zolko60

1.0.5 was an optional driver for all Helix models, it started support for the Stomp.

1. May be a typo.
2. Still optional and not recommended unless you need multi sampling rate operation.

19 hours ago, Kilrahi said:

Any feedback from other users on here? Is it possible we're both just missing something? 

"Impedance converters" are simply reversed trasformer DI boxes. You can get 20dB of boost but this is not enough unless you capture a close gun shots with dynamic mike ;). Mic pres usually have about 20-60dB range.
 

7 minutes ago, datacommando said:

What else can anyone do?

Look for some AES/EBU 96kHz to ADAT SMUX converter maybe? :D 

13 hours ago, katerlouis said:

When SPDIF and AES/EBU can only cover 2 signals, how does Focusrite get the remaining 6 inputs into the interface? (It says 10ins and 4outs)

10 inputs in case the optical input is used as ADAT lightpipe protocol (@44,1 and 48kHz). 4 inputs if used as SPDIF. 2 inputs if not used.

I have Friedmann BE-OD clone. IMO this is the best "brown sound" I've heard. It does the trick whatever amp you will stick to it. There is a yt EVH fan who confirms my claim.
 

21 minutes ago, katerlouis said:

1. How would you connect the Helix via ADAT (oh boy, how I probably misused that abbreviation :D) to the Clarett? What cable Would you use etc.?

Clarett probably has Toslink input switchable between SPDIF and ADAT protocols. There are some SPDIF RCA to SPDIF optical converters on the market. In case of LT you would need AES/EBU to SPDIF optical. 

25 minutes ago, katerlouis said:

2. What exactly gets send over there? Only the main output? Or all 4 usb stereo outputs? Or something else entirely?

Multi Output or whatever is assigned to Digital Out. AES/EBU and SPDIF are two channell only protocols.
 

26 minutes ago, katerlouis said:

3. Could the Clarett level the incoming audio somehow or does the leveling have to happening inside the Helix? Does the `Main` Output volume knob affect it?

I don't think Clarett could level the incoming digital signal. You can set Hx digital output level either in output block volume or global settings. As far as I remember Hx Volume knob affects what you set in Global Settings, likely only analog outputs. (2.71 firmware state).
 

39 minutes ago, katerlouis said:

How would the signal be available in DAWs and other software? The usual `USB 1+2` etc.?

Yes. usual input representation. ;)

40 minutes ago, katerlouis said:

5. What I also like about this interface is that it can be powered via USB-C (if my iPad gives enough juice for that is another question, let's just assume it does) – does powering through USB still work when using the digital inputs?

Should work but I would check the manual or Focusrite forums.

On 6/22/2019 at 9:02 PM, Peter said:

There is a small tactile switch under the footswitch and there you have to spray the contact cleaner.

And if this does not work replace with a compatible tactile switch eg. C&K PTS645SL43-2 LFS

14 hours ago, soundog said:

the buffer (and, hence, latency) is set independently in the standalone app (S-Gear) and the DAW

You mean OSX? I have never seen independently set buffers for ASIO drivers on Windows. All my interfaces have common buffer setting for all ASIO clients. Is this specific for Apollo Core Audio OSX driver?

6 hours ago, rd2rk said:

Steinerg didn’t implement PC#s in the vst3 spec

Are you sure? There indeed were some changes how Steinberg implemented PC# in VST3.
https://www.steinberg.net/forums/viewtopic.php?t=74526

16 minutes ago, craiganderton said:

I believe Helix Native is VST3/AU/AAX only. 

Why? The pilot's guide says it is also VST2 and it appears as VST and VST3 in Reaper plugin list (Windows).

29 minutes ago, craiganderton said:

Why they don't would be the next question :)

And the answer would be simple: Program Changes are either implemented or not. It does not matter what plug-in type it is.

In Reaper you can automate and make PC# control "FX presets" changes. This somehow changes the whole plugin state including the Helix preset. So the PC#s can be used at "higher" DAW instance. I guess it shoud work in other DAWs which have their own "FX presets".

On 7/13/2019 at 1:59 AM, soundog said:

When running Native as a plug-in within a large DAW recording project, there's often a trade-off between monitoring through the plug-in/DAW vs latency

Really? I have not notice any benefit latency wise by using standalone "plugins" vs DAW/Host hosted. Pro Tools may be the exception with its CPU heavy engine.
Third party hosting is also beneficial. You can workaround all HxN limitations and integrate it with the best in their class plugins.
So for me there are two possible reasons of making stand alone plugins.
The first is a convienience for unexperienced users not using DAWs.
The second is full controll meant by two way MIDI or whatever other communication protocol. It is easy to control HxN by the controller but it is not easy to control the controller. When you change preset or snapshot you may eg. expect the software to send at least CCs that illuminate controller switches. As far as I know there are no plans to make Native compete the hardware Hx versions in live usage.

On 7/12/2019 at 1:33 AM, Digital_Igloo said:

You are correct that the only downside to driver SRC is the latency incurred by the SRC itself (which should be less than 1ms).

The actual difference is 9ms only by changing the driver. Resampling in case of OSX multi sample rate Core Audio does not change much unless the right way is to compare 2 times bigger buffer at two times sampling rate. If so the difference is 3ms (12ms to CC).

