duncann

The idea is this: https://line6.ideascale.com/a/dtd/Auto-wah-or-auto-EVERYTHING-for-Helix/727014-23508 or https://line6.ideascale.com/a/dtd/Modulation-Sources-LFO-s-Envelopes-Envelope-Followers-ect/774179-23508 There might be additional similar ideas floating around on ideascale, but these two came up readily in a search.

Something like this would greatly increase the power inside Helix. I would imagine if they did this, it would be another controller. Would that mean if a parameter is already attached to a controller, could an additional controller be used for that same parameter? Could multiple controllers per parameter even be done?

Maybe if Line 6 created a profile system for FX blocks (one profile could include multiple blocks, a sort of a sub/mini-preset for constructing purposes, but not snapshots either), and then created a long list of delay profiles using the existing delays with creative names attached to them, might that increase the variety? Paraphrasing willjrock above, the variety is already there, you just have to find it. Although I have to admit the crystal delay for the Kemper in your link above is rather nice sounding. This addition to the reverse delay sounds interesting. Is there a link to Ideascale for this?

What kind of FX options?

I'm curious about what sort of delays are missing? I can't think of really anything. Plus don't forget that you can increase the variety greatly by combining delays, and using other effects after delays when used in a parallel path. Also, there are a couple of new delays coming in the next update.

I imagine you could assign a keyboard shortcut in whatever DAW you use to send some midi to switch snapshots, or most anything else for that matter.

Have a look here: http://line6.com/support/topic/20904-list-of-default-cabs-per-simulated-amp/?p=157895

Lol. Knowing this myself, it still works its persuasion every god damn time it happens.

I think it's Alt + Left Click to assign a parameter to the snapshot controller.

They use less DSP. I've heard them called hybrid cabs before, because they have some sort of processing done to them to make them sound like they are higher resolution than they actually are. Something similar to what Fractal does for their ultra res IRs, or whatever they call it? I could be wrong. Taken from http://line6.com/helix/blog.html at the bottom: In any digital device, there will always be some functions that require a large amount of horsepower to accomplish and others that are far more efficient. If you think about devices that you use every day, typing an email on your computer or smart phone feels quick and responsive because generating text is easy for the processor. Watching a full HD movie is a different story however, because video requires much more DSP overhead to display. In our world of digital audio, time-based effects are often the most DSP-intensive, with delays, reverbs, amps and speaker cabinets topping the list of the hungriest processes. Speaking of hungry processes, speaker cabinet emulations that are created using impulse responses (like the ones in Helix) traditionally use a large amount of DSP. This is due to the fact that these impulse responses are actually short audio recordings containing capture data from a mic’d speaker cabinet. The higher the quality and the longer the recording, the more accurate and detailed the speaker emulation is, but that increase in quality has a greater DSP load. Along with its suite of internal speaker cabinet models, Helix also allows you to load high-quality impulse responses from third parties. While this is a fantastic option to have, it’s important to note that the factory speaker cabinets in Helix offer a number of advancements over traditional static third-party impulses. We call the speaker emulations in Helix “hybrid cabsâ€, because they use a number of proprietary algorithms to reproduce the same frequency and dynamic accuracy typically seen in a 2048-point impulse response, but at far lower DSP usage. Not only that, a hybrid cab allows you to move the microphone from directly on the grill to up to 12 inches away (in .5 inch increments), and accurately captures the proximity effect/bass boost of the microphone in all positions while doing so. All of this detail means that the speaker cabinet reacts just like the real thing, not just sounding better but feeling better under your fingers. Due to the efficiency improvements hybrid cabs offer, it’s actually possible to run up to four speaker cabinets at once in Helix (depending on DSP load), all with different microphones and microphone positions! The main thing to get out of all of this is that while Helix offers the ability to load third-party impulse responses, you shouldn’t feel that it’s necessary to do so to get fantastic tones. HX cabs offer authentic speaker and microphone behavior with more flexibility and lower DSP usage, leaving you more processing headroom for effects.

