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Everything posted by cglaser68

  1. I realize I may have misunderstood the actual question here. As long as each snapshot is 'in the ballpark' as far as level (decibels or perceived loudness), you really shouldn't get any big volume issues switching between snapshots on the same preset. If you are there are two main possible issues 1. Gain staging. You may not be setting up your path for unity gain. Unity gain is when the output level of each block is the same as the input level of each block). This doesn't mean that the block 'level' parameter needs to be at zero on each block, rather it means when the block is turned off or bypassed, the level in decibels (or perceived loudness) for the patch is the same as when the block is active. If you don't do this, and you have some blocks in one snapshot that are a lot louder when turned on than off, you'll hear that when changing snapshots that disable or enable that block. 2. Certain types of blocks do not react well to being bypassed, enabled, or switched *WHILE* they are processing a signal. CAB blocks, IR's, and Amp models where there are drastic changes to gain can all be culprits. In general you should try to avoid switching between one or more IR or CAB blocks between snapshots, unless you can do it during a section of the piece where you're not playing. Switching IR or CABs can result in loud pops or artifacts. Changing parameter settings on cab blocks, IR's, or amps are more forgiving up to a point. Basically the larger the change (especially in drive or volume) on a amp the more likely you'll hear an artifact while changing. If the question is how to balance all your presets. That is was more about what my first reply was talking about. I usually focus on the output blocks when I can, and use a loudness meter on my DAW. I'll choose a target level (usually 90'ish decibels) and go through every preset and every snapshot making adjustments until they are all within +/- 3db or so. Then during practice I make any tweaks if I need to in order to get it to sound right in the mix. When a certain snapshot needs to be louder or softer (i.e. lead snapshot may want to be louder than a rhythm snapshot, I'll start at adding or removing 3dB, and then see how that sounds in the mix.
  2. Depends on the snapshot. As soon as you start using more complex snapshots (mainly either mixing multiple amps at once or multiple input blocks (i.e. for Variax Mag/Piezo pickups) it can become impractical to just use the output block or just the amp block. This is especially true if you're tying the expression pedal to multiple parameters across both input blocks. The reason being with multiple amps or input blocks, there are multiple gain sources and if you need to make the whole patch louder or quieter, you can't just make one amp louder or softer or one input block louder or softer without screwing up the mix between the amps or input blocks. If the snapshots are simpler (only 1 amp active at a time or only 1 input block), then I focus on either amp channel volume or the output block level setting. The output block is the safest (in most use cases) and is what I try to use as it will also raise the volume of any synth pedals in the chain (or any pedal which generates it's own tone) where depending on the position of the pedal in the chain, the amp channel volume will not. I try to not use the cab block level unless I'm deceasing level so as to keep that +6 DB headroom available should I ever need it. These are all rules of thumb as things like adding a looper can screw all this up depending on where you're managing your volume and where the looper is in the signal chain. i.e. Looper at end of chain, I loop a quiet rhythm piece, then switch to a lead snapshot which I make +3 dB louder with output block, now that quiet rhythm piece the looper is playing is also +3dB louder. It can get complicated sometimes.
  3. One thing it could be is the USB port on the Helix itself. The helix USB port doesn't allow the 'B' end of the USB cable to fully insert, it's almost like they used a half-length USB B receptacle. The problem here isn't that the USB cable can't make a solid electronic connection in a receptacle this size, rather, it's that it leaves the 'B' end of the cable in weak state structurally. If for instance someone walks next to the backside of the Helix while the USB cable is plugged in and steps on the cable, it can break a small plastic piece in the USB receptacle that anchors the cable. If this happens eventually the pins will no longer make solid contact and you'll get unreliable connections. I've had this happen to my Helix in the past and needed to have the receptacle repaired. The little piece of plastic is in the center of the receptacle, it fits into the 'hole' of the USB B cable. If it breaks off, you usually can't tell by just feel, the cable still seems to insert like it used it, but it will much more prone to connection issues. You need to look into the receptacle and see if that center plastic post is still there, or check your cable and see if the plastic piece is now lodged the cable. Either way, if that piece is broken, that's probably your issue.
