themetallikid

Ok, and its back. Exact same scenario as in my OP,exact same song/preset. However... This preset I attached is a brand new preset build. From scratch.....using brand new favorite blocks (I redid my whole STP sound/preset list). We varied our setlist order, this song is now song 18 in our setlist. What has happened? I am again getting a digital clipping/static type sound over the Spotify audio. Here is what changed or changes as I tried to figure out what is causing this: 1) I have worked 2 nights updating my presets for songs 1-17....0 issues. Played along to every song, let every song play as I was editing via HX Edit....0 issues 2) This preset was a fresh build and is even routed/structured different than the original I posted. 3) While it was going on, I bypassed/engaged every block in my preset one by one - no change. 4) While it was going on, I bypassed all of the blocks in the preset - no change. Audio was still clipping 5) I played with the input settings (Gate, In-Z settings), output settings, Path 1>Path 2 settings....nothing changed the audio clipping I'm hearing. 6) I changed Helix presets - Audio is clear as it should be. Back to this preset, clipping/static. Change songs in Spotify, clear as it should be. 7) Here is the damn stranger part. I have played this song a few times this morning, and it was fine. I didnt like something in my clean sound, made a change in the treble/presence/bright settings (maybe a .5 adjustment at most) and saved it and then the issue came back. 8) Again confirmed that changing presets or mp3 songs clears the audio issue. It really seems to be only when I play Fall To Pieces in Spotify and have the Fall To Pieces preset chosen. However, it was working literally the previous 35 minutes while I created this preset. I have 0 clue what is happening, or what fixes this.....super annoying. Good thing its a song I don't really need to practice as I've got it down. But it sucks not being able to practice the mechanics of navigating the performance in real time with the song at home. I agree with Duned, that it seems like it'd be a buffer type issue, however, the previous 2/3 nights I have recreated presets (using the same favorites) across 6-8 presets and had 0 issues. This is song 3 or 4 that worked on this morning. So I dont see how a buffering issue would play out with less information being used in total during my sessions.

I have the resource you mentioned, and I'll have to look into these options and play around a bit. Listened to some clips of that EMB Audio Wah and I think that is the sound I'm gonna aim for.

He did use the Crybaby Rack wah...and as far as I read, I dont think it was modded. I've seen settings he used and I had one for awhile cause I thought Slash did the same thing as he had wah's all over the stage...but I read he didnt use one of those it was something else. I'll have to do some digging and see what I can find. I'm sure there are specs of that Parachute wah somewhere that would give you at least the minimum/maximum of the frequency ranges. It'd be nice to control the Q, but thats where my suggestion of using the Para EQ could come into play, unless we get some additional options in the Wah Block area.

I've asked about that wah on several forums over the years and if I remember right, I believe Slash on the UYI tour and Kirk on the Load/Reload tours (maybe the black album??) were using a Chicago Iron Parachute Wah. I think that's what it was called.

Yeah, I've done that, just playing around, not seriously dialing anything in. I know for awhile I used the Valve Driver OD block in front of the Wah. Just enough gain to boost the signal and add some dirt, but didn't know if anyone else strayed off the path further than me? Or if someone knew how best to implement those boost/drive circuits. I'd love to see a more comprehensive wah section with switches and such like the signature wahs have. Even a signature wah-like name: Symbol Wah (Slash) Money Wah (Dimebag) Metalli-wah (Hammet Rack Cry Baby) Alice/Chain Wah - Alice In Chains (higher/darker queued via a switch) Skydive Wah - Parachute Wah (I think this is what Kirk/Slash used in the 90's on the Use Your Illusion/Black Album tours) etc... I know they are all variations, and the sweep ranges are different, but the additional boosts/drive options would be great. *This by no means I'm unhappy with my current wah settings, but would love to see a more in depth section.

I have to split the blocks (AMP & Cab/IR) usually because together they are too much for either my pre/post paths. Usually I run the top as my Pre section with the amp being the last in line, Path 2 will usually start with an EQ for leads then the Cab and post effects. I think your suggestion would work if I used basic presets overall, but I do a preset per song approach, and to keep my workflows similar and presets looking similar (for easy editing...I dont have to search for where the amp block is...I know where to look in my chain)...its just easier for me. I dont really use stereo at all, other than a chorus occaisionally.....which..... now that I'm thinking about it.... I use the 70's chorus (stereo) to split my signal between two amps. If my paths merge post cab blocks, and there are mono blocks after (maybe a modulation, delay, Retro Reel).....is the stereo chorus doing anything that a mono version wouldnt be doing? I get confused on how that all sums/splits/re-sums etc.

Sorry for the thread spam....slow work day I guess. I seem to remember back in the Boss GT3 days that the wahs in that unit were passable at best, but you could assign a Parametric EQ to the expression pedal and 'create' a wah that was much more vocal and better than the stock wahs. I dont remember specifically how it was done, but its got me curious to try. Just wondering if anyone has tried to create different wah approaches. I know some wahs have a fuzz/OD/Boost function built into them....anyone replicated that? Thinking of the Slash Wah in particular, or ways to mimic the Crybaby Rack Wah setting. I know thats just a 5 band (?) para EQ in the rack brain, but not sure where it would fall in relation to the wah block in the Helix. Could you use a para EQ with static settings to help mimic a better/stronger Q response in the wah at all?

