HonestOpinion

"Mark Solved" :D

The link must have changed, here it is again and thanks for the vote! http://line6.ideascale.com/a/dtd/More-amp-cabs-effects-and-presets-for-acoustic-guitar/791672-23508

Great catch! Edited my original post accordingly. You are right the Release Notes for the upgrade are a bit ambiguous there. I assumed I was supposed to save and restore with v.1.02 and that seems to have worked on Windows 10, but maybe that was not a safe assumption. Not sure if you were supposed to save with 1.01 and restore with 1.02. That could quite possibly be the intended procedure if you execute the Release Notes exactly as written. I saved with both, I saved my custom presets with the 1.01 version of the Helix app, just in case the update failed and I had to restore to earlier firmware. I then upgraded to the 1.02 version of the Helix app and saved my presets under a different name. Then I upgraded to firmware 1.04.1 and saved my custom presets yet again with a different name with 1.02. Probably a little overly cautious that way. I then ran the 9&10 reset and then restored my presets from the v.1.02 backup using Helix app v1.02. So...I used v.102 of the Helix app for both the save and the restore on Windows 10. What is the correct procedure L6? Does it matter if we save with v.1.01 or v.1.02 of the Helix app and then restore with v.1.02?

Mine also updated on Windows 10 with no issues and no "Knack" errors on the Helix or the Helix app when I restored my custom presets. For those who have not updated yet, as stated in DI's earlier post, make sure you back up your custom presets with the new Helix app version 1.02 before upgrading to the new firmware. You may want to make sure you back up to a different name with the 1.01 Helix software before you upgrade to 1.02 some users seem to have had issues with OS X . Probably worth your while to just make sure you have backups of your custom presets made with both the 1.01 and 1.02 versions of the Helix app to be on the safe side. I used a Windows 10 box for the update. I backed up my custom presets to a different name after my firmware upgrade as well before I ran the footswitch 9&10 reset. As designed you will have to reset your global settings if you use the 9&10 reset procedure.

Just think of each pack you don't have to buy as being one step closer to a "free" Helix!

That 200-500ms dropout/silence is very significant and definitely audible and should be addressed with software optimizations or maybe by caching the other presets showing on the selected bank. That way at least any visible preset showing might be switched to more quickly. Preset changing should not be limited to between songs due to latency.

Grin, thanks, you rock!

Awesome to see the latest version of the firmware out DI, thanks! I have a question. When you use the Updater the instructions for this release 1.04.1 say to press the 7&8 buttons to update to the new factory presets. Which method should we use 7&8 per the instructions in the firmware or 9&10 per the instructions here? Also, the verbiage here is confusing as it says "restore stock Presets" under point number 2. "Stock" presets is a term used by many manufacturers to indicate the presets that remain permanently embedded on a firmware chip when the hardware is first shipped from the factory, such that if all else fails, you can always return to the state the hardware shipped in. I think it would be less confusing if "Stock" and "Newest Factory" were not used interchangeably. But then, I am easily confused. Thanks!

You may well be right, you might have to modify hardware to get this done. I was wondering if it was possible with firmware with the current hardware? Just thought I would throw the idea out there in case it was. Operating systems such as Windows and OS X can and do pool multiple processors and there are applications that can use multiple processors so there are models for resource pooling already out there. Pooling processing power can also yield throughput advantages as you can split throughput to multiple inputs/outputs on multiple processors, potentially resulting in less latency. I agree wholeheartedly with your comment regarding the max flexibility chosen by L6 given the current DSP implementation strategy. I hope it did not come at the cost of increased latency. I would not be surprised if at some point in the future audio hardware pools the DSP resources, if it can be done now, even better.

Dynamically allocate DSP resources Dynamically allocate DSP resources to whichever path (1 or 2) requires it up to the total limit available. Currently each path (1 or 2) is preassigned to one of the two available DSP processors on the Helix. This results in less flexible options for setting up paths and forces workarounds such as the "3+1" option. It seems like a more ideal use of DSP would be to dynamically allocate DSP to whichever path needed it from a pool of the total DSP available (both DSP processors). Just submitted this to Ideascale, please vote it up if you agree. http://line6.ideascale.com/a/dtd/Dynamically-allocate-DSP-resources/795206-23508 Note: It would seem that there might be certain scenarios where each path is maxed but has a bit of DSP leftover as you probably rarely max out at the exact DSP limit. Bonus, dynamic allocation might utilize these two leftover DSP fragments from both paths by combining them to provide a bit more processing power - an extra cab or effect.

