Aurasphere_au

Interesting...:-) chorus is good...overdrive...hmm very 80s hehe so struggle with mono...

What are thoughts about having snapshot 'scope' parameters? eg atm a snapshot affects every parameter assigned to ANY snapshot It would be a good workaround to be able to set parameters to either 'snapshot(All)' or a particular snapshot eg Snapshot(3) This is aside from the ultimate of multi state buttons eg I dedicate Delay to FS3 for everything...but I have setup up command centre to have a press = Snapshot3 and hold = Snapshot4. A quick press simulates the most accessed 'settings' and the hold simulates the idea of 'more' so this snapshot has more feedback/mix etc Ultimately I would like my 'Delay' FS to be able to command a bit more flexibly 1 quick press = default (SS1) 1 hold, cycle to next deeper level 1 hold again, cycle to deepest level Double click to bypass I have banged on about how important gesturing is in regards to simplifying and muscle memory but wondering, as you seemed like pretty seasoned guys, what your thoughts were?

Funny stuff @datacommando I didnt have money but I bought that new (at the time)...simply ate potatoes for a couple of months hehe The vintage digital is actually ok...I copied the chip specs ie 12k, 8 bit (I thought...hang on thats the dsp128?) and went side by side...hmm...just missing something (and I generally do blind AB with wife switching...sorry Fi :-). This crazy german guy did a brilliant vst emu of it...and it was very close...if I could use plugs in the Helix...would be amazing Its not actually grit...it hides the tails enough to make it much more 3d...just much more dimensional to play (ie old lofi vs hifi) and add that mauve ibanez stereo chorus to 2 cab split...was downright amazing I dont think of it as; technology has come a long way...more like new options but it still needs to become a part of your sound no matter what the gear and that takes serious time I bought heaps of diff preamps...the liquid channel was 1...could have bought a nice Avalon AND DI for the money...was amazing new tech at the time...still has some gems...but the OLD tech like sebatron valve pres...so old school but wow...the sound. I really believe the diff is...back in the day you would only buy 1 piece of gear and spend a lot of time with it... and get so much value by drilling into the detail...now there are a zillion options and you spend more time surfing presets than twisting knobs and listening. The tactility and tactile response was a bit part too imvho cheers

Yeah snapshots are a biggy for sure...but such a downer that they couldnt put some midi beef into the footswitches ie like the Morningstar MC8...now THAT is how you do midi foot pedalling. I have spent near 20 years doing UI/UX and the last 5 doing oem...gesturing is the bomb...Helix gives a tease with snapshots ie press and long press so you can switch 2 snapshots from 1 pedal...but...a loooong way from just basic gesturing. As far as ux goes for midi...current helix implementation is like...hmmm...minimal Still cant find a delay model to emulate even remotely close ibanez dm1000...such a good unit...and I ended up patching my TS808 I got for my 17th birthday (original first year issue)...the screamer sounds nothing like it...dead and smeary but thankfully the FX loop is good. Meh...HD500...I must have something diff. The Helix is miles ahead on so many things...hmm not those tones mention in op...imvho...I wouldnt use it live again but there is something missing on the helix...or maybe the opposite and its adding something but either way...each to their own. RE Helix midi feature suggestions; I cant log into ideascale...some issue that the facebook login is broken and thats my creds...ah well. Id love to hear some renditions of the amps I mentioned above, done on your rigs...for comparison...happy to put mine up too

