codamedia

With the first gen variax guitars you create a custom tuning with Workbench and save the guitar/tuning into a custom slot on the guitar. NOTE: To get workbench to work with the 1st Gen Variax you need a VDI USB Interface, or an older modeler such as an HD500 (not the X model), an X3 Live or Pro, or an XT Live. I'm using an old XT Live myself these days. The VDI port operates as an INPUT on the Helix, just like the guitar input does. Once the signal hits the Helix it is processed just like a normal guitar. Even if the Loop is the first block in the path, the Variax Input will see it. When connected to the VDI cable this is exactly how I am using my 300. If you use snapshots you MUST set them to "discard" or you will get unpredictable results. The warning from @silverhead above should be noted... he is correct when he says Line 6 does not officially support Helix > 1st Variax operation - you do approach this at your own risk. What I can say is that once I understood all of the idiosyncrasies between the 1st gen variax and Helix... and set my snapshots to discard... it's working just fine. 2 Years and counting.

Yes... the Helix can recall any of the factory presets, plus the 10 custom locations. However.... if you edit a factory location the Helix can only access the factory default, not the edited copy you created. You must save custom presets to the custom locations in order to access them. Yes & No. This is a limitation of the 1st gen variax guitars. The tuning is not separate from the guitar models.... it must be saved with a guitar model. If you have a TELE that needs a drop D it must be saved as a custom model and called by the Helix as a custom model. No. The custom tunings must be built in the 1st gen variax guitars themselves. They cannot be edited separately from the models. Because of that limitation, the Helix cannot alter the tunings directly. Sorry, I don't understand what you are asking here... I'll need more clarification.

This is a great tip that I completely overlooked. I forgot that some of the comps in the Helix include ratio control.

All 4 parallel... into one cabinet? Unless someone knows a trick I don't, this is not possible. It is possible to run 4 amp models (sans cabinet) into one cabinet on the Helix.... but not in the manner you are describing. If you only need ONE amp at a time it's easy... if you want to start blending those amps (parallel) in a variety of combinations, that is when it starts to fall apart.

Set the LA Comp "type" to "limit". Turn up the "peak reduction" to remove the spikes, you shouldn't have to change any other settings. There is no "suggested setting" beyond that, because compression and limiting is very dependent on the level inputting that block. Did the Stomp get "peak reduction" meters in the 2.9 update? Meters are very useful with stuff like this, as you can see the exact amount you are clipping off the top.

Modulation > Double Take Just a week ago I was still searching for ways to fake a doubler using chorus, and it's been under my nose the entire time. I just applied it to some presets/snapshots and it works better than I would have hoped. You can control the number of voices, the depth of "slop" (seems like detuning and timing) as well as the sensitivity and separate volumes for direct and effect signal. That may be enough to get you what you want... or you can combine it with some chorus to thicken it more!

Do what you have to do to make things sound right. Since you are not gigging on a variety of systems it really doesn't matter how you come up with it as long as you get what you want. Creating tones that translate across multiple systems and listening environments is an art of it's own.... and it's important for me to do that with my "live" tones. My studio tones (the ones I play at home and often record with) are much different, and I'll approach it more like you do.... "just make it sound good regardless of how you do it" :)

The CALI EQ in that position is magical! Your cuts are pretty normal in my view. If you look at an EQ chart of a Blackface Fender (that clean mid scooped fender tone).... the 700HZ range has a huge cut, more than anything you are cutting. Are you using the Stock Cabs? I find spending some time with mic choice and position can substantially reduce the EQ required. Sound techs and studio engineers are masters of these techniques.... try to stay away from corrective EQ until you have no choice. What do you monitor your Helix through?

Different EQ styles and placements all have a purpose. Yes, they can be equally as effective with clean tones as they are with overdriven tones. My electric presets always include the following.... A stomp style EQ before the amp... just like having an EQ on a pedal board. These EQ's can have a dramatic effect on the amp response. A MESA style EQ between the AMP and CAB/IR. This shapes tone without effecting the amp response. A parametric after the amp/cab... this is for final tone shaping and filters (HPF/LPF) when required. I rarely use this EQ other than the filters but I still like to have it available.

Another consideration to keep in mind.... The STOMP doesn't have a VDI port for the Variax. Only the Floor, Rack and LT are equipped with that. I believe the same applies to Control link for the Powercab. In my market (Winnipeg Canada) I see this offer in local classifieds a few times a year so i believe there is interest. You live in a larger market area so I can't help but think this should be an option for you.

Is the issue solved because you now know what the problem is and will live it? Unless you really want this.... there is a global setting to alter the behavior. Global Settings > Preferences > Tap Tempo Pitch When set to accurate the pitch will glide just as the original effects did when the delay time or tempo is altered When set to transparent changing the delay time or tempo will NOT alter pitch during the transition.

Exactly. I filled in the page then just before I hit submit I thought to myself.... "where did you find the time to do this if you are chosen?" Page closed :) I am glad they appear to be expanding their test group. I guess it's possible they are just replacing a few that are gone, but an open invitation like this suggested it's being expanded. I know you are joking... but I do wonder how many people filling in the application mistake "beta testing" as becoming part of the team that decides what features live or die?

When you have something that works what would the purpose be downsizing to what would become a more complicated setup? If you are willing to put a midi controller and expression on the floor, why not put your Helix there? That's what it's made for. If you really need to have the unit near the mixer.... why not check to see if someone wants to trade their Helix RACK/Controller for the Floor Model? You might under utilize the Helix but most of us do! It doesn't have thousands of features for each of us to use them all... it has thousands of features so everyone has a better chance to find the features they want/need. Just my 2 cents.

It's solely a matter of taste. If you always ran your effects before the amp... there is no reason to change now. I always suggest that new users start by replicating what they know best.... then experiment/expand from there.

FYI: I was explaining to silverhead what a stereo widener was, I wasn't directing that comment toward you.

I believe it is stereo. Most (if not all) legacy effects are stereo.

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.

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.

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.

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)

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.

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.

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.

@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.

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.