themetallikid

It does, but I'm missing how that applies to my preset. I got it 'fixed' by also assigning FS7 to the Level B parameter in the merge block after the effect. However, when I initially removed it from the Mute All/Normal function and only had it on Level B, it was also still present in the signal (all be it low enough to not be heard while I was playing). It was only when both were assigned and engaged that it killed the entire signal so only my dry signal came through.

shouldnt the 'mute all' parameter mute ALL of the signal though?

That I was well aware of. Knowing that though, I didnt know if it actually changed any routing being that it was bypassed. Being that the 70's chorus is right before my split to 2 different amps....when bypassed, am I losing that stereo split (not that it really matters as I'm finding out as I'm not running any other stereo effects prior anyway)......but my mind couldnt let the question go.

So my STP tribute band is doing the song Meatplow. During the 2nd verse there is what sounds like an open E string (I dont know for sure, havent learned the note yet, Probably an F# as the rest is going off that, heh, idk) going on during the 2nd verse. I was just going to ignore this part, until I watched Jason Sadites video of the Rachet delay block walkthrough. When I heard him doing his thing, it immediately stood out as an ear candy effect to add that overdubbed part into the 2nd verse. Simply capture the note, let it sit there in the background under the 'Mute All' parameter until the 2nd verse, tap tempo the song once we start and add it in when we get there.....mute again when its done via a Stomp foot switch. Programming is all good. I have 1) Bypass set to footswitch 5 to engage the effect and capture the audio before the song starts 2) Mute All > Normal switching set to footswitch 7 for toggling during 2nd verse. 3) Set on a parallel path so I maintain my dry guitar I have attached my preset. As soon as I record the audio, even with Mute All engaged, I can hear it in the background. When I click FS7, it certainly comes on at the 'normal' FX level, but engaging the Mute All function again goes back to much quieter, but not muted. What am I missing on this?? Appreciate any help. Meatplow.hlx

I've noticed this as well. However, its not all the time. My presets that I've been using are fine. I copied them to other slots to experiment with some different block types and I have this issue.

I will try that out tonight when I explore some more. Appreciate it.

Usually before the split block, I would only have a wah, maybe a 'shared' TS808 for leads, but the main block before the split is the 70's Chorus...but there are enough songs that I dont need that sound on to warranty exploring what I've been asking so I dont have to drastically worry about weird signal flows etc. If I understand you correctly these will give me the same result 1) Guitar > Split block > Path A Amp/Path B amp 2) Guitar > Stereo Gain block > Split block > Path A Amp/Path B amp So yes that would save me DSP. Can you verify the back end of my signal routing; that these result in the same sound: 1) Merge block > Stereo Delay > Stereo Retro Reel > Left Mono output 2) Merge block > Mono Delay > Mono Retro Reel > Left Mono output That would save me some DSP on the back end as well. Also isnt the Heliosphere's reverb based on the Dynamic room? That could then replace my delay/reverb blocks to save some dsp if the above mono conclusion makes no difference.

Yeah, I confuse myself thinking about it as I can understand/believe both of those scenarios. So my next question, is there any benefit to maintaining a stereo split before the 'split' point of the path by adding a stereo gain block? My signal splits into 2 different amps (Tweed/Mandarin), which then goes out 1A/1B feeding 2A/2B respectively into appropriate IR's. I have a dynamic room reverb on the Mandarin path before it merges on its way to a Retro Reel and then output. My brain short circuits when thinking about the differences between collapsing stereo>mono and all that. I don't really run stereo, however I do like the split amp thing for this project. Having that stereo chorus is greatly accurate to the STP sound. In the aspect of saving more DSP for some further accurate sounds....is there any difference in using a mono Retro Reel (or any mono block really) and collapsing the stereo>mono....vs just letting the output connections being L only doing it? If I can save some DSP by using a mono block vs stereo if its not making any difference at the output location then I'm fine with that too.

I have several of these that pop up in my mind daily, however this one I haven't been able to find anything about it. I know that DSP is used as soon as a block is put into a preset. Whether its bypassed or not, does that affect routing? I'm assuming not that if its in the preset its splitting/summing as it should. In my presets for my tribute group, I have the 70's chorus (stereo) right before the split for a dual amp signal flow. Sometimes I do not need the chorus effect, but during down the mix to 0% kills the 'dry' signal getting through (duh!). So I have it bypassed and just not active in any snapshots. I assume that it is still splitting the signal L/R. Now the dumb(er) part of the question....I could really use the DSP that the 70's chorus takes up. Especially when its not in use. Is there anything it is doing when bypassed that I 'need' to keep the signal flow consistent the rest of the way through the preset? Again....I'm assuming not as bypassed means its out of the signal flow and at the split its no different than if its not there.