Sorry been away for a while. in the end, i set up the hd500 with a cab in 1 part of the studio and dedicate 2 models on it for recording. Had a friend come over and play some sessions (he is a pro player and has had countless real rigs since 80s everything from crunch to high gain) and he was in total agreement...something special about it...he thinks the Helix is good but feels a lot different side by side. I had one of the first PODS in Australia...so we are all in good company...actually still have most of my boards in the family as hand me downs. My friend is the same except for he has a lot of others eg 11 rack through to all the expensive stuff...still rehearses with a Laney/Quad...his fav...my ears cant deal with that...the chest rumble makes the ears ring lol So it doesnt really matter but some funny replies. "Let me tell you about my mother..." BTW Adam would have had a belly button because he was the prototype so the DNA should have been a full suite right? As well as being middle brown with brown hair and brown eyes so all the DNA info was there...good ole devolution :-) Setting the Helix up with a different looper though...pitb Now what would be cool would be a 'DIY Looper' where you can choose not 6 switch or 1 switch etc but a blank looper block that lets you use ALL of the switches of a 6 switch looper page Why? I tie it all up into Ableton. We do mostly impro acoustic/elec gigs and when eg I grab a nylon string, I have each of the loop tracks in stereo and pan across from L > R so each take sits in a different space. If you dont do this, it quickly gets messy with frequency stacking...would be a nice added...guess I should go put in a feature request..as well as being able to use the exp3 input switchable from trs to tr so you can use a quiet switch for main looping And while they are at it...Send/Return should include USB channels to make things a bit easier :-)

Ive talked before about trying to port sounds between the 2 and of course they dont...not even close BUT Lately I have started just using some simple actual physical cabs and can now define why exactly I wrestle so much with the Helix which is of course superior in so many ways... The diff is this: When you plug the HD500 into a physical cab and turn the cab emulation off; When you play, the dynamics are much more direct and the level of soft to loud playing is large...just as if you were playing into an actual amp When you do the same with the Helix, with identical amp models etc and using only an amp...the sound is much more hifi but it just doesnt jump out anywhere near as much as the HD which is really gutsy...the relationship of tone>dynamics is small and compressed. So if you just want really good tone (and fx arent the backbone of your sound); send through a physical cab that you like the sound of...the helix is no match and you will save yourself a lot of bucks Before flaming me or speaking without knowing...try it first...Im happy to send the presets...even dial them in a bit closer. I spoke quite a lot before on the diff between the HD/Helix model of the Fender Twin Vib channel model...this also makes it perfectly clear...the Helix is a step back in actual authenticity of tone in this type of application Im using r88 ribbon to record and its chalk and cheese Im writing this to help others who may be looking for information Conversely I also play classical...in which the helix is much better if you keep a bunch of chips for the mic preamp as they fry by just looking at them. Ive been doing studio workd for 40 years and never had a fry of phantom power ever and that has been with interns hot plugging etc...do it once on the Helix and you will need a new chip. Long live the HD500 for clean/crunch tones with guts!!

Sure but its more like an instrument in my context...and to be fair it does have a lot of pitch talk Inputs Mic > Mic, Acoustic via irig > Aux, elect/variax > elect Outs FOH Guitar L&R FOH Synth (keys and midiguitar midi multiplex) FOH vocals FOH Loops (at times) Add to that the usb IO routed to Ableton for all the stuff Helix is faaar beyond an fx pedal...sure it includes a tuner but I find it hard no to think of it as a super instrument :-) Helix is the first real go at synergy Thanks all of you for not flaming me for my ADHD behaviour :0

BAHA...well who would have thought??? lol...lol... The problem with using too many synths over the years and looking for master tune :-\ Never had this issue with percussion...tunebot Well at least I had a lesson in humility...I asked the question without even looking...was using native and assumed way too much and did a net search first...which had a heap of whining about Variax and pitch shifting BTW the offset feature is great; equal temperament and intonation are at odds and being able to flatten B and G by a registered amount is brilliant (as well as my classical has intonation that needs G quite a lot flatter...but thats the beauty; imperfection...just not distraction Cheers @datacommando

I got what he was saying...and it is an issue of loyalty...I bought one of the first pods in Australia and despite my registrations, I own a lot of L6 gear, some brilliant, some a complete waste of money (jm4). I def would have paid the price of a model pack (even double ;-\)...and yeah got closer with mics/cabs. If I add up my wages on the time I spent trying, I could have bought another helix...Im serious; sometimes, time is more important Is it still capture or modelling? They ported the fx? (and a big thank you for that :-) Its just when you get A sound, its signature...dragging around a hd is a little bothering hehe; Helix just does not have the rounding of the transients which is like a unique built in compressor. eg I still use a D70; did sound design on them when they first come out...filters are absolute butter; its a signature hence why eg deep forest used it exclusively for some sounds. Power caps are still going...and I have a lot of software synths...admittedly remakes of what I grew up on but others as well...each one has a signature. Point is I can still access all my old hardware synths that I own (except d70 which is on the way)...that is brilliant and well worth the money... Its an artists signature ie not just the colours but the brushes

