themetallikid

For what its worth, you can do most of what your asking, but not in the way your anticipating. Without knowing the differences between preset 23 and 33. Here is how you can 'best' implement it and get closest to what your asking. While in Preset 33, in Stomp Mode, assuming you have 4 buttons assigned as snapshots 1-4, this would leave you several buttons available. You could assign one of those as a preset button instead of a snapshot button. Then just assign it to Preset 23. Thus, to be able to return to Preset 33 from 23, you would also need to assign a button in the stomp layout of Preset 23 to trigger going back to presett 33. What this DOES NOT DO, is keep you in a preset. You will be changing presets, thus unless your presets are only utilizing one of the DSP chips and you have the spillover global function enabled, you will get a small gap in audio while changing presets. I recently did this for a 'kitchen sink' pedal board consisting of 6 presets utilizing the same preset layouts, just varying the amps. All 6 presets are available across the top 5 switches (plus the current one I'm on. The bottom switches are assigned as Dry (no effects), I then have a Comp, Chorus and Lead (OD/Delay/Gain) as actual stomp buttons attached to blocks in the presets. All the presets are exactly the same except the Amp blocks. This allows me to sorta do what your doing, but again, you cannot remain in a preset and engage another.

So....playing this morning and my expression pedal (first time I used it this morning) decides to 'break?' I have a preset where 0% is automatically off, my effects needed in this preset engage at 7%. The details of the effects dont matter. Anyway, I was playing sitting down (no weight put on the pedal) and when the solo came, i realized my pedal was in 100% position. I quickly moved it to 0% and then used it normally as needed in the song, again while sitting down (minimal weight put on it, if any really). I finish the solo, return the pedal to 0% and i notice what I'm playing isnt lining up with the music I'm playing to. I notice my pedal is reading at 28%, which I have a whammy block attached to the auto engage. I correct it back to 0% and it repeats falling to the 28% again. Needless for more detail I test this over and over again, and it sometimes stays at 28%, but most times it falls all the way to 100% just under its own weight. Is there something that I need to get inside and tighten, I didnt see anything on the exterior to tighten, however, its on my pedalboard and hard to see some spots/angles. I've had it for quite awhile and this is the first of this issue. Even when standing I do not 'lean' my weight on it when using, if anything I balance my weight on my left leg and the right (expression pedal foot) is to keep balance while playing, so yes...some weight but not enough that I'd ever think it'd be too much. Any ideas before I open it up to correct anything I can, its well beyond the warranty period, and I'm about to start a regular string of acoustic shows so getting it shipped and back, while possible, is not very convenient.

I have not, maybe tonight, unless someone else wants to. I just wanted to make sure my idea wasnt missing an already existent feature.

The advantage for ME (maybe others) would be a couple things.....mainly stemming from some amps just do certain things well and stay in their lane with that. Some amps are versatile, sure. Sometimes the difference between amps that do the same thing is just a 'feel' thing. They might be in the same ballpark gain/tone/vibe sense, but the playing feel may be different. To ME, it would be easier to find similar amps if I had the Recto near the Badonk (just one example, those amps i'm familiar with. However, there are amps I do not have real world experience with nor much knowledge of, I would love to dial in the User Default, and then move that amp where I think it fits sonically in MY amp list. Yes I can do that with favorites, but I prefer to keep my User Favorites as specific instances of the amps. For example, I do a Stone Temple Pilots tribute, and have my core preset blocks saved as 'STP XXXX'. Thus when we add a new song, I can very quickly just go to my favorites and in about 15 seconds, draw up a preset that addresses the songs tone needs. I spend more time programming the command center for a performance then the actual tones.... ....However, I am in a new variety cover band that is just starting up. I do not know the full spectrum of songs we are going to be doing, we have a girl singer, so that helps widen the variance. With that in mind, There are lots of Clean/Edge of breakup/Pushed style amps in there that are sorta scattered in the list a bit. It would benefit me to set the user defaults (which I've done) but then be able to organize similar amps next to each other.