  4. Have you tried exporting the individual patches (as opposed to exporting the setlist) and then importing each patch you need for the gig instead of a copy paste? I'd be curious to see if importing the patch prevents the parameter changing. At least then you'd have a workaround. You'd have to export all your patches once and then remember to export a patch anytime you make a change, but then before a gig you could just do an import instead of copy/paste. More work I realize, but hopefully not overly burdensome.
  5. I actually just noticed this as well recently. I've tried to set up two snapshots on the same delay pedal (Simple Delay), with one snapshot being set to a fixed time (380ms) and the other snapshot to use it at 120 BPM and 1/8 notes. But as soon as I change one of the snapshots to fixed time, the other change to use fixed time and if I change one to use BPM with 1/8 notes, the other then changes to use BPM and 1/8 notes as well. I have the time parameter on both snapshots set to use the snapshot controller. I also tried setting the BPM to 'Per Snapshot' as opposed to 'Per Preset' but that didn't change the behavior. I was able to get around it by just adding a second delay stomp to the signal path, and bypassing the delay stomp I don't need in each snapshot, but I'm wondering , am I doing something wrong, or is this a restriction in the Helix Snapshot capabilities.
  6. one more thing.... 'I thought I could set a 'base' snapshot but this uses another switch (precious on the HX FX) and it's not obvious you can control which snapshot is the 'base' You may not be conceptualizing what snapshots actually are. I would not think of snapshots as having one as a 'base'. Think of them more as setting/recalling a specific tone. When I first got my Helix it took me a couple days to properly conceptualize the terms the Helix uses to what they actually mean and do. In the helix (I say helix, but it applies to HX FX) PRESET is the ENTIRE patch. So let s just say your (preset) patch is: Compressor->Distortion Pedal->>Amp->Cab->Delay->Reverb That makes up preset. When you select a preset, the Helix clears the currently loaded preset out from memory and then loads all the devices of the new preset into memory. This is why you can't switch presets cleanly while playing, there will always be a gap or artifact since the helix needs to clear the old preset out of memory and then load the new one, and it can't do this instantly. Now after you select a preset you can run the HX in one of three main modes (PRESET. STOMP, SNAPSHOT). PRESET mode just lets you cycle through all your presets and select one. STOMP mode lets you manage (turn on/off) blocks in a given preset (Pedals, amps, cabs, etc) by assigning them to a foot switch. This is great if you have a base tone and want to toggle blocks on or off while playing. So lets say in the tone above, I have it dialed in to crunch tone when the Distortion pedal is off. In stomp mode if I want to go to a more distorted tone, I just hit the footswitch assigned to the Distortion block. Or I can add a delay when I want by assigning the delay block to a swatch. If I set the switch as 'latching', it will act as a toggle. Turning the distortion on if it's off, and off if it's on. That's what stomp mode is meant for. It's not really meant to change multiple things at once. It just emulates having the actual individual stomp boxes in front of you. Snapshot mode is a bit different. What a snapshot does it allow you to control any parameter settings of any or all the blocks in the currently loaded preset. So given the example above again. I can tell the FX, I want the drive parameter of the amp block controlled by snapshots. I want the distortion block bypassed. I want the delay on, and I want the feedback setting for the delay controlled by snapshots. I set to the delay feedback to 30%, and I also want the mix of the delay controlled by snapshots and set to 35%. How do you do this? in HX edit on the helix you would right click next to the parameter name and select 'Snapshot controller'. This tells the Helix that the value I set this parameter should be saved under the current snaphot. Not sure if that is how you do it on an HX FX, but the point is, you tell the HX that THIS parameter will be controlled by snapshots. You set as many parameters as you want that way across any or all of the blocks in