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codamedia

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  1. FYI: I was explaining to silverhead what a stereo widener was, I wasn't directing that comment toward you.
  2. I believe it is stereo. Most (if not all) legacy effects are stereo.
  3. I haven't seen a guitar "stomp" version (although I'm sure they exist)... but there are many plugins available for DAWS that can widen a stereo image. The separating the signals more to the left/right - away from the center - or vice versa.
  4. The natural way! IMO, the best "wide" stereo image on guitar is done with multiple mics on a cabinet, or multiple cabinets. Start by separating the amp and cabinet, then insert the dual cabinet for a quick lesson on how effective this can be. Play around with different cabs, mics and distances. By default this cabinet will hard pan each cabinet left/right. A couple mono cabs on parallel paths gets a similar effect with more control over the spread. *** Make sure any effects downstream of the dual cabinet are the stereo version or the signal will collapse back to mono.
  5. OK... this is the "intent" I've been wanting to see in a clearly described manner. I now understand what you are trying to accomplish! Thanks for persevering in getting your point across. This was a great suggestion from @zappazapper, but what you are noticing could be a problem. I can't open my DAW (Studio One) at this time to see if there are any workarounds, but maybe take a look at Macro's and in particular the Channel Macros in conjunction with Control Link. I do believe the answer with lay in Control Link (maybe with help from macros). I'd suggest you check out the Studio One forums and see if there are solutions for controlling two of the same plugin (on different channels) with a single control. If there is a solution it can be applied to Helix Native.
  6. I fully agree with everything said for far. FWIW, I use this chain for all of my acoustic instruments.... including Acoustic, Nylon String, 5 String Banjo, Mandolin, Dobro. The settings change, but the chain is the same. Gain (to adjust input level) > LA Studio Pre > Parametric EQ > IR Loader (optional) > LA Studio Comp > Hall Reverb > Gain (to adjust final level)
  7. I will respectfully "forget your intentions" and just answer your question. No.... it is the simultaneously part that makes it fall apart. Two guitar parts through separate instances will need to be controlled separately. Even if you run them through a single instance of Native (or the Helix) on separate paths, two amps are two amps. It appears the biggest hurdle you face is the amps because they have no "stereo version". Set your Helix up with all stereo effects, create a parallel path for the 2nd amp (amp 1 on the upper path, amp 2 on the lower path) and make sure the split & merge are panned appropriately. The effects will be simultaneous, but the amps will need to be controlled separately. If I can make just one suggestion.... When building stereo guitar tones, guitar should be treated as MONO IN > STEREO OUT, not STEREO IN > STEREO OUT There are exceptions to this... but normally that is simply how guitars work.
  8. I think there is one ingredient missing from this recipe which is "randomize". A good detune effect will not use fixed values for pitch and time.... it will randomize them within pre-defined settings making it much more natural. I'm NOT saying the Dimension solves this... it's still noticeably absent there as well :) Certainly an option... but the Helix does not currently have polyphonic pitch detection, so (in theory) I already question the results - although testing really is the only answer.
  9. I read your post several times.... I think you are over thinking this. If you are double tracking hard panned rhythm guitars, just record and process each part separately and hard pan them! That's how it would be done in a real studio! There is no reason to try doing it all within a single Helix Preset or Native instance. It's far easier to have two MONO tracks in Studio One and process each one with a separate instance of Native. IMO.... when recording this is a non issue. Taking the time to process each track on it's own will always produce the best results.
  10. @fearuvthedark... I can see the problem has been identified as an effect on a parallel path, and Schmalle is absolutely correct in his assessment of what is happening. I'm here to offer you a few solutions to work around that problem if you want to continue using the delay on a parallel path. Using shapshots you can turn the delay volume all the way down instead of turning it off. In effect this turns the delay off, but doesn't bypass it. Instead of using a stomp button to turn the delay on/off, you can assign it to adjust the level of the delay. This is very similar to the snapshot option above but it keeps the control on a stomp button instead of using a snapshot. You could add a simple gain block after the delay in the parallel path and turn the gain all the way off (blocking the signal). Set the gain to toggle with the same footswitch as the delay but in reverse. When the delay is on the gain is off. When the delay is off the gain is on.
  11. There is a lot of sag on that amp, and sag can easily be mistaken as compression. The dirtier you run the amp, the more pronounced it gets. Turning SAG down should help. As with the real amp... hitting the front of the amp too hard can cause it to compress as well. Double check your gain structure before the amp model to make sure it isn't running too hot.
  12. Where did I say it wasn't? Although I don't hear any chorus on that track, getting that sound might require that type of effect. Seeing that the dimension can get very subtle... it has the capability of sounding more natural than most chorus effects. I think we are on the same page :) Although I don't think I hear a chorus on that track, a detune (sometimes referred to as a doubler) could certainly be possible. Unless I am mistaken (always possible) the Helix does not have a dedicated detune effect and that is why I suggested the Dimension.... it's the closest thing to it with all the SW buttons off... IMO. You also state subtle which I agree with 100%. If an effect is actually used (rather than a doubled tracked guitar), it's very subtle.
  13. Are you running 4CM? That is the only time I could see this being an issue, and yes it would be a big compromise. If you are running into the front end of the amp... you shouldn't have to adjust the level leading to the amp once it is set. The input stage of an amp is critical to how the rest of the amp responds downstream. In this case, If I needed more volume at the amp I would simply turn up the amp.
  14. Although Chorus was a popular effect in the 80's.... I don't necessarily hear it on this track. That track is either doubled, multi-miced and panned, or both! It's a huge tone, but as you say - soft! If you want to soften the track and mimic this doubling try the Dimension effect. It will be under "modulation/legacy". I would start by setting all the "SW Buttons" to OFF, then bring the MIX down so it becomes very subtle. Another option (if you are using amp/cab blocks) is to use a DUAL Cabinet... Set one cabinet with a dynamic mic at about 1", the other with the 121 (ribbon) around 6" - 8". This option sounds best in stereo, but will still soften the track in MONO. The other thing to add is the LA Studio Comp. Place it at the end of the path. Set the gain reduction so the meters are just starting to read... nothing extreme.
  15. If you own a copy of Helix Native, you can load the Helix preset there, then edit it (remove paths and blocks) until it becomes usable with the Stomp. At that point you can change the mode of Native to simulate the STOMP for testing. Once it works there, you can export the preset and load it onto the Stomp with HX Edit. Having someone do this for you probably violates your agreement of the purchase because it would require you giving someone a copy. Why not ask the developer if they have STOMP versions of their presets?
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