duncann

The only other thing to try is reflashing the firmware, but it's doubtful it would work.

Have you tried the obvious reset? https://helixhelp.com/reset-options/ (make sure to back everything up first). If that doesn't do anything positive, open a support ticket with Line 6 and they'll take care of you. Could be something as simple as a loose cable connecting the screen.

I use Helix as the audio interface. The only DAW I've really ever used is Reaper, so that would be favorite. Reaper can pretty much do anything you could probably think of wanting to do, relating to functions of a DAW that is.

Not Glenn here, and he's probably better at this sort of thing that I am, but I'll say that there may not be a one size fits all boost or cut range for a given mix. If possible, try and create the preset within an existing mix - which means creating a first track's tone and then build the second track's tone around the first, and so on. And instead of relying solely on frequencies, use your ears. It could provide for easier and faster results, while still being adequate. But it could potentially have an end result that's a bit more subjective (factors like a generally bad or good day, ear fatigue, malnutrition, sleeplessness, wife cheating on you, too much to drink, low air pressure, high humidity, etc.) than analyzing each tracks profile, which would be more methodical, and time consuming, to determine which frequencies need boosting or cutting. Let me say it's nice not to have to worry about subtracting frequencies from another guitarist's mix, I guess. I only have to subtract from a track in a mix from myself, so it's probably somewhat easier. Lol. But if I did have to subtract frequencies from another bandmember, and if the one in question has a temperament problem, perhaps I would consider threatening to "subtract" some of his fingers, so it'd be harder for him to produce certain frequencies. For the good of the band's overall tone, of course.

I keep mine at around 2 o'clock. More than that and I start/(imagine) to notice unwanted clipping. This is with the spdif output. I never really looked at it closely as to why it clips above that, but there are other points in my signal chain where volume can be adjusted, so it may not be because of Helix. Not sure if there are any pros or cons to how you adjust your volume points. It's either going to sound acceptable or not. But if your talking about adjusting the level of individual blocks within Helix, then you can make the tone sound different just because of those level changes. And depending on what you want to achieve tonewise, there must be pros and cons to how you make those level adjustments.

A guess might be that it senses nerve impulses from moving the fingers in very specific ways.

Also note that if the drive in question is an ssd, it's unlikely that any software can undelete accidentally or intentionally deleted files.

Nope. Can't do that with snapshots. Only way I can think to do that is to use different presets.

Professional or not, desktop computers are very well capable of doing more than one thing, even at the same time, easily. I personally see no reason to have a 'dedicated' computer for audio recording.

Just to clear something up, the delay tails only applies to within a preset, not across multiple presets. When switching between presets, delays will always be cut off regardless of the global setting.

I can't get exactly this behavior, but I can get some unexpected results with the same global settings and adding a block (deluxe comp mono) in snapshot1, bypassing it, saving the preset. Then cycling through all the snapshots, everything seems good. Then to uncover the weird behavior. 1. Engage another snapshot, say #4, and enable the block. 2. Cycle to 5, 6, 7, then 8, and the block is enabled in all of them. 3. Cycle back down, from 8 to 7, 6, 5, 4, 3, then 2. Still enabled in all. 4. Go to snapshot1. The block is disabled. 5. Cycle back up to 8. All snapshots have the block disabled. 6. Engage another snapshot, say #5, and enable the block. 7. Cycle down to 4, then 3, 2. The block is enabled in all of them. 8. Cycle down to snapshot1. The block is disabled. Doesn't seem right. And when the global is set to recall, it has different behavior, but also weird.

Instead of using a snapshot controller on all the blocks for each path, use a snapshot controller on the level parameter on the output blocks.

This is an idea that's always worth repeating. It's been on ideascale for quite some time, with multiple entries: https://line6.ideascale.com/a/dtd/Modulation-Sources-LFO-s-Envelopes-Envelope-Followers-ect/774179-23508#idea-tab-comments https://line6.ideascale.com/a/dtd/Envelope-follower-controller/865388-23508#idea-tab-comments https://line6.ideascale.com/a/dtd/Advanced-controllers-ala-Fractal/788141-23508#idea-tab-comments https://line6.ideascale.com/a/dtd/Auto-wah-or-auto-EVERYTHING-for-Helix/727014-23508#idea-tab-comments https://line6.ideascale.com/a/dtd/An-LFO-and-an-ADSR/811573-23508#idea-tab-comments There's probably more on there. As far as the possibilities, they seem endless. Where do you begin?

Can't be done. Only suggestion I have is to post an idea on https://line6.ideascale.com/. It's an interesting idea, in particular for people who like things like this to be in an exact presentation, and for the sake of efficiency. I'd vote for it.

Forgot I have a couple of tracks that use this delay: starting at around 3:13, then another passage at 4:13 with different settings, and finally the very end: https://mikestack.bandcamp.com/track/the-artifice-of-time And an improvised piece with the entire thing reverse delayed: https://mikestack.bandcamp.com/track/entropy (recorded from an hd500x) When I wrote the first track, I remember giving up on trying to figure out what was exactly happening with this effect, and instead created something around what the effect threw at me when I played. Essentially the effect told me what to write.

Not really. Just open the preset into a text editor (one that can interpret unix line returns) and find the parameter you want to change and change it. Everything is more or less in a human readable format. Then import the preset back to Helix. But then don't edit and save the preset with Helix or HX Edit anymore, or at least the parameter(s) you manually changed. I did do this in the past and it worked, but that was some time ago, so something may have changed since then.

This is something they changed not too long ago. We used to have more resolution in dialing in frequencies. If I remember, you can get more precise, but that requires text editing a preset file.

It does seem to me that the time parameter doesn't function correctly. For example, one would think if it's set to 1s, it should be 1s before a repeat starts, but that's not the case. It seems completely random when a repeat starts. So I'm observing the same as what you pointed out in your previous post.

There's no scale parameter, but some for modulation on page two. I remember there being something off about this effect when it first came out, and after trying it with the above pictured settings, I can't for the life of me decipher what it's doing. It seems completely chaotic and weird, like orjay describes. It's like the effect is having problems determining what input signal it should be operating on, and when. Maybe it's just a lack of understanding about what this effect is supposed to do. Is this effect supposed to be predictable? Because it is not. But it's still an interesting effect, despite the weirdness.

Any particular reason you've discovered or chosen 11 and 23? Those numbers sound ominous to me.

Simple, obvious, and effective solution that works now. But at some point, it seems these sorts of actions won't be possible anymore because a person's control of information they both send and receive will decrease, in addition to a decrease in the possibility of maintaining a level of disconnection from the digital world. So societies will adapt and accept the exploitation of their most personal of information, unfortunately.

I haven't noticed any real difference in responsiveness between IRs and HX cabs. The IRs I tend to use are from Rosen Digital (now Lancaster Audio), specifically the Carvin Legacy. They were recently giving away their Fire Custom, which is along the same lines as the Carvin, but more refined. I also use the Orange PPC from 3 Sigma Audio. There's also a couple from Redwirez that I might use. Other than those, I guess I do tend to prefer the HX cabs for most things. Perhaps your sensitivity to dynamics might be that one cab simply works better than another for a given preset, and also within context. Or you could be suffering from a form of analysis paralysis (trippin).

Since noone else mentioned it yet, have you tried Reaper? It does pretty much anything you'd want.