duncann

Mentioned above by lulu_m is the Boss Slow Gear. Something along these lines. Not far into the video below you will quickly see how it differs from a compressor:

Autovolume, autovolume, and autovolume, with pick dynamics. Or better, a way to take the current volume block and make it auto, with pick dynamics. That would allow this feature to be applied to other blocks as well. Filters: stuff from the HD, like obi wah, seeker, growler, voice box, maybe others. For modulated reverb, you could kind of do that now by placing the reverb on a parallel path, set it's mix to 100%, place whatever modulation(s) after the reverb, and use the level controls in the merge block to achieve a good balance between dry signal and wet.

From a perspective meaningful to Helix, the difference between 2048 and 1024 samples will be DSP used. Or one will use half the DSP of the other. Doubtful if you would be able to hear a difference between the two. For sample rates, Helix converts everything you import to 16-bit, 48KHz. So it doesn't matter what you choose to start with. Can't help with the last part, sorry.

The application called "Helix" also includes the drivers, which are necessary for everything else to work.

Recently, I discovered that sending Helix a specific tempo via midi (cc64) does not always produce the same result. For example, if you send 96, sometimes the tempo would be 96.(plus or minus about 4), although sometimes it would be exact. Something does seem to be off a little with tap tempo. Don't know if what I experienced is related to what the OP is talking about, but thought I'd mention it.

Thanks arislaf. I really like the way you set up this sound on sound on your preset. I figured I have to find a use for this and I've found a neat way to use it on my next song. It's a variation of it. Instead of using a stable infinitely sustaining chord via the particle verb, it uses a time synced, infinitely sustaining, pulsating sound that changes subtly depending on what's being played. The pulsating is built by using a ping-pong delay, cave reverb, harmonic tremolo, ubiquitous vibe, and LA studio comp. All that in place of the particle reverb.

There is a global option for this. Can't remember right now, but it might be in the preferences category.

Hopefully soon they'll start filling in the empty hole of the filter category, and an autovolume. For now though, you might be able to get some modulation on the current filters by using a parallel path and placing whatever modulation effect after the filter block.

Ok. I see the new feature now. And I can confirm the behavior you observed. Bottom row works fine with the off/dim setting, but the top row doesn't.

Regardless of the dim/bright of off/bright setting, snapshot leds are always off, except for the one which is selected. At least that's how it works on mine.

The Archon Lead combined with the Stupor OD sure is an instant, very likable metal tone. Tried it with Rosen Digital's Peavey XXX. It immediately reminded me of older Ozzy. Just tried the Archon Clean. This amp will easily become my new favorite clean amp.

As silverhead points out, make sure before you do the flash procedure, update the updater program (and everything else) to the latest versions. Then and only then flash the firmware.

http://line6.com/support/topic/19731-squeaky-expression-pedal/

Bummer. You could try holding switches 6&12 while powering on (safe boot mode), and then reflashing.

Same here for recording. What you can do is from your DAW, send Helix two CC69s (snapshots) on whatever beat, or division of a beat, at the beginning of recording. The first CC69 doesn't matter as far as timing, just so long as it's something other than the snapshot you want. The timing for the second CC69 should be placed precisely and be the snapshot you want when you start playing. It usually works satisfactorily and is mostly reproducible. Sometimes the timing is off. I'm not sure if two snapshots are necessarily needed, or in other words I'm not sure if sending Helix the correct snapshot while Helix is 'on' the correct snapshot already resets any modulated effects. It just seems to work better when two snapshots are used. Make sure the preset has the appropriate BPM, and that the global setting 'Tempo Select' is set to per snapshot. There might be other ways to do this too, such as switching presets. By the way, what filters in Helix would this be important for?

Update? There was one?

Helix: 22.05 x 11.85 x 3.6 inches; 14.6 lbs.

Bah! Any self-respecting, evolving guitar modeler wouldn't take overnight. It shall be adding features, including hardware, at the constant rate of one per femtosecond, at least.

I have tried a switch a long time ago with zero resistance when engaged and infinite when not. It worked, but not every single time. I think the HD expects to see around 10k at one extreme and zero at the other. In terms of an expression pedal, that would be the toe position and the heel, respectively. Or is it the other way around? Lol. So if you could find a non-latching, or latching, switch that goes between a short and 10k, and one that can be stepped on, I don't see any reason why it wouldn't work. It would essentially be an expression pedal with all the values in between the extremes removed.

If you don't want to waste an effect block, you could assign the amp to a switch. Make sure the bypass volume for the amp is zero. Alternatively, you could try putting a switch, with ~10kohms when engaged, in the expression pedal jack and assign that controller, EXP2, to the the amp's channel volume. Make the minimum zero. The good thing about this is you can choose to have the physical switch a non-latching, or momentary one. Which I think would work better for the effect you might be after.

I wouldn't use WD40. It can be corrosive. There's a bunch of threads about this topic: http://line6.com/support/topic/19731-squeaky-expression-pedal/?hl=squeaky

While this works, the big downside is the modulation itself can't be synced to BPM, producing unreliable results. In addition, any sort of modulation of parameters needs to have the ability of the modulation to be triggered by the a note strike, and various ways of controlling the modulation once triggered. So if Line 6 does do something like this, hopefully it will be a complete implementation of it. Hint, take a look at how Fractal does this stuff.

You have to have separate controllers for the paths and the dwell. In other words two switches. That way, you can let a note or chord ring out indefinitely while playing whatever else over that chord. Here's a preset, where the sound on sound idea came from forum member Arislaf: sound.on.sound.zip

Have switch 1 control an A-B path split between 100% A, and 50% each. Have switch 2 control the feedback for a delay, between maybe 50% and 100%. When you hit the note that you want to sustain, hit switch 1 right before that, and make sure switch 2 is toggled so that the delay's feedback is 100%. Hit switch 1 again and continue playing. When you want the sustained note to die out, hit switch 2. There may be some particulars I'm missing with this setup, and it may not even be the best way to do something like this. Also, it might be easier with snapshots. Edit: After trying this out, it doesn't work very well at all with a delay. However replace the delay with a particle verb with 100% mix and have switch 2 control the dwell, which when zero cuts out the sustaining sound. Not sure if that's what you're looking for, but it does provide for a sort of sound on sound type of thing.

If you're not getting bigly results from any modeler, stop being low energy and play better !