Make sure you go to the Line6 Downloads page and get the Helix application and the Updater if you want the latest firmware version at http://line6.com/software/. The Helix app is more of a librarian than an editor, but between the app and the firmware update, it should allow the OS to see your Helix. The editor will be out at a yet undisclosed date according to L6.

You may want to try insuring the Helix and any electronics and peripherals you connect to are plugged into the same power strip, or multiple power strips on the same outlet (assuming outlet has sufficient capacity). Make sure the outlet/power strip is properly grounded first. Quote from https://www.soundonsound.com/sos/aug06/articles/qa0806_4.htm : "Ideally, the solution is to make sure that everything is earthed at one central point, so that everything shares the same common earth reference point. The easiest way to do that is to plug everything into a star arrangement of plug-boards fed from a single socket (assuming suitable power capacity). If that can't be done, the safest solution is to break the loop by isolating the audio cable screens at one end. The cable is still screened, but there is no longer any possibility of a loop, so the hum currents can't flow around it. Inserting transformers in the signal path can also break the loop, and this solution is common in outside broadcast and live sound rigs. DI boxes feature transformers for this purpose too."

You are in luck. This is the default setup for the Helix. Any preset that has a volume and a wah block will set up automatically this way.

Thanks for offering an alternate use scenario and summing it up so perfectly, the "3+1" path setup! Wish I had thought of that when I was titling this topic :wacko:

This is my rationale for liking both electric and acoustic to be within the same preset but I acknowledge that perhaps the majority of users will be just as happy using a separate preset. Your point is well taken, I have edited the post accordingly to address a wider range of scenarios. I think the points I made about DSP usage apply not only to my perhaps relatively personal preferences but also more generally to anyone who uses the two paths (Path1, Path2) for different inputs/outputs, for instance, an electric guitar and microphone simultaneously, or even two electric guitars without an external splitter. Those would probably be more typical scenarios.

