I wonder: What's the simplest way to get a 2nd vocal into Helix for processing/sending to PA?

In this context 'simplest' = the least possible extra gear. If I can avoid an external mixer, power supply etc I really really want to do so. 

An active doohickey to bump a mic level up to come in via a loop return? Or will mic level work into one of those?

Any thoughts gladly received  

I have been using Helix connected to my iPad (triggering audio apps using Helix footswitches to send commands)

I am also considering getting a keyboard, and if I do I'd love to be able to use sounds and synths on the iPad, and have the audio all routing back via Helix to my FRFR.

So the question is : if I connect the keyboard to Helix using Midi DIN, will that Midi data get to the iPad via the CCK? (I know the resulting iPad audio will get to Helix ok, that's fine) 

Thanks for any pointers.

Tim

P.S. if anyone has an iOS device, look at some of the looping apps, they are very powerful (Quantiloop, Group The Loop, Loopy HD) and you can set Helix footswitches to control it.

I was toying around the other day trying this - made a patch with some EQ blocks to try and do 'traditional' EQ fixes for a Piezo pickup, and with an IR block (I bought a 3Sigma acoustic IR) so that I can switch between the 2 approaches and compare.

Turned out to be a pointless exercise - the IR was vastly better from the get go. 

I eventually got some of this :  (as I'm in the UK and don't think the exact products mentioned above are easily available) and it did the job perfectly. As others had, I loosened the adjustment bolt right off and used the long thin applicator to spray a tiny amount on the bolt shaft.

Silence reigns :-)