Meiannatee

I'm building a synth-like patch, with the built-in Helix expression pedal controlling the high-cut (low-pass) frequency of the Low and High Cut block. With the pedal min at 1kHz and max at 11kHz, there's not enough fine control at the low end. If I drop the max range of the pedal, I won't have enough highs with the pedal fully down. If there's an option for a logarithmic sweep like in the Volume block, that will solve the problem. Unfortunately, I can't figure out how to do that. Care to help? And yes, I've tried using the Wah blocks, but all of them have a very pronounced resonance peak at the cut-off frequency of which there's no control to cut out. Side problem: Is there a low-pass filter block that goes lower than 1kHz?

This code is just from opening your preset file with Notepad. To edit the panning of the mixer block on HX Effects: Use the BIG KNOB to select the MIXER block (the point where the two paths converge). Use the < and > buttons (below the ACTION button) to access more parameters. Adjust the PAN parameters with KNOBS 1-3. See page 11 and page 31 in the HX Effects manual for more info. Or you can connect it to a computer and use the editor, like Kilrahi said.

@williamjaywhalen I've uploaded the preset if you wanna try it out. It's setup for SNAP/STOMP mode (4 Snapshots on top, 4 Stomps at the bottom) https://line6.com/customtone/tone/4672772/

Sorry for the late reply, was busy this week. Looking at the file, it seems that your Merge Mixer block (when Path A & B converges) is the issue. They were both panned to the left. I've made another one that's hopefully compatible with HX FX. Enjoy! CleanDirty HXFX.hlx

Could you send me your preset? I'll try to open it in Native.

I've made one for you to use as a starting point. Dual amps with expression pedal blend control. Made for 8 stomp mode, with solo boost, OD pedal, reverb, looper, some modulation, and 2 types of delays. You can tweak it from there. https://line6.com/customtone/tone/4658709/

You're right. I must have confused snapshot + footswitch with footswitch+footswitch. Thanks for spotting that. Anyways @williamjaywhalen I'll upload the preset I'm using and you can modify from there.

It is sort of fixed for your 1) and 2). If it happens: - unbind all controls from the footswitch, save. - bind your controls to that footswitch, make sure in all snapshots the footswitch is off, save. - then if you want the footswitch on (wetter) to be default on for a certain snapshot, set it, save. For 3), it may still be buggy if you have two footswitches control the same parameter(s). Better to add another reverb after that and bind to that other footswitch. OR you can use snapshots instead for different levels of reverb per snapshot. I'm using this method, let me know if you wanna try my preset, I can upload it.

If you're low on processing power, you can do the same with a dirt pedal on one path and nothing on the other. Have the paths converge before the amp so you don't need two amps.

Anybody can verify this bug?

Thanks for the reply. What I meant was, previously, the behavior was predictable as such: Footswitch ON (LED ring lit up) = max settings Footswitch OFF (LED ring off/dim) = min settings Now, in the same preset, it could be working normally in one snapshot (like the above), but reversed in another (ON = min, OFF = max). I know it's a bug because: 1) it worked in previous version 2) sometimes restarting the unit fixes it for awhile Hope that clarifies the matter.

There seems to be a bug with assigning multiple control parameters to a footswitch. Setup: Assign a footswitch to toggle between 2 settings in a delay block: (A) Low feedback + low mix (B) High feedback + high mix In Global Settings > Preferences, snapshot edits set to "Recall". Problem: Helix gets "confused" about the ON and OFF states of the footswitch. This typically happens when changing snapshots. Description: 1) Select Snapshot 1. Press footswitch > ON. Parameters set correctly to (B), footswitch lights up. 2) Switch to Snapshot 2. Press footswitch > ON as well. No issues so far. 3) Switch back to Snapshot 1. Sometimes this bug occurs: press footswitch again > it goes from ON to OFF, but parameters jump from state (B) > (A) > (B). Parameter states are (B) but footswitch light shows OFF, meaning states are reversed. 4) Switch back to Snapshot 2. Footswitch functions normally, with ON corresponding to state (B). 5) Switch back to Snapshot 1. Footswitch behavior still reversed (ON = state (A)) This setup was working fine before the update. It started after updating to 2.80. I've tried this on a new preset, same problem happens occasionally. But not always. Sometimes restarting the unit fixes it for awhile. Can anyone verify?