Ok, just thinking out side the box a bit on how to squeeze more goodness out of my black box. Utilizing it mainly as a pre-amp section (Poly Shift, Wah, Comp, maybe an OD or two) depending on the preset could really free up some space in routing in a way. Or even utilizing it for a cab/IR section. Not the best use probably, and maybe there are better/cheaper alternatives, but could also make a decent backup rig in a pinch with some stock presets too. Appreciate the info

I know they are a single processor, but is that processor the same as one of the Helix Floor's? So even with less blocks in that path the DSP would be the same? Debating about picking one up to sublet some of my blocks in presets that could be switched on/off and inserted into the chain via FX Send/Return. How is the hiss/noise floor between them? I know when I had a pedal in the loop before it was quite noisy.

Here are two presets, Dead and Bloated is the first song we start with...so I noticed it right away. Dead and Bloated - THe first snapshot is the main sound, and I go to snapshot 2 for the chorus of the song. That is where the 70's chorus kicks in. In this preset the 70's chorus is the first block in the path, but there is something weird when I turn it on. Sin/Plush - This preset has 3 snapshots really. Snapshots 1 and 4 are the same sound, snapshots 2/5 are the same sound, just labelled differently cause we combine these songs. But 1/4 are the ones with the chorus. Snapshots 2/5 have boost before the amp and also lose the IR at the beginning. But this preset is one of the few where the chorus is used and its not the first block. Sin _ Plush.hlx Dead and Bloated.hlx

Yes the dumbed-down version of the preset (core sound) comes from: 70's stereo chorus > Split Block > >Path A > Ventoux Amp block > Mesa EQ > Cab Block >Path B > Rockerverb Amp block > Mesa EQ > Cab Block > Merge Block > Output The split/merge blocks are left stock, I do not set standard mixes there at all. The Rockerverb is the more prominent of the amp sounds, the Ventoux is there just to had some bite/clarity on the high end notes. I'll post the one of the presets tonight.

interesting.... I've thought about swapping to a different chorus. I'll have to experiment with what you say. I have presets where its first and others where its not. I'll have to check that as well. appreciate the information

I will attach it tonight. Could be related, however wouldnt the 70's chorus have to be first in my chain anyway for this to be the issue? Its most times 2nd or 3rd. I'm thinking this is whats happening. As its not just a loss of 'girth' as I call it, it seems to wash out the clarity a bit. I know how chorus works, and I get that it will have somewhat that effect anyway on a distorted/dual amp type tone, but its almost like the tone was put in a box and the girthier lows and clarity highs chopped off. Its not a horrible tone, its just different than applying chorus to the tone thats there without it. I noticed it before when I had the mix only around 30% but to get a more drastic chorus tone I raised it to around 50% and it was much more prominent. So my brain cant figure out if that is natural for that sound or if because of the split amp thing if its causing issues otherwise that I dont understand.

As the title reads..... you're thinking 'Duh!' right? However, not having real world or geeky type knowledge of things makes me wonder if I'm doing something 'wrong' or if this is just a byproduct of this effect. I'm using the 70's chorus in classic mode to stereo split my signal into a dual amp sound. Path A is a lower gain amp for clarity and Path B is a thicker gainier type sound for the girth. When the chorus us bypassed I'm happy with the tone. When the chorus is active, I'm happy with the the amount of chorus I'm getting....however I seem to lose quite a bit of the 'girth'. My question for the more knowledge peeps here... 1) Is this just natural of how the chorus is being used? 2) Is this a result of the chorus being stereo, and maybe some sort of phasing when the paths join back up after the cabs? 3) Is there possibly something I'm doing wrong? I know there isnt really a 'wrong', however maybe something I'm doing that is losing part of the sound I had when its bypassed.

I'm not sure if you read both my posts, but the blocks in this preset, are saved favorites that are used in my other 24 presets for this project. They all sound fine in the those presets. Also it doesn't change or stop regardless of which snapshot I have engaged, and the static is on the actual Spotify audio, not my preset's sound. Again, the static goes away from the Spotify audio when I change presets to any other STP preset, it comes back when I come back to Fall To pieces. I can stop the Spotify audio and it goes away and my guitar sounds fine. But again, it was fine this morning, Saturday night was not the first time this situation came up between Spotify/preset static.