Class Complaint OSX 48KHz  128 buffer - In 5.917 Out   4.688 = 10.605ms
Multi sample rate Core Audio 48kHz  128 buffer - In 8.667 Out 10.667 = 19.334ms
Multi sample rate Core Audio 96kHz  128 buffer - In 10.333 Out  9.333 = 19.666ms
Multi sample rate Core Audio 96kHz  256 buffer - In 11.667 Out 10.667 = 22.334ms

Source: 

On 7/12/2019 at 11:44 AM, THE7thHAND said:

Is it so that you can record four signals dry simultaniously at 192khz and as soon as you use the DSP effects it gets rendered down to 48khz?

That would require USB transfer of signals other than 48kHz. Is this the case? IDK
We are told "Guitar In" is 123dB dynamic range. Is this true? IDK
Is "Guitar in" set to 1Mohm something different from "Return In" set to instrument level? IDK
Are there Hx Stomp inputs/outputs any different from Hx FL inputs/outputs? IDK
 

23 minutes ago, THE7thHAND said:

Where can I read up on the 48kHz clock of the FX Stomp?

You mean in some documents published by Line6? I have never seen any but if the device is claimed to be Class Complaint and works as Class Complaint under OSX and the only sampling rate it reports is 48kHz you can conclude it is 48kHz.

I have almost sorted out what is going on with Helix input and output levels by my and my friends research. The professional standard for line level audio signals is +4dBu. 
If we assume 15dB headroom to full scale digital level (0dBFS) is the standard Line 6 has adopted then Helix has three level settings:

• Line level:  +19dBu full scale (+4dBu reference with 15dB of headroom)
• Instrument level:  +11dBu full scale (-4dBu reference)
• Mic level: +8dBu (-7dBu reference)

The pad on instrument input labeled "Guitar In" is 5dB so padded input is +16dBu full scale.
Hx FL/RA "Aux In" is just another line level input.
The Volume Kob is a digital attenuator assigned before chosen DA converter(s).

Now let's see what is happening when we interface Helix with Yamaha MG06 mixer by XLR cable:
Let's input -4dBu sinus signal to Guitar Input.
It will appear at Hx XLR outputs set to mic level as -7dBu.
MG06 mic preamp gain range is 20-64dB. At minimal gain position we get +13dBu. Getting unity gain is not possible without engaging mixer 26dB pad.

Using DI box is better because they usually attenuate an amplitude by 18-20dB (plus some padding).
-4dBu input signal appears at Helix XLR or TRS outputs set to line at +4dBu. After DI box -14dBu. At min mic pre gain we are near the unity.

What I don't know is if Hx FL/RA mic input is set to the same mic level standard (0dB gain=-7dBu reference with 15dB of headroom=+8dB full scale). I would appeciate if somebody could confirm that.

Thank you for your attention and research cooperation. :)

Yamaha MG06 manual http://shopwl.com/content/MG06 Mixing Console - Manual.pdf

7 hours ago, Digital_Igloo said:

Note that although HX Stomp processes audio at 48kHz, its A/D and D/A converters are 24-bit/192kHz

In what sense they are 192kHz while Hx has 48kHz clock? Do they make some on chip oversampling?

3 hours ago, THE7thHAND said:

Will the driver resampling to 96khz cause any other issues besides what can be fixed by direct monitoring?

Well, this is not an "issue". You record 48kHz audio but you process and store it at 96kHz. What you monitor is 48kHz because your interface works with 48kHz sampling rate. On the fly resampling induces some additional latency and this is why 48kHz Class Complaint usage on OSX gives the smalest latency. The only reason to use other than 48kHz sampling rate with Helix as USB interface is compatibility with 96kHz sessions on some DAWs.

You have four phisical inputs hardwired to four USB inputs (5-8). 1-4 are processed signals connected to those phisical inputs (or taken from USB output).
Helix works at 24/48. 96khz is done by driver resampling.
You can expect problems with monitoring when Hx is used as your monitoring center. Round Trip latency is quite high so monitoring thru DAW is problematic.
Conclusion: Using Stomp ar even Floor/Rack as an main audio interface may not be a good idea. 

"(...) I have posted I can't remember on whose page recently that we are working our asses off (...) We gonna alter the calendar (...) move spring out, shorten the summer (...) I would say within the next two weeks (...) If I am wrong and I am wrong all the time (...) we will update my mistake to the team...) I think we are very close, you know measure twice cut once kind of thing (...)"
1:09:00

I would prefer to help you with "no but" solution but I can't. :(

Split Crossover goes down to 25Hz. 

I suppose there may be more solutions of your puzzle (not easy one without snapshots).

1. If we define the task as "how to construct A/B, Y, Bp switch on parallel paths with constant dry level", we can use: 
- delays mix parameter automation as bypass (mix=0 bypass on, mix=100 dry kill)
- single delay dry path as a dry path for both
- multiple FS assigments
Expected issues:
- not intuitive FS illumination
- trails mutes

2. So maybe A,B, Bp would have nicer solution?

3. Or maybe it's better to automate some multitap delay?

While I am away of may hardware Hx LT and Native has no multiple assigments I leave it to somebody else ;)
 

Now I have realized my way is maybe the same as setting delay time to different division by FS, so maybe you could skip one delay. :)

There is no volume compensation in splits. When you route signal by both paths you double it.

You set multiple assigment. Set both delays bypasses to the same FS.