your preset, and then save. So I would save the above patch while under snapshot 1, and then rename my snapshot 'Clean Delay' Then I switch to snapshot 2 This will be my crunch snapshot. While the HX is under snapshot 2, I turn on the OD pedal block. I set the drive on the OD pedal to be controlled by snapshots, and set 20%. I want less delay on my crunch tone, so I set the mix to 20% and feedback to 25% (since I had these set to be controlled by snapshots under step one, they are still set to be controlled by snapshots, I'm just changing the values they will be when I select snapshot 2 while playing). I push the drive on the amp up a bit until I get the crunch tone I want. Then I save under and rename snapshot 2 to 'crunch'. The important thing to remember here is if I tell a parameter to be controlled by snapshot, then it the HX will recall that parameter setting when I select that snapshot when playing. If I change a parameter but DON'T tell the HX to have that parameter controlled by snapshots, then that parameter change is global. That parameter will not change between snapshots, because I haven't told the HX to have that parameter controlled by snapshots Then I switch so that I'm under snapshot 3 on the HX. I want this to be straight distortion, no delay, but maybe a bit of reverb. I set the OD drive to 60%, maybe I also want to change the tone a bit too for this snapshot so it sits better in the mix with the distortion, so under the Amp block I assign treble and mid controls to the snapshot controller and raise them by 1 or 2 each. I bypass the delay pedal. I tell the verb mix to be controlled by snapshots and set that 40%. I save and then rename this snapshot distortion. Finally, I want a lead tone. On the Amp block, I set the 'Channel Volume' to be controlled by snapshots, and raise it a few ticks so my lead tone is a few decibels louder. than the others. I set my delay time to be controlled by the snapshot controller and set it to 320ms. I set the delay mix to 45 and feedback to 40. I save it and then rename the snapshot to 'Lead' In command center, FOR EACH SNAPSHOT, I assign Clean to FS1, Crunch to FS2, Dist to FS3, and Lead to FS4. Now when I play I can freely change between these 4 tones with no gap or artifacts in the sound. why? Because the Helix doesn't need to load or remove anything from memory, all the devices for the preset are already loaded, all the snapshot does is recall the parameter snapshot specific parameters settings I set on the devices. The helix can do this damn near instantly. Snapshots generally are the way to go. They can be very powerful, but it took me a few days to get my head around how to do them properly. The HElix like any high-end device has it's shares of quirks. But hopefully this will get you going in the right direction.
  7. 'But after hitting a Snapshot, all 3 switches change which is confusing (especially when playing live)...' This is probably what I was talking about in my previous post. You need to make the SAME footswitch assignments under EACH snapshot that will have a footswitch assignment. What is happening is when you first go into Command Center, snapshot one is selected by default, so while under that, if you assign 'Crunch', 'OD', and 'Distortion' to the Footswitches like in your photo, those assignments ONLY exist when you are using snapshot one. As soon as you hit 'OD' which lets say is 'Snapshot 2', the other footswitches will change to a random value because you haven't actually defined how snapshots should mapped under snapshot 2. You only defined it under snapshot 1, but once you hit the OD or DIST snapshot, you're no longer using snapshot one. I wish line 6 would add a checkbox in command center that says something like 'apply to all snapshots' so you could tell the helix this footswitch assignment should be applied to all snapshots, but for right now, you need to manually define each assignment under each snapshot you plan on using. I've had my Helix for about 2 1/2 years now. By and large this forum has been very friendly and helpful.. Just ignore the RTFM posts, they don't reflect the majority of people that contribute here. The manual while good, I find was written to better serve people who have used the product for some time as opposed to being a 'teaching how to use Helix' type manual. I feel it's more of a reference manual than true 'user's guide'.