Didn't you hear? It's coming in spring in Australia. Still 5 months away.

Sorry for the late reply. Just my opinion here: there are a bunch of cases where gain compensation is not desirable. E.g. when setting up path A with clean amp, path B with dirty amp, and toggling them for gapless switching. E.g. when path B is for 100% wet, path A dry, and then using the exp pedal to blend in as much wetness as desired. In both examples, you would want consistent levels for each path by itself (except the 100% wet path). There may be some workarounds using the FX send and return. Another way (that is quite DSP limiting) is setting BOTH inputs - top and bottom chain - to guitar. Now you need to put an amp+cab block on both signal chains, and can't share anything between chains, but u get 4 paths. Thankfully, we seldom need to split to 4 paths. With 2 paths, you can have 2 effects that are independent, plus one "bonus" dry path by using the Mix control available in most FX blocks. Also, personal opinion again, delay into reverb sounds cool and natural. If they repeats muddy up the dry sound, using a darker delay or one with low-pass filter control will usually solve that.

I haven't tested this so correct me if I'm wrong: 1) Split levels Levels at split = levels going into split path. I.e. if amp is in split path, higher split levels will drive the amp harder. With no panning/balance changes, each path = same as before split. 1a) Split>Y Default - duplicates signal to 2 paths (no volume drop). Pan to either side = reduce volume on one channel (L or R) while maintaining volume on the other channel. 1b) Split>A/B Duplicates signal to 2 paths. Turn "balance" control off center = reduce volume of one path (both L&R channels) while maintaining volume on the other path. 2) Merge Sums path A and B. I.e. After merge = (A_left + B_left) and (A_right + B_right). Merge level is post-split blocks. I.e. if amp is in path A/B, merge level does not affect amp gain. Sum of 2 sources of equal volume = +3dB. E.g. If u split without changing pan or balance, don't change levels on both paths, and don't change levels/pan on merge, then level after merge vs. before split is +3dB. Each channel of each path is an individual sound source. E.g. Hard-pan both paths to L = +3dB L and -inf dB R (or -60, doesn't matter) E.g. Hard-pan path A to R, path B to L = same post-merge level (if L&R channels are the same in both paths)

Actually, the biggest part of the cost of the Helix would probably be in design and development. The processor cost is just a fraction. Regarding the GT1000 comparison: Technical specs don't take into account the biggest factor in sound quality, which is sound design & programming (including the development of a brand new OS). Read: (Californian) man-hours = $$$$$. Which brings us back to the thread topic: -Line6 has invested a lot in developing the core HX software. -First, they have to sell enough of HX products to break even on their ROI. -Second, since the true value of the Helix is in the IP, they would definitely want to maximize utilization of this asset. (Simply put, selling lots of HX stuff) -They are doing exactly this right now, by releasing offshoots/variants in the HX family to expand their market share. No need to reinvent the very expensive wheel, just customize the package to cater to different target audiences. In short, no, there will likely not be a Helix Mk2 any time soon.

Here's a tip: Use reference tracks through the same headphones! If you can get an isolated guitar track of a tone that's close to what you're going for, even better. The logic is, if the ref track can sound great through headphones, there's no reason why the Helix cannot sound great through the same headphones.

Do post your preset here. I'll take a look.

Can't wait to test the TUNAAHH! Would have changed my name to >< if i had to, Prince-style. Thankfully Sharpies are hard to come by over here! The patch notes mentioned fixing the low end up to 20~Hz, but no mention of the high end, which was wonky on my unit. Hope it's fixed!