I tried to provide some background as to why I am using this routing scheme but if you prefer not to read about my opinion on DSP limitations and want to get directly to how to get the max processing power available for the electric in a "hybrid" preset please feel free to skip right down to the "Method for using more DSP intensive electric guitar patch and also setting up acoustic guitar or Mic patch within the same preset:" You can also download the Template from the Line6 CustomTone library for this preset at http://line6.com/customtone/tone/1460280/ . Well, I just hit my first DSP limited issue. I know DSP limitations are currently an issue on every manufacturers equipment be it Boss, Axe, Line6 or whoever, but man are they a drag! The DSP limitations force you to pick mono where maybe you wanted stereo, not use certain effects, and not be able to utilize all of the slots available in the routing paths. I look forward to a time when we look back at DSP issues as an obsolete and ridiculous hardware problem. It just seems inane to get a "Not enough DSP" message or have effects grayed out. In essence the system is telling you, "I don't have powerful enough or adequate hardware to allow the full potential of the operating system"; despite the fact that the Helix is using state of the art hardware. Either that or even worse, other manufacturer's multi-effect units will limit you as to which effects you can double up on or use such that you never see the "Out of DSP" message even though the DSP is maxed. I am not picking on Line6 as this is a limitation on all current hardware platforms available. Line6 definitely made the best choice regarding DSP limitations, opting for maximum flexibility for the user instead of hiding the message by limiting what you can do. I can only get about 12 out of the 16 available blocks on a single Serial path (Path 1) loaded up. After block number 12 the Helix tells me there is not enough DSP to load block 13. Your results may vary depending on what you are trying to load up. I realize certain effects, stereo effects, and amp-cab blocks use more DSP but I am loading mono versions of whatever I can. Has anyone tried to load up 16 blocks on Path 1? I think you will find that depending on which effects you choose, even in mono, you will be challenged to be able to actually use all 16 blocks without getting an 'out of DSP' message or seeing an all gray screen when you try to add another effect. Yes, you can get more processing power and available blocks when you add Path 2 for a "Super Serial" setup but I was hoping to use Path 2 solely for my acoustic guitar or a microphone. And of course, even if you run in Super Serial you probably won't be able to use even close to all 32 blocks (not that I can ever see needing that many for one input/patch). I like having both guitars set up in one preset as I have found that when I have a separate preset for the acoustic guitar, when I am switching guitars during a gig, every once in a while I forget to either switch to the patch for the acoustic or forget to switch back when I go back to the electric. Of course, having a separate preset(s) for the acoustic is a perfectly acceptable solution as well and should get you around any DSP limitations. However if you are trying to use an electric guitar and a Mic in the same patch this routing scheme may be your best option. Method for using more DSP intensive electric guitar patch and also setting up acoustic guitar or Mic patch within the same preset: The following is a routing scheme that devotes up to the maximum DSP power and 24 blocks to the electric guitar while leaving 8 blocks available for a second input such as acoustic guitar or mic. I use this for presets where Path 1 alone does not have enough DSP for my electric guitar patch. This routing scheme gives me all the available DSP for the electric but also allows me to have a separate path for my acoustic or a mic : You can download the Template from the Line6 CustomTone library for this preset at http://line6.com/customtone/tone/1460280/ Note: You can use the Line6 Super Serial x2 template as a starting place for this routing scheme. Make sure you turn the 1A Output block's "Level" all the way down per the manual's instructions for "Super Serial". You will also have to drag down the split and merge blocks on the 2A path to get the separate route for your mic or acoustic. I also set the split blocks on Path 1 & Path 2 to "A/B" split and sent 100% of the signal to the B path. I ended up using a Super Serial x2 setup (Path1 routed to Path2) where the first three "bars" of the paths are used for my electric and the last bar is used for my acoustic. There is a method (drag down the split and merge blocks in Path2) when using Super Serial that allows you to separate out the last path "bar" such that you can route the acoustic or a mic into, for example, the Aux or "Mic In" input, and send it to a different output than the one you are using for your electric. In other words you can route the first three bars (24 blocks) of a Super Serial output for electric and use the last bar (8 blocks) with a separate input and output for your acoustic guitar or a microphone. This is what I am doing and it allows me to pick up and play either my electric or my acoustic without changing the preset. You probably won't use all 24 blocks for your electric patch but bridging from Path1 to Path2 will give you enough DSP to run more complex DSP combinations for the electric. I set up a Template for this routing scheme. I am thinking that ideally rather than each Path (Path 1 & Path 2) being allotted exactly half the DSP processing power on the Helix, that it would be much better if each path was dynamically allotted as much of the total combined power of the 2 DSPs as it required; limited obviously by the total power of the two DSP chips on the Helix. That way if you require more DSP for Path1 than Path2 you would not potentially be forced to use a Super Serial route. This would allow for much more flexible path setups. It would be really helpful to have a screen showing how much DSP each block uses so I could do a more effective job of balancing and figure out where the DSP "hogs" are I am wondering if there optimizations to the code that will allow the amps and effects to use less DSP without losing resolution or sound quality? If so, are these part of the future firmware revision plans?

Line6 is aware the expression pedal issue with a custom name is a bug and say they are going to fix it.

This looks like it is on the same track as an idea I put up on IdeaScale for using the CV output as a second External Amp control. Looks like there are a couple of electrical engineers on this topic. Could this be enabled through a global setting in the firmware or even with the current available settings for the CV output? Can this be done safely without any additional hardware and without damaging the Helix or the amp? You can vote for it here: http://line6.ideascale.com/a/dtd/Allow-CV-output-to-double-as-a-2nd-Ext-Amp-controller/790054-23508

