codamedia

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.

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.

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.

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.

I would approach this a little different... Rather than placing the IR on a parallel path, place a "SEND" just prior to the IR block and use that to drive your amp/cab. You can fine tune the send level to get the signal going to your amp exactly how you want it... then it should never have to be touched again. This opens the option to move your delays and reverbs to the 2nd path allowing for better DSP management. NOTE: I see you already have two effects loops on your path.... my solution will only work if you still have an available send to use. I use an LT that only has two mono loops, but I believe you have double that with the Floor model.

Have you overlooked "Stomp mode"? You can assign any effect block you want to a footswitch The MODE button will toggle you to STOMP Mode and the effects will appear like stomp boxes. Snapshot bypass on any block will separate that effects on/off state from snapshots so they are completely independent. There is "preset mode", "snapshot mode" & "stomp mode". The Helix can be setup to in a variety of ways to display these in a manner that suit you best. If you are not aware of all your options, it might be a good idea to revisit the manual and/or some tutorials.

I highly doubt it.... That would require "usb host" capability which HX devices are not. The Helix family are peripherals that need to connect to a host.

You seem to have overlooked the "snapshot bypass" feature that came with one of the latest firmware updates. You can set the on/off state of any effect to be completely bypassed by snapshots, therefore they operate just like stomp boxes in real life. FWIW... this is how I setup my Helix LT for LIVE use. I don't tone match every song.... I get the core tones I need from an instrument and apply effects as necessary. Presets: Each guitar I own has it's own preset. When I grab my tele I step on the Tele preset. When I grab my strat I step on the Strat preset, if I sit at my pedal steel I kick in that preset, etc... etc...etc... (this also applies to my baritone, 5 string banjo, mandolin, acoustic, dobro, and gut string) Snapshots: Within each preset, I use snapshots to call up my core tones. EG: For my tele my snaps might be "twang", "crunch", "classic rock" etc... etc... The Strat might be "Quack", "Blues", "Gilmour", etc... etc.. The names don't matter, it's just the core tones that I work with. Loading the snap will also adjust the parameters of the stomp effects to best match those tones. Stomps: At my disposal I have 9 stomp boxes (including toe switch) I can engage/disengage at will just like a pedal board. Those include a tube screamer, chorus (dimension), phase, delay, boost, wah, etc... etc... Some are snapshot bypassed and some are not. The result of this approach.... (for me) I never change presets unless I am changing instruments I choose a snapshot at the beginning of a song, and rarely change it during a song...but can if I need to I have a pedal board of 9 effects at my disposal... all optimized for each snapshot.

I would think that is asking a lot.... Roland has a 35 - 40 year head start in the guitar synth world over Line 6 :) Kidding aside, I agree with your post completely. Another thing that could change things (for me anyway) would be pitch to midi. With polyphonic pitch detection.... if those pitches could be converted to MIDI I could simply utilize any one of my synth/sound modules as needed.

I'm with you on this one. I'm not against the people getting their touch screen if they want it, but If the next generation includes one I certainly hope they still include an alternate option for navigation (joystick or buttons) and the ability to turn off the touch screen for those that don't get along with it.

I quoted the appropriate part of your statement.... and bolded the line that bugged me. If I took that line out of context, then I'm sorry... it's not worded very clearly. But every time I re-read it, it still rubs me the wrong way.

You buy the Helix based on what it can do with the firmware available the day you bought it, and the anticipation that future updates MIGHT be things you will enjoy and/or use. You do not buy the Helix to gain the right to insist it should have a feature you want. You can request it, but that doesn't mean they owe it to you.

A month or so back DI suggested a "sleeper" feature in V3 that can/will only be available in the Helix, LT and Rack. I haven't seen the feature revealed yet... but may have missed it. My guess was disqualified pretty quickly (DSP balancing)... but do you know if your wish for Global Blocks was ever disqualified? If not... there might be hope. When you first brought this up a while back I wasn't sold on it. But over the last year or so I've certainly had that "aha" moment several times.... I would definitely make use of that feature.