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DunedinDragon

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Everything posted by DunedinDragon

  1. I just watched Jason Sadites video on the the same subject which was a bare bones, comparison removing any and all variables that could potentially cause an unexpected bias by a listener and rotating back and forth between the old and new system and played back on my Yamaha HS7 studio monitors, and I have to say I really didn't hear much at all in terms of a difference. It may have been there in a very slight fashion, but not enough for me to get overly excited by it.
  2. I discovered something interesting as I was meddling with one of my older presets using 3.1. I had to raise the key for the singer so I ended up using the Poly Capo to go from the key of G to A. I've had a fair amount of success with the Poly Capo placing it before the amp, but it still exhibits some very slight artifacts. Nothing that would probably be noticed by the audience, but I can hear it on certain things. I decided to place the Retro Reel in front of the Poly Capo originally just to thicken things up since I was using a Strat. After a bit of tweaking it pretty much got rid of any of the residual artifacts I'd been hearing and gave the key change a much more natural sound. Just thought I'd pass that along....
  3. In my personal experience I depend greatly on using live powered speakers (Yamaha DXR12) to give me confidence in my stage sound at home. I personally go direct to the board and we have DXR12's both as our FOH speakers and a mix of DXR12's and QSC CP8's for stage monitors so it tends to work out quite well. All that being said, in the past I have had to depend on my BeyerDynamic DT770 headphones to work on my stuff at home when I had one of my DXR12's in for repairs, and it wasn't bad. That may be because I'm pretty used to knowing how to get the sound I want however because I have had my Helix fo six years, so I don't know how well that would work from a newbie quite honestly. I just thought I'd throw that out there.
  4. It's already there in the form of the Command Center. Place your stomps and snaps wherever you want them on each preset.
  5. And you checked in the About menu in HX Edit that you're definitely on HX Edit 3.10?
  6. Given that Line 6 presents the sort order of their updates on their download listings I don't think there's much of a risk in their numbering system causing problems. Especially since they also post the release date along with it. Unless, of course, some end user sorts it by month then they'll figure the February release came out before the January release. Yeah, I also worked for several decades as a software engineer with a couple of different manufacturers of commercial software products, and it's grown to be the general convention (at some point after Windows 3.0, Windows 3.1, and Windows 3.11), but given Line 6 is a hardware vendor and not a software vendor I'm willing to let it slide..... I'd even say the vast majority of Windows users have no clue that Windows 8 is release number NT 6.2 and Windows 8.1 is actually NT 6.3....and it gets worse from there!!!!!
  7. We used to refer to these as "over yonder" bugs. As in, fix a little something over here and something completely unrelated pops out WAAAAAAY over yonder.....
  8. I don't think Silverhead's guess is that uneducated. It certainly makes sense to me. Given the core circuits of each variation require their own unique models, and that it's probably not all that likely that someone would use all three of those variations in one preset, you would still be able to switch between two using snapshots but would still have a significant DSP savings over a single model with all three variations. The savings would be even greater if you only used one model in a preset which is the most likely scenario.
  9. Given your description it sounds like it's definitely something in your preset and impedance would be a likely candidate. However, I'd also be curious how you're monitoring your Helix. I guess I'd start with a super simple preset consisting only of an amp+cab block and see what happens. Clearly not a normal behavior.
  10. Wouldn't it be nice to have that kind of programmable MIDI syntax available in the Command Center ****sigh******
  11. This doesn't apply to the Helix per se. It runs on a Mac or Windows computer, so I suppose it could be used in conjunction with Helix Native. This is a special system that works with proprietary IRs I believe.
  12. Although I own a regular Helix floor unit, I believe the Stomp has the same setup in terms of setlists and presets. You should have 8 setlists, with each setlist containing 128 slots for presets. The setlists and presets are stored in the memory of your Helix but can be exported and imported as complete setlists or as individual presets to and from your computers hard drive. I personally have over 300 presets I've created but generally only have about 20 ever loaded in my Helix at any given time. All of my presets are individually exported to my hard drive after I've made any modifications to it and I can restore any preset in any order to my working setlist at any time. I'm always overwriting the working setlist, but it doesn't matter since the "master" version of the preset is always stored on the hard drive. You can do the same thing with each and all setlists and the only limit is your computer's hard drive. If you have a setlist in memory and want to import a different setlist you can do it on any one of the other 8 setlists, or in you current setlist but you just need to export the current setlist if you want to retain it for later use. You don't "merge" setlists, you simply load them. 1. You have 8 total setlists in the Helix memory at any given time. They are not lost when you turn it off. You can name them anything you want and export/import any setlist to your computer hard drive. 3. Whatever preset you restore from your computer will overwrite what's in the Helix, so just make sure you export what's in memory before you import a new one. 4. Only if you import a different setlist over the current Factory setlist. So export it if you want to save it. 5. There's no facility for "merging" setlists 6. If you have 20 custom presets in a setlist that means you have 108 available presets left in that setlist (128 total). There are no real "banks" in the Helix. That's just an internal numbering system (01A, 02B, 03B..etc) which can be changed in global settings to just be numbers (001, 002, 003, etc). 7. You can copy a preset to another location by saving it and specifying what setlist and preset location you want it saved to. 8. Imports and exports of setlists or presets has no effect on global settings. Global settings are saved using a system backup/restore. 9. That's how I work generally. I have over 300 presets but I load what I need at any given time into one setlist which is my working setlist. Otherwise the master preset is saved on my computer and I export whatever I have loaded into the Helix if I modify it and overwrite the old preset on my computer with the new one. You don't have to worry about preventing any "gothchas" as long as you read the manual. It's all documented in there.
