jreswick

Hi: This thread has been quiet for a few months, but I thought I'd throw in my solution to some of the concerns of others over Helix processor power, and also stereo paths. The design of my studio is to be able to have live playing of the band and simultaneous multi-track recording with low processing latency. My studio is designed as a hybrid digital/analog layout, with almost all instrument processing performed with outboard hardware before entering the recording/DAW computer as ASE3. Analog is taken off of the A/D converters of the last instrument processor for each instrument and fed back to a Mackie LM3204 line mixer and on to the musicians monitoring (and a two track practice recording). Here's the layout... Bass, lead, and rhythm guitars are each connected to Jensen JT-DB-E transformers in homemade direct boxes. This allows balanced microphone cable to be used over longer distances with minimal signal degradation. These guitar cables are run into John Hardy microphone pre-amps. Two channels are dedicated to each guitar for stereo or other use, using a total of six channels of the eight pre-amps I have allocated. The output of these pre-amps go through Jensen JT-11P-1 isolation transformers in an 8-channel rack that I built, and then on to an RME ADI-8 QS AD/DA converter. The three ASE3 output signals are then run into three individual Helix Racks through the ASE inputs. This gives each guitar it's own Helix with a stereo path originating from the guitar (there are interesting possibilities feeding stereo from a guitar, but I have a switch on each stereo pair to provide duplicate signals on both channels for a mono feed). The signal quality entering the Helix is excellent. The three instrument output signals from the three Helix's are taken from the ASE outputs, and then fed into the three individual ASE inputs of three Two-Notes Torpedo Racks. The Torpedoes can maintain stereo throughout, and ASE is taken from the ASE outputs of the Torpedoes directly to the cards in the computer. Analog is taken from each torpedo's D/A converter and is sent on to the analog mixer. This arrangement allows the Helix to be used exclusively for stereo pedal board and amp emulations, with the Torpedo doing the stereo cab, the mic, and the pre-amp emulations, with some post processing available in the Torpedo. The whole thing is held together with word-clock from a Drammer M-Clock Plus and a Drammer D-Clock distribution system. Off-loading the cabs from the Helix provides some extra processing power to the Helix, and helps accommodate stereo amps. The Torpedo does an excellent job with 96/24 IR files, and a file can be loaded for each stereo channel, allowing for true stereo cabs. Both the Helix and the Torpedo are capable of very close emulations, and combining them and allowing each unit to specialize has taken the emulation process to a new level. Of course, with the Torpedoes selection of internal cabs and the huge selection of third-party cab IR files, accuracy in emulation is just a matter of how much time you have to spend researching and testing. As a sidebar, I share the frustration of those trying to gain-stage or set compressors without instrumentation. American audio manufactures a rack-mounted stereo LED dBfs meter that they suggest might be used for a light show to dress up a DJ's rack. However, although far from ideal, I have found that I can put it's two stereo channels on the Helix send 3/4 (or placed individually), and with some calibration of the unit, I can get a feel for the gain at any point in the signal path. Jim

Hi All: I'm new to Helix and have a quick question. I'm experimenting with signal flow as instrument into Helix front input and AES/EBU output to Lynx card AES/EBU input. I desire to sidechain a Helix compressor with an analog feed into a Helix return (I do not want to use an outboard compressor through a Helix send/return). Is there a way to accomplish this? Thanks! Jim