No, you're not, although I wouldn't say greatly disappointed, just mildly. I prefer the octo on the HD (same as M9) too, as well as how the mix parameter works on these other devices. It's much simpler and less complicated. At 100% mix, I also notice the dry signal is definitely not gone. It's faint, but still there nonetheless. I haven't checked this recently, so maybe they did something to fix this in an update. For most cases when I use this reverb, I put it in a parallel path with 100% mix and tweak the level parameters (I'll only adjust the 'B' level, and leave the 'A' level at 0dB) of the merge block until I get the desired output. This also has the advantage of being able to put EQs, or whatever, after the octo to further tweak the octoness only. If I want to disable the octo, I have the split as an A/B and assign the 'route to' paramter to a controller so that it goes from either A100 or even split. Doing this seems to work better than a serial configuration for a more even, less bumpy trails effect, specifically if you want a mix greater than 50%. In other words, when the octo is in a serial config and the mix is somewhat more than 50%, when you disable the octo, there may be a sudden, dry level change, so using an A/B split makes the dry level consistent. Not only that, but the trails parameter on the octo fades out way too quickly. When using a parallel path, it does not. To me it is clear this reverb was made for another device and when Line 6 ported this to Helix, it didn't seem to port very well because of the reasons stated above. It's the same for the particle verb as well.

I've got it easy in that I only write my own songs and don't play live. When I used the HD for this, it was always one preset for each track the song had, although there were some exceptions to this, such as multiple presets per track, or the same preset for multiple tracks. I've since been using Helix and pretty much keep things the same way. I don't know why I do it this way. Never thought much about it. It just seemed to work out that way. As far as you getting bored with the HD, I would say just take the time and experiment. There's more than enough in there to keep one interested for a very, very long time. Throw away the notion of the 'correct' order for the blocks/effects. Use the parallel paths. You never know what you'll find. And when you sit down to experiment, try not to have a goal or objective in mind other than exploration. I've stumbled on many tones, and music pieces, doing this.

The fact that you're thinking of using Helix Native as a backup ensures that you must experience a power surge that destroys both your Helix and computer. Better have a backup computer...

It sure doesn't sound like it's gonna suck. It would be even funnier if Line 6 created their own, original model that does the same thing, or nearly so, as the FreqOut, and released it before the FreqOut is available. Haha.

Rather than more amps, they should focus on filling in the hole of the very sparse filter category, and some HX reverbs. But even before that, some core functionality improvements others have brought up on the forum. One big one that comes to mind is multiple splits and merges per path. IR management and the update process are a couple of others. But even before any of this, that DigiTech FreqOut pedal would be awesome.

This is a great point. As guitar players, I hope everyone here knows that one of the most important skills to possess is recognizing pitch with only using your ears and brain. Tuning by ear is just one small way to help develop that skill.

About all you can really do, or at least all I've been able to do, is use a pitch wham in combination with a phaser and/or flanger (harmonic is a good one), and tie one or more parameters from each block to the same expression controller. Also, you could use snapshots to get different varieties of feedback. It gives some interesting effects that can be reminiscent of actual feedback, but it's far enough away from the real thing that it's obviously mimicry. On the other hand, the effect can be unique enough to stand on it's own, depending on how it's used. A block in Helix with the capabilities of what's demoed in the video above (1st post) would be absolutely wonderful. Did someone already make an ideascale for this, or something similar? @jbuhajla In the beginning of the video, Scott says the feedback is actual.

I bet they limited the plugin to exactly what Helix can do in terms of DSP, otherwise you wouldn't be able to swap presets between the Helix Native and Helix.. But could you have more than one instance of the plugin?

When you bypass an amp, the channel volume of the amp changes to bypass volume, which if I remember, defaults to 100. Change it to zero.

I see a lot of swell things in this update.

I've read it'll be $99 for Helix hardware owners.

Whatever it is they are coming up with, and whenever, I look forward to it. Line 6 has raised expectations for themselves throughout the life of Helix so far, so I kind of expect something more than a straightforward implementation of the suggestions and ideas from their users. I've noticed a tendency in the Helix team to put an artistic and elegant spin on whatever it is they do, in a way that makes you wonder why someone didn't think of it before.

That made me wonder if anyone has actually ever ran out of slots on Helix? I haven't.

Look further, and he says no firmware available for download at NAMM. Since when has a firmware ever been available for download at a specific physical location, other than the Line 6 servers? I think DI is screwing with us. (Obviously, he's referring to the time of NAMM, right DI?).

In my case, I'm not sure it has anything to do with presets. Although the occurrence is rare, several times over the last couple of firmware versions, it has locked up during the boot process. The animated dna logo just stops. I don't know at what point Helix begins loading a preset, but when this happens, it's about 10 or so seconds in. Helix takes somewhere around 20 seconds to boot. I do have Helix connected to my computer always, which I suppose could make a difference. This kind of problem is nearly impossible to figure out, and it's rare enough that I just shrug and move on. If I was using Helix live, however, it could be a big problem, as I've also experienced a rare lockup while playing.