Will we ever be able to (is if possible?) to reorder the Amp list (or other effects) in an order that makes more sense to our personal uses? Meaning put all my cleanish amps up towards the top and the Toneballz Metal amps towards the bottom? I have gone through and dialed in the amp/cab blocks how I like *most of the amps. While I get the 'thats what favorites are for' argument...I think this is more of the user default setting than a favorite. It'd be nice to do that. While I have dialed in the amps how I like them, my clean amps are all over and mixed in with breakup type sounds and such. Didnt know if the ability to drag and drop order (similar to preset organization) messes with any sort of internal memory programming.

I think an easier approach to his post might be worded like this??? "how about a bypass parameter attached to picking dynamics?" You can sorta do this by splitting your path and assigning the dynamic split.... you just can t retrigger effects like he was saying. But you could put a phaser on that path only and when you pick hard that path is engaged??? Otherwise, I'm with DunedinDragon...all limbs in the air like I just dont care!

I use a volume pedal in the front of my chain as a pseudo-guitar volume knob. I'll get my main rhythm tone and if I want that rolled down vibe, i'll throw a volume block in at the appropriate %. The volume block bypass and its % are saved per snapshot for me. A few more details in how you plan to use the volume pedal could help in how to program a preset to get what you want.

If you have no use for the sub 85% portion of your volume pedal, set the minimum, then you have the 85-100% range.

Interesting....I have a love hate relationship with the poly effect. Maybe the same issue as the OP where it depends on what else is in my preset after the effects. I do not typically run a comp 'so close' to the poly block, but maybe I should, if I have room. Can you share your typical settings for the low cut? I'm guessing for guitar purposes some between 100/150hz? What would you recommend for comp settings for the purpose of only setting up the poly block to work best? I usually only use a comp to give me some attack on notes, not too much in a hard squash effect.

I found Jason Sadites youtube video on his workaround to get a good sound works for me. Not sure how true it really is, but It gets me the sound I need. Also have seen some posts about not running it into a cab block as well.

I will typically use a volume block if there are swells I want, at the end of the chain but before any time based effects like delay/reverb. My main use is actually to simulate rolling the guitar volume down. I'll put it first (other than a poly block) in my chain and set the % to whatever gives me the right sound/feel. That way I can assign that block to a snapshot change or a stomp button and not have to roll "approximately" to a spot on my guitar while also trying to sing/play/perform/balance a ball on my head/drink a beer and change my underwear.

Is there a difference between poly pitch and poly capo? I apologize if this is a dumb question, at work and cant remember which I'm using. Just know that the recent batch of presets I created seem to have a different feel to them, and it was based on my favorite I had saved....I fight with the poly shifting sometimes from an amp/feel perspective. Almost like its reducing signal gain a bit going to the amp, havent tested or trialed it, just how the feel comes across at times. Then i plug in the next day and it feels better....jekyll/hyde sorta thing. Its definately a feel thing, and not a tone thing, the tone is there, just feels sorta stiffer and harder to play sometimes.

I have learned over the years with different modelers what my headphones sound like in comparison to a typical PA type sound. I design my presets with that in mind. I know my headphones are a bit muddy in the 150-300hz range, which dulls the treble/presence bite a bit. However, if I make them sound good in my headphones they are like nails in a PA or even through my wedge for my own monitoring during shows. I adjust for this and deal with the fact that my headphone practice presets are a little on the darker side typically. Thus when I get to practice and go through the PA, I only have a few small tweaks to note down. I also create a few base preset type sounds (amp and cab only mostly) and try those out first. Once I have those saved as favorites or user defaults then I know those are good reference points to compare anything new against as well using my above point.

to avoid snapshots use, the only way I can think of to do this would be using an expression pedal. Using the sweep range to trigger the different modes. Might have to play with the ranges of that setting so you knew where the changes would happen, but I've done this with other effects/parameters. Or if you think of the modes as in 2 are rhythm-ish style tones and the 3rd is for that extra gear....then you could do the expression pedal for 2 modes and the exp switch to trigger the 3rd mode. I've done this with the Poly Pitch Block. Toe switch activates the block giving me -1 shifting, heel down gives me -2 shifting. That is really only 2 'modes' if you will, but if you split the pedal travel between the two and then used toe switch....maybe. Rd2rk's method of stacking the snapshots in a way is the best approach. and while its not necessarily the normal approach to snapshots, you could make it work on a single switch similar to what your asking in stomp mode.

