duncann

Put the reverb in it's own path, it's mix at 100%, and use whatever modulation you want in conjunction with the reverb. Use the merge block to adjust the mix between the reverb and other signal.

Click the 3rd button from the top left of the reply box, Special BB Code, select media from the dropdown, paste the youtube url. Or just surround the youtube url with media tags.

Here's a post that Ben Adrian made just recently relating to the tone controls: http://www.thegearpage.net/board/index.php?threads/line6-helix.1586637/page-1035#post-21593186

I don't know about this stuff, man. What's happening to the idea of just picking up a guitar, a normal one, engaging with it, and creating some music. A lot of what I see in this video would seem to take away from that purer experience. It's training wheel after training wheel, iSh!t this and that, blah! I see these things as more of a bastardization of the guitar than anything else, and it saddens me somewhat, or maybe it's just me getting older.

Thanks pfsmith. Very interesting. p.s. "They" didn't delete anything:

Use a DAW and some sort of IR loading plugin. I use Reaper and it's built in ReaVerb. All you have to do is load an IR from one directory and use the arrow keys on the keyboard to cycle through all the IRs in that directory. Couldn't be much easier. Send an already recorded dry signal from your DAW to Helix. Change the input of the patch to usb 3/4, 5/6, or 7/8. I use 3/4. Set the dry track output to the appropriate setting and likely mono, depending on what you changed the input of the patch to. Set another track to record the Helix processed tone by putting its input to usb 1/2. Put the IR plugin on this track. Make sure to disable any IRs or cab blocks in the Helix patch.

Thanks. Makes sense, but a little frustrating to actually work with when looking for exact values, having things "click" in place, rather than a slower-slow-fast type of thing. Could be a bit of OCD at work.

Some might be, haven't looked at all. But others, like the script phase, isn't indicated, it's just a number, and milliseconds doesn't make sense for that, especially considering the values displayed, 0.0 - 10.0. The new deluxe phaser, however, is labeled in Hz.

Certain effects have a rate parameter that can be toggled between bpm synchronization or not. What is the unit of measurement the non-bpm values? Is it hertz?

Safe boot mode was added in version 1.06.5, so that's why that's not working. Have you tried the complete reset, 9 & 10? If that doesn't work, try it multiple times, and unplug everything first, including the usb cable. If you still can't get 9 & 10 to work with positive results, I would then suggest opening a support ticket with Line 6. They might know something more to get it working for you. Hopefully you don't have to send it in.

Take a look here: http://helixhelp.com/pmwiki.php?n=Main.ResetOptions

I also always reset the globals after a firmware update.

I've seen this too. Like RPascarella, I've just been ignoring it because it doesn't affect anything. And once Helix is turned off and back on, whatever memory is being used for this is cleared. 1.06.5 firmware. I've also seen a similar thing with the IR slots (on earlier firmware than 1.06.5), only it persisted between power cycles. I remember trying the "Clear" function to no effect. I don't mess around with the IRs very much, so only seen it a couple of times and the details are vague. It was a while ago.

In the US here, it goes for $130. It is built tank-like though.

I always preferred the SVT Brt with 4x10 Rhino and 47 cond mic. Haven't tried it with the GK. I like the 4x10 over the 8x10 Beast because the Beast sounds like it has a big hole somewhere spanning a large frequency chunk. Plenty of low end with that cab though. The 4x10 is a good compromise. It lacks some low end, which can be compensated for by jacking up the bass control on the bass guitar, but provides that fat chunkiness the 8x10 is missing. I got a good lead tone for one patch I made, for a 6-string guitar, using the 8x10. As far as the Ampeg, after getting the bass pack, I never even touched that amp after that. It's a horrible bass amp, at least what's modeled in the HD. By the way, I have Helix now, so the HD sits there doing nothing most of the time, but I still use the 4x10, two of them, and the SVT Brt for my bass patches in Helix.

Ah. Got it. I have one of the Mission pedals, EP1-L6, and it's great for wah and whammy type stuff. Really bad for volume control through. I much prefer the built in for the little volume control I might do.

The calibration is all automatic, including for external pedals. I've noticed a small dead zone on the built in pedal when starting from the heel position. Is that what you mean by the sweep being to far in the heel? What is a dual lock?

Fender makes a pedal that does this better: https://www.youtube.com/watch?v=LaMEdWHiLno

I seem to be always chasing the cleaner piano-like bass tone. Haven't gone after any sort of distorted tone with bass. But I will say that making a bass tone on a digital modeler, and in particular the HD, is so much harder than making one for guitar, at least for me. I don't know why that is, but for sure it's something to do with the instrument itself. I'm always finding something not to my liking when making a bass tone. Always. And it's always been unfixable. I like playing the bass a lot, but making tones for it not so much.

How unfortunate for you then.

There is no spork.

I have the bass pack too. Makes an absolute world of difference when using the HD for bass.

If that's what going on with the pitch glide, you could take a look in this section of MeAmBobbo's guide: http://foobazaar.com/podhd/toneGuide/cabsMics#dualCab-phase It could certainly be worth a try. Messed around with this a little. In your patch, you don't have any blocks left, so I took the digital delay and tried different EQs in various positions, Path A and B. The studio EQ in path A seems to minimize the effect the most, but it's still there. At least when some of the other effects are turned on, it helps to mask it.

I've noticed pretty much everything you point out above as well. In the case of when placed after the split, the pitch glide "weirdness" is now only being applied to one-half of the signal with an eventual mix of that one-half and another signal that doesn't have the "weirdness", which I suspect is some sort of phase shifting, making things worse. When it's before the split, it may not be as pronounced because the phasing is only happening internally to the pitch glide effect, not being combined with anything else.

So just to reiterate, there are two ways you can do this, while avoiding the unwanted tone coloring this effect seems to have: 1. Assign the pitch glide to a switch and turn it completely off when not using it. Assign only the pitch parameter to one of the expression controllers. 2. Leave the pitch glide on all the time, but have either EXP1 or EXP2 controlling both the pitch and mix. The pitch from neutral to +1 octave, that's 50% to 75% on the controllers tab in HD Edit, or as displayed properly on the device itself, 0.0 min and +12.0 max. And the mix, using the same expression controller, from 0% to 100%. Doing it this way might sound slightly different than number one above. Unless someone else sees another way to make this effect completely transparent when not in use?