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Anderton

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  1. Anderton

    Poly Pitch

    Here's an example of an HX Stomp preset I use for low tunings, with the Poly capo settings. The preset uses bi-amping to balance the high- and low-frequency Amp sounds. Path A handles the highs, while Path B handles the lows. Fitting all this into 8 blocks requires two amps that don’t need much processing power, and uses stereo EQ to simulate a cab (not a stock Cab). Using preamps instead of amps would have freed up more processing power. The output Mixer can pan the two Amps for stereo imaging. A stereo Simple Delay provides a stereo output that collapses acceptably to mono. However, deleting or bypassing the Simple Delay for mono-only outputs sounds slightly better. In terms of customing, deleting the Simple Delay allows using the Line 6 Electrik, Litigator, or Badonk for one of the Amps. If you remove the Compressor, now the Essex A15, both A30 Fawn Amps, Matchstick Ch2, Placater Clean, and Line 6 2204 Mod Amps become available for one of the Amps. If you also remove the pre- and post-Poly Capo EQs, several more Amps become available for one of the Amps. Your choices for the other Amp remain limited. It take some strategy to shoehorn all this stuff into HX Stomp. but it's doable. (Note: For those of you who have my book, this is described in Chapter 4 on Poly Block processing, and is LowPreset.hlx in the Free Files folder.) Hope this helps - HX Stomp can do a lot more than you might think at first.
  2. Anderton