Yes all mono effects will sum to mono, so there's no point using stereo effects in front of them. Amp and cab blocks are only available in mono (as with dirt boxes), and the only way to get stereo amps/cabs is using 2 on parallel paths. Therefore, unless doing the above, all stereo effects before amp/cab will be summed to mono. I'm using single amp and dual cabs in stereo. The difference may be difficult to notice, but try this: On the Merge block, map Path A pan to expression pedal. Min value = centre, max value = 100% left. Do the same for Path B, min value = centre, max value = 100% right. Turn off any heavy effects that may obscure the differences on the stereo amp/cab. Now you can audition the various degrees of panning in real time, and the difference is noticeable.

For input pad per patch, just add a volume block at the front, set to however much to pad, and you can toggle on and off. For me, like you, I use the pad for humbuckers and turn it off for single coils. It reduces the gain difference, but still not enough to be able to use the same patch on both guitars. Perhaps an option to change the amount of padding will help? E.g -3db, -6db, -9db, -12db

So many suggestions! The simplest method for me is this: (works best on Deluxe Comp) 1) To find treshold where comp starts to kick in. -Turn off Auto Gain. Set level to 0, ratio to max, knee to 0. -Start with a high treshold -Reduce treshold in sensible increments. Keep comparing Comp-On and Bypassed volume. If there's no difference, keep dropping the treshold. -Once Comp-On is softer than Bypassed, you're nearly there. Increase treshold in finer increments until the volumes are indistinguishable. Done. 2) Dialing in the the comp. -Set ratio to something sensible (e.g. 1:4), add a little knee if you like. -Predetermine how much gain reduction you're aiming for (3-4db sounds good to me). Set level to make up for your intended reduction (e.g. 3db reduction = +3db level) -Repeat steps in part 1 until the Comp-On and Bypassed are at the same volume on your loudest chords (Edit: differs from @amsdenj in that the make-up gain is adjusted to a ballpark value at the start rather than at the end, so I can compare with & without comp while fine-tuning, without my perception being affected by different loudness) Good luck!

Actually I have a legitimate (minor) annoyance with the new save button in the editor. Previously there was a "save to" function where one could save an edited patch to another location. Can it still be done on the editor now? It still can be done on the floor unit though. Background info: I use it quite a lot for when messing with a preset, finding a good sound, then saving to some other preset slot to do A/B comparison with the original

Well an alternative to charging for "packs" for old units would be to withhold payment to the employees who worked on those packs. Since technically, their work had no monetary value. Then I guess their families would have to turn to their local salvation army for meals and lodging. Another obvious alternative would be to stop support for the product altogether. Of course, if a company promises free updates, they should keep their promise for a fair amount of time, and the cost of these "free" updates should be budgeted for. Then this cost will be added to the final price of the unit. So you'll still be paying for those "free" updates. The part that's not so black-and-white is how long is a fair amount of time. An exception is major bugs which need to be fixed, since no product is marketed as buggy products. Except maybe ant farms ; )

Thanks @yeatzee for the video and patch! Watched it long ago and immediately preferred it to the new HX verbs. I agree that it can get quite DSP intensive though... Can barely fit a single chorus in that path. So it's being used in slower P&W songs. Keep making videos, it's good stuff! As for the comment on drier sounds for live, I think that tip is for: -untreated rooms with low ceilings, hard floors, lots of reflective surfaces. -use of reverb not as an effect itself, but to fatten up a dry tone. As already mentioned, listening to live recordings help a lot. Side request for a tip: I'm trying to get a workaround for a Ebow (for "Let there be light" by Hillsong). Using the patch in the OP video, I've found that reducing the highcut in the parallel path reverbs helps to make the reverb trails sound less distinguishable from a sustained volume swell note. Any other tweaks to make it sound more like an Ebow? Maybe some moderate compression after the reverbs? Currently it's a little tight on spare DSP