Pretty simple, its like any guitar rig. With what you have listed there..... Guitar > Wireless > Helix Guitar In > Helix Output > Power Amplifier > 2x12 Cab. The Helix just replaces your amp/pedal section of your previous rig.

OH, my mistake, I thought (again, in my quick dumb thinking) that control could link with Native as well. If I couldnt practice or control like I was playing live, then its really not a solution for me.

Right, I get that. But.... Helix Control $450 Interface $100 (at most?) Expression pedal $130 (I like Mission Engineering) New Desk to minimize practice footprint $80ish I'm at $760 for an 'economical' practice solution to just not wanting to haul my pedalboard and open it up and plug in 3 cords. lol. I'm wanting to be lazier/efficient, but thats pricey for me.

Forgot in my quick madness of thought that I'd need to control Native somehow as well. $450, plus an expression pedal ($130) and I might as well just buy a home helix as a backup and home version.

I have a pretty minimal laptop, its about 4 years old. I run a version of a recording program, for the life of me I can't remember the name of it (at work currently) but I'm pretty sure it starts with an A and is somewhat popular, lol. ....Not sure if that would work. All I'm looking to do is practice with Spotify, and create presets like I do with my Helix. I dont record at all really.... So looking for something to allow minimal footprint at home. My Helix sits on my pedalboard which is about 30"x 18" and the desk I need to cover that is a bit excessive for what I need desk space wise (desktop). Thought maybe getting Native and a device to recreate what Helix is doing from an I/O perspective would be enough....maybe I'm misunderstanding and its not the most $$ economical????

So, for the sake of keeping my apartment 'cleaner' in appearance between gigs etc, as well as getting a smaller desk to work with between gigs. I'm considering getting Helix Native to eliminate having to fit my pedalboard under my desk and also keep cables all around. OK, so help a newb out with this thing. 1) purchase Helix Native 2) I need some sort of interface to go from 1/4">USB correct? Suggestions? So my questions pertain more to #2: 1) Guitar > interface > CPU seems pretty obvious. Do the interfaces offer Headphone Out's? Or would I get my audio then from the Laptop Headphone Jack? 2) Any other things to consider in this situation?

Not sure this will help with the light issue.... but a few things I do when I have multiple of the same effect. 1) do you use your expression pedal for anything? You could assign the bypass functions to the expression pedal travel with the engage % at 50%. Thus, <50% is shorter delay, >50% is the greater delay 2) Could you utilize 'Stomp' Mode (not familiar with the Pod GUI, I have full Helix) and basically 'rebuild' your 4 stomp/4 snap layout? If you have the full Helix you would have access to 10 button stomp mode (global settings) and could then create additional snaps that utilize the shorter/longer delays as needed? 3) Using the above Stomp Mode again, you could assign the delays to seperate stomp buttons (again if you have 10 button mode available) 4) I dont use stomp assigns very much so this may not be feasible..... Can't you assign multiple parameters to a Stomp Switch? So if you had a single Delay block (not 2), you could then go to the Mix% parameter (using HX Edit, I'm more fluent this way from memory) and right-click to assign a controller......say footswitch 7, and then assign the min/max settings. Repeat that process for all parameters that change between the 2 delays you have now. Then your footswitch would always reflect a min/max, short/long, off/on sort of status with the LED for that footswitch. The only trick would be setting the right parameters for light on vs light off and saving the preset so it loads with the correct settings loaded.

I'm guessing the minimum setting on the 'problem' block was assigned to a different controller. I do that once in awhile and it drives me mad til I realize it. I'll control a parameter change (on a volume pedal) via snapshots. And I'll have a volume block elsewhere for a different purpose, and I'll change the snapshot one, then when I change snapshots it reverts back to what its supposed to be. Argh, Glad you figured it out a different way.

definately took a bit to try and dial in, but I can see the potential if time is spent with it ahead of gig time. Also see the potential for 2 monitor mixes if you can get your signal chain simple enough. Question about matching the inputs though. I know the XLR input has an input trim parameter in global settings. Is there a way to easily create unity (not accounting for various singing levels or guitar levels, just pure unity from a Helix input perspective) between the Guitar In/Aux In and the XLR input and using Return 1 as a 2nd Vocal input? I dont know how all you smart people here find those types of numbers or test those things. I'd imagine there is a simple formula that the Aux input is -3db than the guitar in and the Return 1 is -6db from the XLR input when set to 0.0db boost (just as an example, I made those up to prove a point).

Got home, did a small test with just my acoustic. Using Send 2, I can run that as the last block, using the level parameter to determine my monitor mix going out Send 2 to wedge. XLR going out to FOH. Yay, Helix once again makes running live shows rediculously flawless/painless and efficiently dangerous.