  8. So if I understand this. - Hitting any one stomp will disable the others. To me this means I can never have more than one of these activated at a given time. - Hitting one that is on will disable it. Which if taken with the first rule, would mean if I hit the one that is on, they are now all off. If this is true, then you can do this in 4 snaphots. First Snapshot - Have Crunch on, OD bypassed, and Distortion Bypassed. Name snapshot Crunch. You CAN set the LED color on snapshots and set the LED Strip text. How you do it depends on if you are using HX Edit or doing it directly via the Helix controls. But in HX Edit this is done in command center. Second Snapshot - Have Crunch bypassed, OD on, Distortion Bypassed. Name snapshot OD. Assign LED color and Text as you wish. Third Snapshot - Have Crunch bypassed, OD bypassed, Distortion on. Name Snapshot Distortion. Assign LED Color and Text as you wish Fourth Snaphot - All bypassed. Name snapshot OFF. Assign LED color and Text. One quirk with the Helix when using command center to assign snapshots to footswitches is you need to assign ALL the footswitch assignments under EACH snapshop. So in Snapshot one, you need to assign say, Snapshot one to be on FootSwitch 8, Snapshot 2 on FS9, Snapshot 3 on FS10, and Snapshot 4 on FS 11, Then in command center you'd select snapshot 2, and do the same thing, so under snapshot 2, you assign FS8 to have snapshot1, FS9 has snapshot 2, FS10 has Snapshot 3, and FS11 Snapshot 4. Then in command center select snapshot 3 and repeat, then snapshot 4 and repeat. If you don't do this. Let's say you only assign the Foot switches under snapshot 1, well, the second you hit the footswitch for snapshot 2 or 3 or 4, you're no longer under snapshot 1 and if you haven't defined the footswitch assignments under snapshot 2,3, or 4, those FS could be assigned to anything.
  9. I'm having something along the same vein. I cannot create a full backup of my Helix. It states that a license cannot be found and that 'The following product packs are available for purchase from Helix Marketplace * 64315 * 64941'. The problem is the message doesn't tell me which presets won't be backed up and I have 3 full banks of stuff and while about half of that is experiments and templates, the other half is pretty critical, and I can't risk any of those being one of the things it skips backing up. What's interesting is that I haven't purchased anything new in the Market place since the last backup I made, which was successful, so I would be inclined to agree this is on their side somewhere. I do have a ticket open with support and I'm working through the process. Unfortunately they can't tell me what market place products the numbers in the error map to, so I need to try and export by setlist, or by preset by preset to determine which patches are affected and identify the preset or IR or whatever it is that thinks it's not licensed. I should have some time to do this later this week, but if other people or getting this message seems to me its a server-side thing.
  10. Can anyone confirm these are the correct Hex wrench sizes for the JVT 89f. Specifically, for the neck and bridge string locks. I lost the original and bought a set that had a 7/64" wrench based on a post I found in the Support forums, but it seems like a 7/64 is just a smidge tiny and has enough play in it that after using it a few time it's starting slip while tightening it...and I'm not over tightening it. These were the sizes posted: 1 - 4mm hex, for truss rod adjust JTV-89F (relief) 1 - 5/64" hex, for individual piezo level intonation adjust (intonation) 1 - 7/64" hex, for Locking nut and bridge string locks 1 - 3/32" hex, common generic tool in most guitar tool kits
  11. As other's have stated, the best compromise you're looking for is snapshots. The preset spillover, mentioned by the previous poster, is in my opinion, highly specialized and while cool, I think not needed in most use case scenarios. I'm a concept guy. but not everyone is, so the following may or may not help you. In the Helix a 'Preset' is ALL the devices you have configured for that patch whether they are bypassed or not. When you select a preset by stomping the footswitch for it, the Helix needs to load EVERY device present in that patch. So if your preset has a compressor, two amps, two cabs, and overdrive pedal, a delay pedal, a modulation device, and then finally a reverb, when you press the footswitch to select that preset, ALL of those devices must be loaded into the Helix. This takes several (10 - 20) milliseconds to do. When you load a new preset in, the old one is also cleared out. So if you try to change presets while playing you will always get an audio gap or artifact. This artifact is because the old preset is removed, and the new loaded, and that cannot happen instantly. What a snapshot does, is control any or all of the parameters of an already loaded preset, including