Yeah that all makes sense. I have experience, just not the knowledge to know why my experience is what it is. If that makes sense. I think I got it working for the moment, for going forward I"ll look into a small mic pre device I can mount under my board permanently for these types of situations. One last question....probably stupid...but thinking for 'band-aid' purposes this weekend. my buddy runs a clean boost for acoustic solos, doesnt need much but it has plenty on tap. If I ran mic - my cable - clean boost - Helix Return 3 as the chain, could that essentialliy do what the gain blocks are doing in the helix, it would just allow me to use less blocks? I could easily replace his pedal in the guitar path anyway..... Just a thought, more for knowledge than actually doing it more than likely. Anyway, appreciate the advice from everyone.

So I checked the global settings. the Send/Return settings were all set to instrument. The only other option is line. Changing that doesnt help the issue at all. As far as that Z changer mentioned... wouldnt my cable be doing the same thing? Its a female XLR>Male 1/4"??

Oh this for sure is not how I would normally have this preset set. This was where I last saved the preset in an attempt to get the 2nd vocal to match level wise with my known good vocal Line 1b that I use for solo gigs. Oh heavens no, lol.....that would be an audio nightmare there. Normally I use the end comp to really only catch things as more of a limiter in a way, just the highest of peaks and the initial comp is set pretty lightly as well. Just like what it does, however the level is maybe only +3.5db when I have it set where I like it. lol. The gain blocks and excessive comp block were just one versions attempt to match the levels...and to prove how extreme the issue I was trying to fix. Its more than likely what was mentioned above with the global setting

That could be the issue, I'll have to check tonight when I get home. I know i've used this mic/cable combination before with success, which is what is throwing me off. I'm well versed enough in preset configuration to know if I routed something stupidly. But I rarely check global settings as I just dont need to change much, other than what my volume knob affects. So if your thought is the case, it probably reset with the 3.5 update and I just havent needed to use it since then.

Well it is a sennheiser 835, same mic as I am using into the mic input, so that makes it easy to compare levels between them at the same time. I agree, and knew, the issue was the mic going into the return. I knew it would need to be boosted, but didnt think it would be so tough to get it to an acceptable level. I have tried all variations that I can think of to boost the signal. I've tried the 3 gain blocks (+12db) mentioned, I've tried 2 gain blocks + boosting the compressor level, i've tried rearranging those orders of blocks. I've tried adding 2 gain blocks and the mic preamp block (issue here is to get a matching level, I need to goose the gain and level and the gain block then adds some overdrive to the vocals and its not good. I even tried adding the JC120 amp, knowing how clean it is. I tried just preamp version and didnt get anything different, then tried the full amp version and it was better, but again still needed the gain blocks to get there. I swear I've done this type of preset before, I just cant imagine I would have set up the preset/connections differently. I tried swapping it to the aux input, but I'm guessing the return 3 is the same as the Aux regarding levels. There wouldnt be any global settings that would change input sensitivity? Not that I could find or remember right now.

Attached is the actual preset. Path 1a - My guitar (this path is fine, I use this duplicately in another preset for solo gigs) Path 1b - My vocals (this path is fine, I use this signal path in another preset for solo gigs) Path 2a - Duo (2nd) guitar - I did not get to compare this to my guitar preset yet (vocals were first thing I checked as I knew they would be the issue....but I dont aniticipate anything here I cannot resolve myself) Path 2b - Duo (2nd) vocals - This is the path that I can't seem to resolve. If you remove the 3 gain blocks (the first was a volume block like the other 3 lines to help mute signal between sets) and reduce the comp block level to a more 'normal' amount, you get barely any audio at all. In order to match levels to my Path 1b signal, I need 3 gain blocks maxed out at +12db each, and even then the compressor level needs to be at +9db. Level is there, but it seems like the 'feel' is different than my channel (duh, no mic preamp there, I get that) Just wondering if there is a better way in Helix to do this or if I'm hitting a limitation of the Helix in this scenario. I feel like I've done this before and didnt have issues, so I'm not sure what I did differently before. Duo - Troy - E.hlx

So I got them to 'match' better, but the airy response isnt there. Level wise its close, but doesnt seem right. I added a 3rd gain block (all +12db) and also on the deluxe comp (first after the gain blocks) I have the level set to +9.0db. Is there a better solution...???