So where is the master tune? I did look through the prefs first hehe

Cheers Actually spent a whole day...gave up, its just toooo diff; all the above. Yeah I went back to the HD...the midrange is killer...Helix doesnt actually sound like the amp as much...it does sound 'better' ie hifi and feel a little better to touch Totally get it (Calabasas)...but if something sounds good...you know the deal...it is good...just because something is new, doesnt mean its better...in this case its different and pretty much when you get a particular sound...thats it. I dont keep fiddling with that one...sure, do a diff version etc but I always have core sounds and extend from that as its the performance connection that is so important to me. Thats why I still use my orig TS808 from 1982 (17th birthday...yep Im old)...it just has something that you can pick AB (my wife could easily tell hehe)

Footswitch behaviour gesturing Just look at morning star controllers as a good example...i have been doing this for other OEM guys in python but once you use gesturing its hard to go back Eg Single/double press/hold Hold is there for snapshots. .good start but long way to go Should be a standard set of gestures along with robust options (eg controller editor from ni) Example of use Snapshots area amazing but also block out other uses. Lets say you use a reverb and ill call them states 1. Default. 20% mix, decay 1s 2. Deeper, 35% mix 1.9s 3. Ambient 40% mix, 3s As you can see these are fixed states, not expression pedal where its infinitely variable. (Multi state stomp) Using gestures would work like this Single quick click = on/off Double recall = 1. Default Hold = recall 2 Hold again, cycle to next (more and more effect), recall 3. Hold again cycle back to 1. Default Optional: double press hold cycles backward, i use this a lot on Ableton controllers Cheers

Simple question, quite often you need persistent midi controls that are 'snapshot bypass'...am i missing something...why is there no bypass os snapshots available in Com center?

The ole antennae issue hehe

I was just thinking the same thing...but those switches dint work ie bad timing feel But Those air turn reed switches might just be the thing...although i never use >3m cables for passive pickups...:-) Anyway cheers for the thoughts! Btw, why send to ground...will open circuit suffer hum or??

Sorry, its syncopated input in real time not an oscillation that im after @PierMhas the interpretation right Cheers anyway

Thats what i tried yo do with helix...hence the post here The midi gate was super quick and was close enough for live. I have diff stuff plugged into helix depending on gig... Classical, acoustic with condenser mic pup, banjo with similar mic, mandolin using irig stage, strat, lp supreme, ibanez jem etc you get the idea; id like something that goes across all that, else its limited so doing it first in signal chain will do the job...but as mentioned so far, not working well. Im not a purist...hehe ill play a stick with strings...but also, without feedback to sustain or eg a rev/delay hold, its hard to get that glitch type thing convincingly and still be focused on playing ie chords, which is why i favour the footswitch; so its more like resonant chord effect (and why guitar rig works so well). Impro is a huge part of the play and im doing percussion during that as well (single moveable mic on that)...so the timing of the stutter phrase is more like an old qs10/ms20 vibe ie response to timing is vital Cheers

Correct! I have also mimiced the effect in mixing before in various ways with a midi gate ie in cubase and its pretty much the same eg tapping in a syncopated beat or using audio amplitude with a threshold. You can also easily do it in guitar rig with a step sequencer as a modifier and send it to anything eg gate or filter using a square wave output...or footswitch so i was hoping i could do the same in helix :-(

You know the old lp pickup switch right? U touch it lightly from center position and move bit back & forth u get a pulse of sound...like a square wave sequencer. Cant quite do it the same on most 5 way switches so i would like to use a footswitch to tap the rhythm (using volume gain -120/+0 db But The foot switch response is so slow its useless Has anyone else had success in emulating the switch gate effect? Cheers