Agree with all of this. I would add to the list: Crank up the large physical "Volume" knob at least half way, maybe all the way according to some (Waiting for consensus on this one, where are people running the "Voume" knob?). I run at 3/4 volume but this may change as more feedback on the ideal setting comes in. Make sure you have either "Line" or "Mic" chosen properly in the global output settings for whichever output you are using and matched with whatever mixer/amp/speaker you are plugging into Consider a 'high cut/low pass' EQ cut somewhere in your signal chain (Helix global, Helix amp, Helix eq, mixer's guitar channel, etc.), set anywhere from 5-8 khz as this is where guitar speakers typically drop off dramatically. Modeling/effects units can sound harsh on the high end without this cut depending on what equipment you are going through or if you are going direct to PA. If you are going directly or through a mixer to full range speakers, they will not cut off the high end after the 5-8 khz range like a normal guitar speaker would. Use your ears, don't cut if you don't have to (but you probably will)! If you are using the noise gate on the input block ("Input Gate"="On"), make sure that the "Threshold" is set to as high a number as possible that still cuts off the noise at a satisfactory level. Otherwise it may sound like the tail end of your notes is getting cut off. You will find on many lower gain presets you don't need the noise gate at all (depending on how noisy your guitar pickups are).

Hope the other one is a phaser. There is only one phaser on the Helix right now. It sounds fantastic but has almost no adjustable parameters. Besides, big fun to have a few phasers to pick from and I think this is probably a very commonly used effect. Would be psyched to see a Reverse Delay as well. Many of the effects sound absolutely spectacular so far, keep 'em coming and keep up the quality work!

I have the Amp Gizmo and it is a great device for adding midi to amplifier switching. I would love to be able to have 4 relays (two outputs using TRS jacks) available right on the Helix though. Still wondering if there is any way for L6 to leverage the CV output such that it can be used as another two amp control relays? Have not gotten a definitive answer on whether this can be done safely through a firmware revision that adds a global settings option or even perhaps with the existing settings available for the CV output. You can vote for this idea here: http://line6.ideascale.com/a/dtd/Allow-CV-output-to-double-as-a-2nd-Ext-Amp-controller/790054-23508

Thanks!

Is there a way to use any of the mod effects like phaser, chorus, flanger with tap tempo? I set "Tempo Select"='Global' but my mod effects don't seem to follow it. Many effects with "Rate" could have a parameter to indicate "Tap" or "Preset" which would determine if the "Rate" is to be set according to the tap tempo or the preset's "Rate" setting. That way all of the effects and delays could follow the tap tempo where desired. Is there a way to do this?

You are certainly right about less time editing and more time creating and playing. I never want the equation tipping more towards tweaking than playing. However, whether you are using the Helix and editing directly, or using a software editor, the effect is the same, you are not playing although you may be creating. I don't see where any one method is superior. I think it comes down to having multiple methods available so the most users can create sounds as quickly, conveniently, and intuitively as possible, dependent on how they use the Helix. That is the path in my opinion to max creativity and least aggravation. Some tasks are a lot easier on, and really lend themselves to software apps. Software editors give you a bigger clearer screen with larger print, drag and drop, have popup or pull-down lists, allow you to see and adjust many more parameters at a time without paging, are much easier to use while recording, and have a host of other benefits. Keyboards are also infinitely faster and easier to use for renaming (although the Librarian does give you some of that functionality). Using joysticks when you need to do a lot of custom naming is painful. Importantly, software editors massively save wear and tear on physical components. That means all the physical knobs and footswitches on your Helix last years longer and are more likely to be fully functional when you need them.

I agree with the after the cab comment and I actually put my gain block even further down the chain, right before the delay and reverb. My thought is that I might have modulation or other effects after the cab that increase the level. If I put the gain block before those effects I can't predict how much of a bump I will get when I turn on the gain. If I have an effect block after the gain block that raises the output level I could end up sort of exponentially multiplying the gain. The additional gain might also affect the tone of the effect blocks placed after it. By placing the gain after almost all blocks that have the potential to raise the level or change the tone, I get a more predictable, less colored, let's say 3db bump. I put the gain block before the reverb and delay to avoid having the delayed sound or reflections from the reverb get bumped up in irregular ways. I am not sure if this results in a sound significantly different than just boosting the output block but it is the method I have employed so far. The advantages I suppose to bumping the volume at the output block (which can be assigned to a footswitch) is it saves you a slot on your path for an extra effect (no gain block required), and, as "cacibi" commented earlier in this topic, you are guaranteed to get the exact uncolored level of increase in gain you have chosen.