    Poly Pitch

    My solution is using EQ-based cabs, and selected preamps instead of amps. Those two techniques cut down dramatically on processing power, and with proper editing, sound almost the same as using a conventional amp and cab.
  3. Cool, constructive feedback is what will guide future updates. For me, this recalls my days as a studio musician, and interacting with a producer who would indicate what he or she wanted me to play. Of course, I can't take care of all users at all levels and all requests; the book is geared more to intermediate-to-advanced users. Fortunately Helix has been around for so long there's already lots of material available for those starting out.
  4. Thank you for your interest! Please note an example is attached, but to clarify: The book is not just about describing effects parameters. Out of the 320 pages, there are about 135 pages devoted to effects parameter descriptions. For example, although individual amps and their parameters aren't described (at least, not yet), there are three chapters about different ways to create presets using the amps (e.g., bi-amping, multiband processing, how to conserve processing power so that power-hungry amps can be put in parallel, etc.) and one on cabinet techniques. For an example of some of the kinds of techniques presented in the book, please see the article Creative Ways to Get Even More Out of HX Stomp. The book expands on the topics included in this article. I'm on the fence about whether to include the legacy effects. They've been around for so long, are fairly standard, and are often earlier versions of later/better effects included in Helix. I think including material on getting the most out of Snapshots, which the book doesn't do currently, would be more useful to more people. Helix is so deep I have to prioritize topics based on a) what people will find most useful, and b) what hasn't been covered elsewhere. The Fluid Solo web site already has an excellent description of amps and pictures of the base models. I do plan on covering amps at some point, but selectively - i.e., concentrate on the differences in the tone stacks, how ripple, bias, and similar "mystery" controls affect the sound, and parameters that are unique to specific amps. Bear in mind the book is already 320 pages long and took a year to write. I'm concerned about keeping it as focused as possible on material that isn't available on the web, in YouTube videos, or in the manual. For example, there's a chapter on using Helix as an audio interface, and how to aggregate it with other audio interfaces. The updates are like software. Owners of the book get "point" updates for free (e.g., like software going from version 1.1 to 1.2). If the changes are so extensive it needs a new edition, like software going from version 5 to version 6, then existing owners can get the new edition at a reduced price. However, I assume there's only so much that can be done with Helix - it's not going to do something like turn into a DAW! I doubt there will be a need for a new edition. The kind of updates Line 6 has been doing would fall under the "free update" category. The main reason for updating is to keep the book current for new buyers, so they don't get stuck with something that's obsolete a week later. Giving free updates to existing owners just seems like the right thing to do. Note that I've been using this publishing model with eBooks written for PreSonus for a couple years now, and all except for two updates were free. There are typically one or two updates a year, but Helix is different, because there will need to be an update when Line 6 releases new effects or amps. As to providing an example, I've attached a PDF of the Multi Pass Delay description, but I'm reluctant to do so because the descriptions are all quite different. There's no "representative" example, because what needs to be covered depends on the effect. Some do pretty deep dives, like showing the harmonic distortion components graphically for the three different switch positions in Teemah, or the frequency response curves for the Retro Reel effect choices. Others are more applications-oriented, like the Sweep Echo description. Many of the 230 included presets are paired with parts of the book, so you can load the presets into Helix/HX Stomp/Native and hear what's being described. Also, common parameters are described at the beginning of sections. So for example, I could post an example of a modulation effect, but you might think some parameter descriptions are missing, because they're included in an introductory section with common parameters. So, in addition to checking out the PDF, I have two suggestions: 1. The video linked to at the top gives a good overview of what's included. 2. Sweetwater's inSync online magazine will be publishing excerpts of effects parameter descriptions. The first excerpt has already been submitted, so it will be published soon. It includes parameter descriptions for the Cosmos Echo, Horizon Gate (which isn't really a gate, but a dynamic filter), and the Teemah distortion. It's designed to be a representative cross-section of the types of descriptions found in the book, which will give you a better idea of how the effects descriptions are handled. There will be additional excerpts included in inSync in the months ahead, especially when there are updated features to cover. Hope this helps... Multi-Pass Delay.pdf
  5. There will indeed be free updates for registered book owners (you download the updates when they're ready from your Sweetwater account). I've done several eBooks for PreSonus, and all of them have been updated at least once, so you can expect the same here. The only downside for some people is that the books are download-only, because updates wouldn't be feasible with print. (Also note that if a book changes so much it becomes a new edition, existing book owners can get it at a reduced price.) If you want to see the way Helix effects are handled in the book, inSync is going to publish an excerpt later this month. Also, Metallikid asked on this forum why the Retro Reel seemed to reduce highs and add bass, so I put some info from the book in the Retro Reel thread. The book goes into more detail, but the post will give you an idea of how much I enjoy going down rabbit holes :)
  6. Hmmm...I tried to reproduce this issue. Unfortunatley I don't have a Fireface for testing, but I sent a test tone into the Helix, and hooked up the XLR outputs to a PreSonus 1824c interface. I got the same input signal at the interface regardless of whether the output block was set to Multi or XLR. Has anyone else experienced this issue? Is there some step I'm missing in order to reproduce it? I do recall some posts about how if phantom power was enabled and you used the XLRs, the level dropped. Could that have anything to do with it
  7. Are you running the XLR out into a true balanced line input, or using unbalanced XLR?
  8. At the moment, the book is available only through Sweetwater because they can keep track of who bought the book, and make sure buyers are eligible for the free updates. What country are you in? There's probably some obscure legal reason. I'll ask Sweetwater what's going on.
  9. I think he just really likes the book...my video, on the other hand, is definitely an ad :) It's really gratifying to know people are finding this useful. It justifies all the time I put into it. I'm also happy that Sweetwater bought into the model of doing free "point" updates. It takes some of the pressure off me for keeping books current - I can just add on to the existing one. In that spirit, I'm open to suggestions for anything you'd like to see added to the book in the future.
  10. I'm really glad you've found it useful! My hope was that it would inspire people to come up with their own signature sounds.