I'm playing the songs through Spotify on my laptop via USB to the Helix > Headphones out. I'll attach presets below, good and the gremlin one. However, what puzzles me is: 1) I have 24 songs in the preset list, I played through our set, this song is song #20 in the list and all the rest were fine. 2) This song plays fine on any of my other presets, clear as the other 23 songs in the list. Whether I skip around or play in order does not matter. I can remain on the Fall To Pieces song and choose other MP3's and its fine, I can stay on Fall To Pieces song and change presets and it plays fine. 3) The preset plays/sounds fine, just like the others in my setlist, when Spotify isnt playing. 4) Turning off Helix did not remedy the situation after it was rebooted. Those 3 things have my trouble shooting mind at wits end. The song is fine on its own, the preset is fine on its own, testing them with other songs/presets are fine, but together this song and preset crackly like a bad electrical wire though nothing has changed from the previous 19 songs. HAHA, yes, I shouldn't abbreviate it, but its a habit and I didn't think it was really relevant to the issue, but I get the confusion. lol. I have attached the following presets from various spots of our setlist, they all utilize snapshots via Stomp Mode Layout. I run my headphone output at about 11:00, into a headphone amp/splitter thing that was at about noon, and again...no clipping previous/post of this song/preset combo: 1 - Dead and Bloated - Stone Temple Pilots Spotify version from 2017 Core Remaster Album 6 - Crackerman - Stone Temple Pilots Spotify version from 2017 Core Remaster Album 12 - Dirty Lil Thang - Velvet Revolver Spotify version from Contraband Album 18 - Fall To Pieces - Velvet Revolver Spotify version from Contraband Album I included another Velvet Revolver song from the same album we do in case its some sort of weird album processing, however, I have played Fall To Pieces along with this setlist before and its fine. So this doesn't happen all the time, but when it does, I have no idea what is causing it, nor how to fix it. I have not tried a different Spotify track of the same song...... Of course, as I'm typing this all up and I mention trying another Fall To Pieces track, I try to recreate the problem and its not there. So, you may not be able to duplicate, which means no help for when it does happen. Crackerman.hlx Dirty Lil Thang.hlx Dead and Bloated.hlx Fall 2 Pieces.hlx

So last night I was running through my STP presets in preparation for practice tomorrow. I got through 19/24 songs....when I got to my preset for Fall To Pieces. Now... Everything sounded great, didn't have to adjust anything, mix of audio to Helix sounds was spot on for me. All good. On the Fall To Pieces preset, the audio coming from the laptop was staticy/crackly. Not the first time I've encountered it on this preset. The only preset this happens to. I can change presets, and the audio is fine. I can play my guitar through the preset and it sounds fine. Few things to note, 1. This preset was created from scratch along with the rest of my STP presets 2. The preset is using favorites for all blocks, minus a few setting tweaks for the song, that are used in the rest of my STP presets that had no issue. 3. I simple restart of the helix, changing presets or anything else doesn't resolve this. It has worked in the past, but not sure what is causing it. Any ideas what could be causing this? It looks like my input/output settings aren't any different than other presets. I will post the presets if no one else has any ideas of what to check off the top of their heads.

Ok... I know this has been asked, but my 'searching' brain functions clearly are not working today without coffee yet. I have files that I rename (in windows, right-click - rename sorta thing), when I import them into Helix, sometimes the names still do not transfer or they show the same extensive naming that the company used. In stupid people instructions, how can I remedy this. I'd really love to just rename something like Marshall V30 121/57 or OS Mesa 160/57 sorta thing.

While you guys helped me before with setting it up and all. I have not revisited recording for awhile....I can research my own threads to find those answers....my questions this time are more Helix recording based. I'll be recording my STP Tribute band for some simple demo type songs/clips etc. Being that he runs a dual amp type sound, and I have a preset per song type approach to my live playing. How should I approach recording the tracks. Should I record just using my live preset as is? Should I tweak each preset as I record that track to essentially mute the 2nd amp and then record a 2nd track with the 2nd amp separately so I can mix them in post? Should I double track each amp (4 tracks, panned appropriately)? Should I leave songs as I play them, or attempt to throw in the 'ear-candy overdubs' that are abundant on several of the tracks? My gut instinct says to record each amp sound seperately (double tracked, 4 tracks) panned...and only play the parts that I play live as it will match what we sound like more? Thoughts?

Yeah that sounds pretty much like how I would be using it.

I would probably use the Placatar Dirty amp this time though.....Saturation on, bump the sag a bit (6.5), tighten the bias a bit (4.0). Master about 8ish. Just guessing as I'm at work.....

Good luck, i forgot about that preset I did while I was bored, at my in-laws house at the time. lol

Meaning you basically use it as a 2x12 FRFR cabinet?

Yeah rd2rk, I've been following your posts when the PC conversations come up which is what made me want to consolidate it here a bit to help decide if it would benefit me at all. The powered wedge I care around is a EV 15", and while the 15 is a bit much for guitar, it gives me enough low end response to help sorta hear what subs may be doing or picking up in a FOH type system. Just wasnt sure if the form factor of the PC vs Wedge would be a benefit...with the added benefit of off-loading the cab/IR dsp requirements and allow me more flexibility in preset design. Doesnt seem that it would be worth it as much right now.

I would basically be using it to offload the IR/Cab blocks from my Helix, and also have a more traditional 'backline' for stage volume. I see some like the on board speaker models, and some prefer IR's. I've been happy with the stock cabs, but I do have a collection of York IR's I could load in and revisit some settings to adjust...if I had to.