  13. You can jump directly to the most current release no problem. However, you need to read the directions carefully and follow it exactly to avoid problems. In essence, download, install, and run HX Edit 3.01. HX Edit will install all necessary devices and will allow you to directly initiate the backup and installation of the appropriate firmware to your Helix. You can load or build presets in any way you want and manage them from the Helix or through HX Edit to avoid bending over. I personally reserve one setlist for all of my presets relating to a given performance or show. My presets are all exported on my laptop to a single directory so it's very easy to scroll through and import them in the order I want in my setlist with HX Edit. You can also move them around within a setlist if you want in HX Edit. I follow a simple naming convention for my presets of naming them with the name of the song in HX Edit, but when I save them to my hard drive I can add short reminders to the end of the name such as which guitar this particular version of the preset is optimized for, but the reminders are only visible on the hard drive. Within the Helix, they only have the song name. That's because Helix uses the internal name that's stored with the preset rather than the name used by the computer directory.
  14. Also, there's no real "perfect" 5th. The 3rd or the 5th or the 7th which are what western ears (non oriental) are used to hearing as harmonies are all based on the key (such as A maj, A min, etc) and can also be affected by the scale (diatonic, pentatonic, relative minor, etc.) being applied. But generally, as it relates to vocal harmonies, it's the key along with the chord progression that tends to influence which note that's based on the 5th relative to the melody line that will fit best against any given melody line note. A harmony line that directly follows the movements of the melody line by 3rds and 5ths produces a specific type of harmony you'd likely recognize as those used mostly by groups like Crosby, Stills, and Nash. More sophisticated harmonies like those in Queen compositions are more choral or orchestral in nature and will tend to have their own note movements that are influenced, but not totally dependent as much on the melody line. Although there are some pretty sophisticated vocal harmonizers out there these days, they all fall short of what individual singers can do in producing harmonies. Just to blow your mind a bit. The 5th is actually a 3rd below when it's placed below the melody line rather than above it. It's actually fascinating to learn how it all works. If you want to sing harmonies it's all about training, practice and developing a good ear for it. The same as it is for guitar or any other instrument.
  15. I don't know why this would surprise anyone. When you change presets there's a bit of internal processing that needs to take place which involves unloading the current preset and loading the new preset before anything can be done on the new preset. It's always been that way. That's why you can't physically (through footswitches) select a snapshot until after you've changed and loaded a the new preset. If your MIDI controller allows for a delay or for buffering of outgoing MIDI commands you could possibly pull this off. Other than that were you to save the target preset with the appropriate snapshot selected, then simply selecting the preset would automatically load and engage the snapshot you saved it with.
  16. The harmonizers in the Helix are really designed for guitar harmonies, not for the human voice. Maybe you could get it to function but I seriously doubt it would make for a believable human voice and it would also mean it would have to be dedicated to that purpose since you can't separate the vocal from the guitar input. I think this is the equivalent of trying to use a bicycle tire as a spare tire for your car.
  17. Just to clarify one thing. It's actually rare that the user base defines the limits or extent of any corporation's strategic stated direction. Many, many moons ago there were several key success factors that were generally accepted by most corporations based on observations about what had caused companies to fail. Among those key factors was the idea of "sticking to your knitting" which basically means, corporations that tend to define and closely manage their area of expertise are more likely to succeed over the long term, and those that don't tend to have more problems and ultimately have more failures. This is one of the key reasons you don't see Intel trying to break into the software development arena, and you don't see Microsoft joining into the fray as a big time computer manufacturer. Apple has certainly been successful as both a hardware and software business, but they tried and spectacularly failed many times to be more than a consumer market provider and break into the larger corporate computing environment because that's well outside of their area of expertise. Some of these lines have greyed a bit and have become more flexible, particularly in times where there are large scale upheavals in changes in the way people do things. For example, streaming is where a lot of these expansions of strategic business definitions are beginning to flex as it pertains to media companies such as Disney or Paramount for example. But it's HIGHLY unlikely you'll see either of those companies expand into Internet access. Likewise internet providers have attempted many times to expand into becoming media providers but none have had any great success and there are a number of great failures. Line 6 is a very small fish in a sea of some pretty big whales. Although they are a part of Yamaha, Yamaha has a much broader scope in it's strategic direction and expects Line 6 to provide only a more specialized portion within that strategy. Even when Line 6 did deviate to explore new areas of the market such as with their live PA system offering, it was a problem because they began to cross over into an ocean of some more HUGE whales that are in that business including Yamaha and QSC to mention a couple. This is a key reason why I have faith in Line 6 because they seem to know where their expertise is and seem to be carefully managing it. That means they should be around for a very long time.