bypassing or enabling any of those devices. You can assign ANY parameter of ANY device of the currently loaded preset to be controlled via snapshot. The concept to take away here is that snapshots don't load or unload anything. They only control the configuration of the devices already loaded when you selected the preset. These configuration changes can happen near instantly (it's not actually instant, but unless your snapshots change more than 20 or 30 parameters between them, it is effectively instant). This allows you to do thing like, turn off the modulation, change the delay mix from 30% to 40%, change the feedback from 25 to 40, turn on the overdrive, switch from amp1 to amp2 and change the reverb mix all at once and you will get no 'gap'. The downside of a snapshot is you can only work with devices that are in the currently loaded preset. You can't add a new device or remove an existing one with a snapshot. You're stuck with what is present in the loaded preset. So you can't for instance have a snapshot that had 3 amps in it already, and then switch to 3 different amps. This means that you can run into some DSP issues when trying to integrate multiple amp changes or other large DSP devices all in one preset. But I would guess that for 90% of users in 90% of cases, you can do what you need to do with a well designed preset combined with snapshots. My band is a 70's - 2000's rock cover band, we have about 40 songs to choose our setlist from at any given time. I typically have one preset per song, with snapshots set up for any changes (ie. intro, chorus, verse, solo, etc). There are only two songs we do right now, that I can't do all the changes I need via snapshots, and for both of those songs the limit comes from me having to dedicate one of the DSP paths to the piezo pickups of my Variax and the other path to the magnetic pickups. (I do this to mix the acoustic models of the variax in behind the distorted magnetic pickups) for these songs.
  12. This issue exists for ALL settings you make in commands center as far as I can tell. Not just the HX Snapshot setting. For instance, I have a Boss RC-5 looper pedal. It's a one-stomp looper, and I don't like having to double tap it to stop a loop, or hold it down for two seconds to clear a loop (which clears it only after starting to play the loop for 2 seconds), so in command center, I assign a 'stop/start' scribble strip label to a stomp under the 'CC' command center option and configure a MIDI command to be sent to the pedal to stop/start it. This let's me stop a loop from the helix without having to double tap it. I do the same for clearing a loop. I can send a MIDI command to clear it, and bingo no 2 second playback before clearing the loop. The problem is, if the preset has multiple snapshot, I have to do this for each snapshot. If I don't then the 'Stop/Start' scribble strip only appear under snapshot 1, and the midi command is only configured under snapshot 1. It would be nice to have a checkbox in command center that says something like 'Apply this settings to all current snapshots'. So if I have 4 snapshots, and i set up stompswitch 5 to be my 'Stop/Start Loop', I could just click that checkbox and now that is also applied to the other 3 snapshots. That or an option where you could select which other snapshots to also apply this setting to. I actually did submit this to ideascale about a year ago, but I think I didn't describe the issue well enough and no one upvoted it. I thought at first maybe I was the only one that this 'quirk' drove nuts, but I'll give it another go, now that I see it bothers others as well.
  13. I have a two step method. When at home, I will use a DAW with a LUFS (Loudness meter). I've found that the LUFS meter generally get's me closer than a decibel meter will, due to how we perceive the loudness of certain frequency ranges. This will usually get me pretty close. To adjust the levels themselves. I use channel volume first, and if that doesn't allow me to get loud enough compared to other presets, then I'll start increasing the level on the Output block and then finally on the cab blocks. Then the second stage is, I always bring my laptop with my at practice. I can't play at gig level at home, so even with the loudness meter it needs some tweaking once you're playing in the mix AND at gig level. So at practice I'll make some finer adjustment with my ears. That usually get me to a point where any differences are minor enough that once I set my Helix main volume during a sound check, everything sits pretty well, even without a sound guy. One thing to remember,, especially if you use a decibel meter, is to try level set as close to gig level as possible. This is because decibels or not linear, they are logarithmic. This means two patches that sound very close at 65 decibels but are actually off by say 5, decibels, will sound VERY off when listening to them at around 90 decibel.