Thanks peeps Following click kills the spontaneity of emotion in a performance..prob stopped using that 15 years ago nd likely will never do it again in this context. The subtly and emotion that is lost is a no go EDM etc of course but this is a guitar/voice performance so yeah...nah! We take the performance and tempo based stuff is needed, we chase the tempo of the live track...so automation is not really an option. I do have an airturn noiseless pedal that is normally used for page turning...but no midi out...will investigate that along with reply#1

Im not sure that eg exp lets you map the controller to on/off...will have a look but it didnt previously eg PDHD500x etc but prob only need 2 footswitches so thanks for the thoughts IF it does allow switching, then I guess i could patch a 10k resistor etc across custom cables...if that helps anyone else

Thanks guys Following click kills emotion in a performance..prob stopped using that 15 years ago nd likely will never do it again in this context. The subtly and emotion that is lost is a no go EDM etc of course but this is a guitar/voice performance so yeah...nah! We take the performance and if stuff is needed we chase the tempo of the live track...so automation is not really an option. I do have an airturn noiseless pedal that is normally used for page turning...but no midi out...will investigate that.

We have a client who is a guitarist/vocalist and uses a helix. Normally we are just micing up his vocals (TLM103/K2 in MS > VMP400e pre) so it retains the stereo space around the vocal. DT770 for monitoring (tight isolation) The helix is going in via the tube DI inputs...and everything is sweet...right? NO The artists switches presets along the way...as you do for various parts of the take and it also part of his performance. The foot switches are really loud, they are downright distracting on the otherwise great takes...some of them are on top of the singing so I can just gate/edit them out. I cant use any null of mics etc because of the way we need to capture him (as described above) Has anyone had any success in quieting them down? I mentioned for my own live stuff during covid ie in small rooms with people standing close etc...and seems no one else notices here Thanks

Howdy and new years greetz I would have paid easily for a hd500 models pack > Helix Ok, I only really need a couple but I have wasted days trying to get this... I have a couple of original songs recorded with the HD500 and there is a great mid range richness...it was chosen because after a couple of tweaks, it just has the right 'space' for vocals etc. The Helix model with all the variations sounds great too BUT it is much more hifi and despite my best attempts (Ive been gigging for over 40 years and used pod since the first model). I have tried using it but there is just something fatiguing about it SO I am keeping a podhd atm so I can still gig and do those songs but WHY? I need it to be streamlined...the whole point of Helix The new helix stuff is definitely amazing but there needs to be some respect for at least allowing users to download old models if needed, as they have done with legacy fx...great move. I cant seem to run an amp without a cab in HD so I can even tell if its cab or amp related. Ill do IR if I have to but that wont do the non linear aspects of the sound Has anyone had success with this particular amp/cab?

Exactly...when I was first starting out...I progressed to buying 2 fender rhodes cabs because I had no money and they were on clearance so I just worked with what I had. Initially that was TS808, ds1 etc into a dm1000 and then into an ibanez stereo chorus which fed the fender boxes. The chorus was super subtle but with delay etc and the 808 plus painstakingly remembering the knob positions by ear, that phase shift for me was more like a super emphasised echoing in a small valley which has that swirly kind of thing going on. Sounds crazy but before that, I actually lived on the top of a small mountain out of town and we would jam their, crank the guitar and the echoes throughout the valley is actually what I was trying to emulate (I also do a lot of FOH and come to think of it...that does a similar thing with volume) Thats part of what I mean about 'space'. Thats why as mentioned, when I listen to a track, part of the psycho acoustic cueing ie placing you into a believable space is just so important for connection...whether its in a room or a valley or a cave; its so magnifies the performance and sounds so much bigger imho Thats why close mic mono vs ms stereo is chalk and cheese in capturing performance (as you say @craiganderton re the intricacies of even room space). Ive been pursuing it a long time but I did hear an esoteric recording of some african blues and it seriously sounds like you are sitting in the room with them...amazing even if its not your genre (I have crazy playlists) Put on some good cans...