Yes both of those are typos. Path 1A - My guitar - Guitar In Path 1B - Duet guitar - Aux In Path 2A - My vocal - XLR in Path 2B - Duet Vocal - Return 1 I'm fairly quick to adjust things on the fly once we get there to get a mix dialed in. Was more just looking for confirmation that my mad scientist mind was understanding those two parameters enough that this would work. Otherwise there is no control over the mix. And being that he is not going into the traditional inputs, his 'sauce' is lacking a bit of flavor, so it helps to have an output to adjust rather than trying to adjust input gain/levels to even things out mix wise. Appreciate it.

So I have a duet acoustic show tonight. I had asked this in another thread, but got no response....probably more due to the threads original question. I'll ask again. I'm running 2 vocals, 2 guitars on a single preset, with variations of stuff using snapshots. Path 1A - My guitar - Guitar In Path 1B - Duet guitar - Aux In Path 2A - My vocal - XLR in Path 2B - Duet Guitar - Send/Return 1 With running this setup, I lose the ability to set a monitor mix (1/4") that is different than the FOH (XLR) mix. In one of my main band presets where I use a talkbox in a send/return, I noticed that the send/return had a "level" parameter but also a "pass through" parameter. I assume the pass through would go to the outputs (XLR) FOH just fine, as I have the preset designed. Am I correct that the Level parameter would only affect the Send level of whatever block I choose? Being that I'm using Send/Return 1 for the duet guitar input, I would use send/return 2 and then run that 1/4" out to my monitor and use the Level parameter to adjust the 'mix' of each paths send with 0 affect on the FOH levels?

I would do a Low Cut EQ > TEEMAH/TS808/Minotaur (your flavor choice) > Badonk > Cali EQ > Mesa V30 Cab > Reverb > Delay If there is DSP/space, add the Horizon Gate after the OD block

I dont believe so. That scribble strip is reading the travel of the pedal, not the parameter it is reading. That would be a nice parameter option though. I could be wrong, but I've always seen it 0-100%

I've played this preset multiple times with various approaches to the sounds Slash uses. I've used the Placatar Dirty mostly, but more recently had a bank of sounds for my band built on the SLO amps. This one I used the SLO OD. To help, get a viable clean sound, if you have the dsp available.... 1) Drop the gain to where you start to get 'cleanish' but still have some life to your picking. Some amps really get lifeless or react weird when the gain parameter gets too low. 2) Add a volume block earlier in the chain, I put it first, and set it to about 20% as a starting point. You can manipulate the settings between the volume block and the gain parameter on the amp to help get a biting type clean that works well. Especially if you switch to the neck/middle type pickup positions. I think I usually end up around 2-3 on the amp gain and around 10-20% on the volume block. I also play with the Hetfield EMG's so reducing gain ahead of the amp is a must for me in this situation, and thus the lower % on the volume block. If you are using passives with lower outputs, then you might be higher maybe 30-40%. This part of the chain to me is the key to getting a nice cleanish sound for this song out of a dirtier amp. Also, when you build snapshots, you can either just turn off the block, or set the volume % to varying %'s to get tones. 3) You may want to add a compressor to help get some pick attack and sparkle to your 'clean' sound with the above setting. Again if DSP allows, Deluxe Comp is great, attack 10ms, release 50ms, 2:1 ratio, threshold where its only hitting the harder attacks, and mix at 80%. Set your makeup gain so that its unity, for me that seems to be around 4.5db, not the 7db it defaults to. 4) Add the dimension chorus post amp before the cab, again if dsp allows. I like the Dimension, switch 1 on, the rest off. Mix parameter to around 30%. This gets me close enough for my current band. Settings may vary, as I'm bored at work and going off memory.

So I have some duet groups that I play with and recently began running both vocals and guitars into the Helix using 4 inputs/outputs. Works great, super easy to setup/tear down and all settings are saved, can create leads using snapshots and such....its amazing. However, in comparing the duet version to my solo acoustic version, I no longer have the ability to create a monitor mix, because I'm using all 4 paths from beginning > end and do not have the option to really split it in anyway. At least that I can think of... Now I havent had much chance to really play with any of the new stuff for 3.15 yet, hoping this week I can. I'm thinking the Heliosphere delay/reverb may save me a block in each of the chains, but that doesnt help regarding sending the signal to a separate out for a monitor mix. I noticed that when I recently created a preset for my full band where I send the amp signal out via Send 1 to a Bansheet talkbox, there is a 'dry signal thru' parameter. I may have the name wrong as I'm at work, and thinking off the top of my memory. If this is the case, and I can free up a block in each processing path, could I put in a Send 1/2 block where I could dial in each processors line a certain amount to create a monitor mix? I would obviously keep the 'dry thru' (assuming I'm remember it right) at 100% so the main mix isnt effected, its just grabbing the signal and splitting/sharing it with the send 1/2 output??