  14. When changing strings on a JTV-89f, does it matter how centered (edge to edge) the string is in the bridge clamp in regards to the Piezos? I usually spend a lot of time trying to get the end of the string exactly in the center of the (bridge) string clamp, but I'm wondering if this has any real world effect.
  15. IT System engineer here. I was having issues with my Macbook pro and Helix USB connection after upgrading to 3.11, though the symptoms were not exactly the same. I would get a message that the connection to my Helix was lost after a couple minutes of it being connected. Uninstalling Helix Edit, then re-installing fixed that issue. If you're getting a message about power though. I'd do the following: Replace the USB cable. (Should always first step for these types of issues) If you are using a USB dock/expander, don't. These often do not properly supply full power to connected USB cables. Run the USB cable direct from the Macbook Pro USB to the helix. If the problem goes away, that's you issue. If you need to use a dock because of Apple's idiotic preference to provide as few ports as possible on a laptop, you may need to try a couple different ones before you find one that works properly. They can be very hit or miss, though you should have better luck with any docks that supply their own power (as opposed to docks that just pass on power from the mac USB port).. If your macbook only has USB C/Thunderbolt, make sure to use an official apple USB C/Thunderbolt cable. Many aftermarket USB C cables suffer from a big problem with power delivery as the specs for data are different than for power and many usb C cables on the market only implement the data side specs. Finally, if you are using an add-on adapter to convert (say from USB C -> USB B, or USB A -> USB B), don't. Buy a cable that has the proper terminations on both ends (ie a USB A->B cable). Adapters can also sometimes introduce power issues while still processing data correctly.
  16. This happened to me as well on my MacBook Pro with Big Sur. What fixed it for me was to completely uninstall Helix Edit (PLace Helix Edit in Trash, then empry trash), then reboot, then download the latest version of Helix Edit (3.10 at time of this post) and re-install. After the re-install I dot no more disconnect issues.
  17. Can the Direct Out on a Spider IV be used to go directly to FOH like a Helix. or is it better to mic the Spider IV?
  18. I own a Helix floor and a single Powercab 112+. While I realize I can run stereo to the front of house directly from the Helix, for some heavy DSP patches, I use the powercab to provide the IR/Cab sim (to offload it from the Helix), so my normal signal chain to FOH is: Guitar->Helix->Powercab->FOH. I was wondering if there is anyway to send a stereo signal to the FOH from a single powercab at least for the patches where I'm not using the powercab for IR/Cab sim. I know the powercab doesn't just drop the stereo signal it gets from the Helix because I *CAN* get stereo from the powercab through its USB interface when it's connected to my DAW computer. I'm just wondering if there is a way to get stereo to FOH from it.
  19. I have not, but I will
  20. I've had this happen to me on 3.1 Helix Floor. This happened on a system that was updated to 3.1 from 3.01, and was factory reset and then restored as part of the upgrade process.
  21. Yes. I'm using a single ethercon cable. I was aware that using both outputs (1/4 and VDI) at the same time was a bad idea. I was just commenting that at least with a Helix and VDI cable, both pickup types are 'active'. I'm guessing the statement is true that if modeling is on, mags are off, IF you're only using the 1/4 output on the variax, but not true if you're only using the VDI cable.
  22. You sure about this? I have a JTV 89f with a Helix and I can use both the Piezos and magnet pickups at the same time through the Helix. I have several presets that do just mix an acoustic model from the piezos with the magnetic pickups (which I'll usually overdrive) to get a mix of distortion with acoustic behind it.
  23. Watch the videos in this series by Jason Sadites. Will tell you everything you need to know to get started.
  24. Is it possible to switch to a snapshot AND start a loop with a single footpress in Helix?
  25. So I'm just starting to explore using the Helix as an interface to my DAW. I have a question about the USB 1/2 outs. Do I assign both to one track in my DAW? What is being sent though them? Is USB 1 left, and USB 1 right, or are these just two interfaces that both send the full signal?
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