buddachile

Makes perfect sense.

I noticed that the FS1/FS2 engage when you lift your foot from the switch as opposed to the other switches which engage when you press down. Why is that and can it be changed? I didn't see anything in global settings.

Thank you!

@zooey In my oponion keeping it to one performance sequence per preset is sufficiently convenient and keeps the Helix interface simple. If Line6 can come up with a simple interface to allow multiple sequences per preset that would be even better.

@silverhead Yes, I'm doing this now. While it does work it limits you to 7 transitions. This is usually enough but not always. Also, it would be nice to have a name of the section on the song you're on. Can snapshots be named like presets and stomps? That would help.

I think snapshots are fantastic for the seamless transitions of complex sound changes. However as a lead singer I find that thinking about let alone aiming for the correct switch to stomp on for the next section of a song is distracting. What I would like to be able to do is create a sequence of snapshots that I could step through during a performance by clicking on a single switch (probably FS7) to advance to the next snapshot in the sequence. Just in case there should also be a footswitch (say, FS1) that would step back one snapshot in the song sequence. Each item in the sequence should have its own assignable name/label so that we may think of the sequence like this: PRESET: Song 1 Intro ..... SNAPSHOT 1 Verse 1 ... SNAPSHOT 2 Chorus 1 .. SNAPSHOT 3 Verse 2 ... SNAPSHOT 2 Chorus 2 .. SNAPSHOT 3 Solo ...... SNAPSHOT 4 Brkdwn .... SNAPSHOT 5 Chorus 3 .. SNAPSHOT 3 Outro ..... SNAPSHOT 6 When in "sequence performance mode" the screen would show the name of the sequence (usually a song name) and the label of the current item in the sequence. If you wanna get fancy you can show the previous and next items in the sequence above and below the current, hightlighted, item. Also the other footswitches would work as usual as a sort of override (in the case of snapshot switches) and/or complement (in the case of stomps). I submitted this idea to ideascale here in case you want to vote for it: https://line6.ideascale.com/a/dtd/One-Button-Step-Through-Arbitrary-List-Of-Snapshots-Helix/894061-23508

I agree. Firstly, you're right that I didn't even bother to gloss over the speaker cabinet factors but I am aware of them. My thought is that if you capture the IR of the movement of a speaker in a cab of certain dimensions and materials the speaker of the modeling rig could reproduce the original experience when placed in a cabinet of the same dimensions/materials. Secondly, for my money accomplishing this goal has little to no value to ME. I'm happy to play through FRFR because it can sound great and offers the player more control over what the audience hears. That is, with FRFR what you hear is what the audience hears. This is not true with a conventional rig which means you can sound great to yourself and not so great to the audience (or vice versa). My purpose is to engage in a thought exercise on how one might combat the prejudice of anti-modeler tube rig aficionados of which there are many. My perception is that the "amp in the room" experience is the last frontier for these folks because it cannot be successfully argued that people can discern the difference between modeled and real amp tone in recordings.

Given the development of a device for accurately measuring the vibrations of a speaker directly all you really would need is to use that device instead of a microphone to create an impulse response.

Also would be cool if the Helix's Fuzz Face had germanium and silicon transistor modes.

Now you just need to get a second Xitone Mbritt for stereo madness. I bet that would be out of this world!

What you described is more along the lines of a room IR. I'm thinking about something different. My idea has as its goal eliminating any contribution of the environment (room) an mic from the model. Current amp modeling incorporates the amp, speaker/cab and mics into the model. The mic picks up air vibrations which are going to vary based on the nature of the room involved. This effect is mitigated by close mic'ing. The closer the mic is to the speaker the less room color is captured. But in addition to the room color the position and physical/electronic nature of the mic is going to color the captured signal too. These colors are what I intend to eliminate from the model by capturing the vibrations of the speaker in a direct/neutral fashion. This is a challenge (for me at least) as I don't know how to accurately capture the vibrations of the speaker. I don't know of a device that can do this well enough, but I'm sure given sufficient resources it could be devised. Assuming an appropriate speaker vibration capture device is available, once you accurately measure how the speaker vibrates to a given signal then you can model that. Once that is modeled, the signal from the modeler can be amplified by a linear amp to feed a speaker cabinet with a speaker capable of accurately reproducing the vibrations of the original (modeled) speaker. Once the modeling rig's speaker is vibrating with no room/mic color you're reproducing the experience of playing the original rig in whatever space you are playing your modeler in. I think this is the "amp in the room" experience some guitarists who cannot adapt to modelers are looking for. In other words, they want to take their lightweight/flexible modeling rig anywhere, plug it in and have the same experience as if they had brought all the original rigs with them. Of course there are other factors/details that would need to be considered/worked out, but this is the general idea.

I posted a suggestion on the Helix's Ideascale site some here might find of interest. (Also posted this message on thegearpage.net.) Basically, I think it would be great if the Vermin on the Helix had the popular/useful ProCo RAT mods incorporated into it. They should be accessible via the following new parameters: * Diode Clipping: - normal clipping (default) - no diode clipping - asymmetrical clipping * Diode type: - silicon (default) - germanium Personally, I have a Black Plague (old CMAT MODS Rat clone with mods) and use it mostly in "no diode clipping mode" and want that tone inside the Helix.

Make sure your tube amp block is connected to the cab block or you might blow your virtual transformer ;)

I think the feedback sustain would be fine with FRFR as long as its loud enough at the point where the guitars pickups are located. That said, I haven't tried it, so yeah, that's an interesting question.

I would think that you'd want to feed the board a direct signal with cab emulation to the board when using any FRFR amp/speaker like the Xitone.