Ok, I have a preset that I use for solo gigs....so I copied and pasted it to another slot to use with a 2nd guitar/mic for a duo project. I have routing and all set up fine. I'm getting levels, but they are drastically lower in the 2nd mic 'channel'. I am running a XLR>1/4" cable. Initially I tried running it into the Return 3, and using that as my input. I got so little input, it wasnt even audible, but could see the output block lighting up green, but the output meter was barely being tickled at all. I tried moving the 2nd mic into the Aux input, but same level issues. I am running the Sennheiser 835 mic, and even on the XLR input, I'm still running +36 db to get a comfortable mic response. In 'MY' chain, i do not run any other gain type blocks. I run a compressor - chorus - LA comp (very slight to help tame outputs a touch) - Ambient Reverb. So here is my dilemma...with the 2nd mic, I have added 2 gain blocks (both +12db) and also the mic preamp block (level dimed) and I still need to boost the preamp's gain enough that it sounds like garbage. Am I missing something or am I getting the results I 'should' be with this setup?

Yes for sure. I recently saw a vid where the guy was doing more an analog signal chain where all effects were between the amp and cab vs. the studio of 'post' effects after the cab. I've love the Dynamic Ambience block...and may try it last in the chain before the cab and see how that changes things as well. The Revv amp(s) I love the sound from it, however when I've dialed in song presets it seems to be less favored verses others. Usually I was trying to match the tone/feel of the original more than 'my' tone. Maybe in this project I'll use it more where I'm thinking I'll use more 'my' tone rather than dialing in the song's tone.

Not sure what that has to do with my post?

Yeah I favor the 2204 Mod over the 'regular' 2204, but I get where your going with that. The mid freq control on the mod can help darken/thicken things up with slight adjustments. I also get what your saying for the OD's in front. I set the preset up this morning (visually only, I'll plug in and tweak tonight after my trivia date) but I was able to fit a ton of tone possibilities in my preset to use as a template. I added in chain order: Path 1a Poly Tune Wah - Fassel Phaser - Script Chorus Deluxe Comp OD - Timmy (this may change but this would be to help with my clean amp to get from clean to pushed type sounds, not high gain beasts) OD - TS808 (I love this as a lead OD, it loosens the tone a bit in a way other OD's dont) Split 1a>2a, 1b>2b 2a - 10 band EQ (only for trying Craig's EQ clarity trick, havent tried it yet, these may get removed) 2a - Line 6 Badonk 2a - Mesa EQ (if it will fit, have not tried yet) Split/Merge 2b - 10 band EQ (only for trying Craig's EQ clarity trick, havent tried it yet, these may get removed) 2b - Vitriol Crunch (not sure if I need the heavier version or not, thinking probably not with a dual amp sound) 2b - Mesa EQ (if it will fit, have not tried yet) Split/Merge Dual Cab - Marshall Greenback 25 4x12/57 mic, cap edge, on axis, high cut down to 6.5khz, Mesa V30 4x12/121 mic, 3.5 from center, on axis, high cut down to 6.5khz Stereo Chorus Volume Pedal for swells (may not be needed) Stereo Simple Delay I know I will not need all of this on every preset, but if I can dial in all my sounds using this 'template' then it'll be easier to remove whats not needed and sprinking in song specific effects instead of frankenstein'ing each preset and trying to get them to match. This will (once dialed in) provide a great template to save favorites to then use in building song presets. Still open to ideas on what to try, again that was all by eyes only and my own experience with what I think I'd like. I did not play anything...on paper, I think it covers most everything.