  18. If you really wanted to you could drop in volume pedals at the beginning of each signal chain to control the volume of each.
  19. I think you're adding too much complexity to what you're trying to do. There's really no reason to separate the guitar and vocal into separate inputs on the ZLX. Those inputs are there to support a simple guitar input direct into one and a mic input direct into the other. If you have both the guitar and mic going through the Helix and both on totally separate signal paths you can easily gain stage and balance the relative mix between the two independently within the preset and have them go out XLR to the speakers to the same inputs on the ZLX and just use the Helix volume knob to increase the overall volume of your output while retaining the relative mix between the two independent signal paths.
  20. This appears to have turned a light on in my brain. I've never really run into this scenario simply because I never use HX Edit to define my snapshots, I just do it from the Helix itself and it's not as obvious there. So if I'm reading this correctly, let's say have my IC that I want to fire off when I initially load the preset assigned to SS1 (assuming SS1 is active when I save the preset). After that I could use any another SS (let's call it SS2) to redefine different IC's so that they'll fire off when I select SS2. If I re-select SS1, CC1 will not fire because it hasn't been changed by any other snapshot, But what happens when I re-select SS2? Will those CC's be resent? I'm assuming by the logic you're describing they won't be sent because they haven't been changed by any other preset and were previously executed by SS2.
  21. But correct me if I'm wrong, but wouldn't calling a snapshot execute ALL the instant commands. To my knowledge you can't just call Instant Command 2 and 4 only, right?
  22. As someone who, for the last six years, has operated successfully in live performances with the Helix using presets as the functional equivalent of a song, I can't really say it's been deficient in that role. It may have been harder in some cases in the past and has gotten much easier over time with the addition of snapshots and more recently the Command Center, but it still works incredibly well for my needs. Granted I have the advantage that my current performance setlists are fixed for each performance and don't change. In that regard I now have well over 300 "songs" or presets I've built in my repertoire of songs. So from my perspective the only thing that would be necessary to accommodate what you've been discussing here would be a layer of functionality that simply allows one to easily and quickly identify and navigate to any specific preset in real time. As has been mentioned previously in this post there are already 3rd party tablet-driven offerings that make this quite simple such as On Song or Bandhelper which is where I would go if I needed that functionality. That's not what Line 6 does. Line 6's corporate proficiencies are in modeling and (increasingly) integration, all of which apply across all user boundaries whether you're in live performance, in the bedroom or in the studio. What I would be concerned with is diluting their development resources by trying to do something outside of their expertise that doesn't fit their business model nor does it address the broadest needs of their user base. From my perspective as someone that uses the Helix in the manner I do, there are still some glaring deficiencies in the base capabilities such as a way to more easily integrate the concept of Snapshots with the ability to include multiple integration actions with the outside world such as through MIDI or CV. Case in point, I've integrated a BeatBuddy drum pedal into our live performances that automatically makes my Helix "songs" work with my BeatBuddy songs, and would like to take the next step of integrating a looper as a way of adding backtracked additional instruments into any given song along with synchronized lighting control. The Helix is very close to being able to do all of that with the functionality they have other than they don't have any way of incorporating multiple MIDI commands along with normal Snapshot functionality executed through a single footswitch. That definitely falls within their wheel house of proficiencies. I'll take it upon myself if I need to integrate some other 3rd party component to better manage my songs in a live performance because that functionality isn't something I want to do with my feet anyway, and there are a number of solution already in the marketplace to do it.
  23. Helix already has such a thing. It's called Command Center and it can do everything you just described within any preset. I now normally operate the Helix in all stomps mode and I assign snaps, stomps, and MIDI commands wherever I want them on my board for each song (preset) using the Command Center with little to no limitations.
  24. What you're describing is more appropriately a tablet-based software solution than a hardware solution which, as mentioned previously, could be easily implemented for almost any modeler that supports MIDI. Certainly there's got to be some enterprising software company that's addressed this need somewhere. From the looks of it the performance tools offered in Bandhelper might be the right tool for what you want.
  25. It sounds to me like what you're describing is what often referred to a Real Time Analysis of room acoustics. That generally requires some fairly specialized mics and equipment if that's what you're after. If so this may be a good place to start: https://www.roomeqwizard.com/
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