  11. Frankly, I think that's going to give you the best results in the long run. In my "big studio" days, we'd often put up a bunch of mics, and decide what sounded best...that was much more time-consuming than just cycling through them! But we did it for the same basic reasons. Also mic choice depended somewhat on the application. For a huge stack blasting out at 11, we'd use a dynamic because it could cope with the sound pressure levels. Small-diaphragm condenser mics were the go-to for brighter sounds, and often, large-diaphragm condensers for acoustic guitars. Omni mics were good for picking up room sound if you were overdubbing and others weren't playing, although there's no proximity effect so you couldn't adjust the amount of low-end boom. Ribbon mics aren't very bright, and have a warm-midrangy sound. They're good on amps to take off some of the harsh edges, and used a lot for stereo miking or miking two cabs, because they could pick up two different sound sounds from the mic sides, with one side giving almost perfect rejection of the other. But we have dual cabs for that now :) Hope this helps, at least somewhat...
  12. First of all, I'm really sorry to hear the multiband presets are giving you problems, but thanks very much for your support. I don't know if they're write-protected or not, but I would certainly want users to be able to modify them. They're kind of intended to be modified. I know y'all are creative types :) FWIW I've had this happen with my own presets! I created a bunch of bass presets that were not available commercially, but Helix kept telling me they were protected in some way (that little pick icon to the side). I'm trying to remember exactly what I did to fix it...I think I opened them in HX Edit, exported them as a setlist, then re-imported them. Or I might have done a mass preset drag-and-drop to the computer and bypassed HX Edit instead of doing a setlist export/import. If I can reproduce the issue, I'll post the answer here. But they've been working ever since I did whatever it was that I did. If you don't get an answer, or if Line 6 support can't help, please send a note to the support email that's exclusively for owners of my presets and eBooks, and I'll help you out. Again, my apologies.
  13. Basically, that's the skill involved in mastering - to make audio translate over a wide variety of playback systems. I also need only one set of presets, but that's because I develop presets with Helix Native, and have the Sonarworks program to flatten the headphone and speaker responses (I do reality checks with both). Then as long as I go into an FRFR system live, the presets sound as intended.
  14. It's under warranty, so you should be able to get it replaced. Also check the AC voltage if you're experiencing multiple failures. Recently there was a power failure where I live. When the power came back on after being off for 8 hours, the voltage was 138V for about 15 seconds (along with spikes) before it settled down to 124V. Fortunately, when there's an outage I know to turn off the fuse box switches to anything that's always on (frig, HVAC, etc.) All my music/studio electronics feed from an uninterruptible power supply and line filter...one of the best investments I ever made. The worst part about power line spikes is they can cause components to deteriorate rather than just blow up (which is easier to find and fix). HTH.
  15. There's some great advice in here. Also remember that almost all consumer headphones, and even many "studio" headphones, hype the highs and lows, which are exactly the frequencies you don't want to hype with modelers. Hyped highs make the sound harsh, lows make it undefined because the lows crowd out the mids. AFAIC the limiting factor in how Helix sounds is the presets you create.
  16. I've put a lot of time into finding out what the reverbs can do. I do think the parameter settings are rather critical, but there are some Helix reverbs that simply have no other equivalent. I even use them with Helix Native on instruments other than guitar.
  17. I love it. Ran some tests on the distortion produced by the different diodes...very revealing.
  18. Interesting topic. It wouldn't surprise me at all if someone's experience was that going into an XLR input seemed to present more variables than going into line-level ins. Not all XLR inputs are the same. Some use transformers, some are active. If they use transformers, there are additional variables (transformer quality, input impedance, capacitances within the windings and from inputs to ground, and non-linearity at different frequencies). There's far less variability among 1/4" line-level mixer inputs, although I doubt impedance is the main culprit with XLR inputs. Level issues are far more likely. This isn't to say anyone is "wrong" or "right." It reminds me of a heated discussion between two musicians at a studio. One said cables made a huge difference in the sound. The other said they didn't - wire is wire. I said to them "I've been hearing your argument. You play guitar (pointing at the guy who said cables affected the sound)...and you play keyboards (pointing at the guy who said they didn't make a difference)...right?" They were amazed. "How did you know"? :) Let's get back to Helix. There's a mic in and a 10-band EQ. How about a vocoder in Helix 2?
  19. Just about anything is doable, but the question is whether something is worth doing from a market demand/cost/tradeoff standpoint. I doubt the Epsi would have been discontinued if there had been demand from people to add long IRs to their pedalboard setup, and if they considered it so important they were willing to pay $200 for a device that did only that. With Helix, any RAM used by longer IR samples means that memory couldn't be used for functionality that end users might prefer compared to loading long IRs.
  20. The amount of memory needed for reverb is far more than a cabinet (especially if you want decent high-frequency response). I make my own reverb impulses; a 4-second tail requires about 170,000 samples. Several of my impulses use 300,000 to 400,000 samples. Perhaps manufacturers think not enough people would use this feature to justify the cost of additional memory, especially if a device already includes multiple algorithmic reverbs.
  21. People say "don't listen with your eyes," but I have no problem with "listen with your eyes to tell your ears where to start listening." :)
  22. Cool, glad it helped! I did a lot of research along these lines while writing the book. I could hear differences when changing parameters in the effects like the KWB Distortion, Horizon Gate, Retro Reel, various delays, the different reverbs, etc. But it was hard to pinpoint exactly what the differences were (and how to take advantage of them ) until I pulled out spectrum analyzers and scopes.
  23. Amen, brother! When you consider the variables - strings, string gauge, string age, pickups, which pickup you're using, pickup placement, pickup angle, pole piece adjustments, body and neck materials, pick, levels, musical genre, and playing style, if a preset done by someone else works for you, it's luck.
  24. Once you know how Retro Reel is reducing the highs, you can apply equal and opposite EQ to compensate for the lack of brightness, while still retaining the other aspects of the Retro Reel's sound. I did a lot of analysis of the Retro Reel for The Big Book of Helix Tips and Tricks. The Tape Speed parameter makes the biggest difference to the frequency response; check out the attached image of the frequency response at different speeds (top to bottom: 7.5 ips, 15 ips, and 30 ips). 7.5 ips has the poorest high-frequency response, 30 ips has the best. Also notice the slight midrange dips around 100 Hz, 200 Hz, and 400 Hz for the 7.5, 15, and 30 ips speeds, respectively. The fullness you hear comes from the Retro Reel emulating what was called "head bump." This boosted the bass as a result of the physics of tape heads. There's a subtle bass boost in the 15 and 30 ips speeds, at 50 Hz and 100 Hz respectively. Depending on which speed you're using, the "fix" varies. First off, start with the 30 ips setting, because that reduces highs the least. Then, try using the Parametric EQ to add a broad, mild boost (a few dB) around 5 kHz. If you prefer 15 ips, shift the frequency a little higher, and add more boost. If you use 7.5 ips because you like its particular low-end bump, then a shelf EQ treble boost starting around 4 kHz is probably more appropriate. Finally, at higher Saturation levels, higher Texture values give a “woolier,” less bright timbre. Backing off on Texture of Saturation will restore some of the brightness. (FWIW Texture emulates the influence of the NAB EQ curve on tape.) Hope this helps!
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