craiganderton

Thanks for your interest! Traditionally, Helix book updates happen a month or so after Line 6 does an update. For example, update 3.80 was released in November 2024, and v1.5 of the book came out in December 2024. I don't know when there will be another Helix update, but any new material will be folded into version 1.6 along with info on the update. BTW I'm also a fan of multiband compression, and the 3-band comp is quite good. There's no mute button, but the workaround is noting the current Gain setting for stages you don't want to edit, and turning them down all the way down temporarily while you edit the remaining stage. Turning Gain down all the way doesn't mute, but -60 dB of attenuation is almost as effective. Another option (although this uses a lot of blocks) is to use one of the multiband templates in my book, and populate it with compressors.

Yes, it sure has had a long run! But here's an alternate perspective. Suppose Helix had never existed and Stadium had never been announced. Then Line 6 introduced Helix today, at the post-Stadium price, and it incorporated all the updates we have now. I think it would be very popular, and definitely competitive with what else is out there. Or, suppose Stadium existed for the past year. Comments in the forum would be "looks really cool, but I don't need the live performance features and it's out of reach of my budget." So then Line 6 announces the Helix. Sure, there's no touch screen and the modeling isn't quite as amazing, but still, at the lower price people are happy to have the soul of a Stadium in a Helix they can afford. Then Line 6 introduces Helix Native, which most certainly can hold its own (to say the least) with AmpliTube, Guitar Rig, and the other amp sims out there. Again, I don't know Line 6's thinking, but there's nothing wrong - and a lot tha's right - about Helix. It makes sense to have a broader product line with more options for potential customers.

Well, I'm no Digital Igloo, but my assumption is that Helix would need to include the "hooks" for focus functionality to which HX edit could link. However, I think you could do "faux focus" by using an X-Y MIDI controller to link to selected preset parameters via MIDI control. But because there's no universal "focus protocol" for Helix, I assume you'd need to come up with custom mappings for each preset. I assume something like the Korg nanoPAD2 would do the job for blending two parameters (assigned to the X and Y axes). Again, though, this is speculation/guesswork. FWIW Studio One FX Chains have a virtual X-Y controller. I might steal be inspired by the focus concept to apply the X-Y controller to Helix Native instances in the FX Chain.

It all depends on what someone thinks is ideal, doesn't it? I went to solid-state FRFR systems in the late 60s because I felt tubes/amps were limiting. This was when I was gigging 200-300 days out of the year, and just maintaining aging tubes was a problem. FRFR systems made it much easier to have a consistent sound from venue to venue, especially because I could feed a PA directly for really large venues (no need to mic an amp, which was always fraught). Miking cabs is an art, that's certainly true. But so much of what miking does is simply vary time, phase, and frequency response relationships. We can vary all of those now using signal processing techniques, with more flexibility and precision compared to moving a mic (virtual or physical). I do like cranking an amp at home from time to time :) But for the studio or live performance, being able to create presets with every nuance I want is ideal. Of course, that doesn't mean it's ideal for everyone's needs and/or tastes.

It looks to me (personal conjecture, not based on talking about this with Line 6) that Stadium expands the Helix line. I don't see it as a replacement. Helix is pretty awesome as is, and some people won't need the live performance features folded into Stadium. With lower prices, I suspect that the original Helix line of products will keep going for quite a while.

FWIW I use Helix Native a lot with vocals in my DAW, some of the reverbs and delays are gorgeous with voice. I think with live vocals, for harmonies and pitch correction you're probably best off with a dedicated box (e.g., Vocalist) that goes between the mic and the mic input. Helix can handle dynamics, EQ, time-based FX, etc. (BTW you can do de-essing with the 3-Band Compressor although it's not obvious...I guess I need to include that tip in the next version of my Helix book!)

Hey, thanks for the props! But realistically, it shouldn't be surprising that finding out what people want is the fastest way to give them what they want. Being able to shape book content interactively with readers is like having a team of engaged consultants to help with the book.

Okay, I also posted this technique in my forum at Musicplayer.com. The first post has an audio example. Remember, this is only one guitar.

Sorta, but in this case, everything is derived from a single part. So there's no possibility of issues because of layering parts that have differences. The goal isn't to produce a double-tracked sound, but a larger-than-life version of a single sound. The two power chord layers in opposite channels, and the undistorted sound up the center, are perfectly synched with each other. Yet they have different sounds, and a stereo image, that creates a bigger whole. Unfortunately I've used up my space for attachments, so I can't include an audio example. I'll look for a place to park one, then circle back here and post a link.

Well, at least I think it's cool :) A lot of people like to layer guitar power chords. I don't, because I think it makes the part lose focus. But I do like big guitar sounds, especially for power chords. So, here's a studio technique I stumbled on that creates a layered sound, but doesn't lose focus: In one Helix path, split the guitar through two different, but similar amp+cabs. Pan one amp hard left and one amp hard right. This should give a big stereo image. If not, the cabs probably aren't different enough Dedicate the other path to an undistorted guitar sound, and pan it to the center. Use effects on the undistorted guitar like chorus, delay, reverb, whatever. Mix the center so it blends well with the amps. The effects on the undistorted guitar add a clarity to the sound's processing you normally don't have when adding effects to distorted amps. The undistorted guitar path is the key to making this faux-layered sound work, because it provides a defined, clear sound that complements the sludge of distorted power chords. There's a sweet spot for this level - soft enough not to dominate, but loud enough to contribute to the overall sound. (Also note that this technique steals a page from LCR mixing techniques.) The bottom line is you now have three layered guitar sounds, but only one guitar part. This retains the part's focus by avoiding potential conflicts among multiple parts. Try it!

Just to follow up, I never heard back from the guy. But to prevent anyone else from being disappointed, it's important to look over the description, which says it's not "Helix 101." Nor does it duplicate what's in the manual, for example, it doesn't really cover MIDI because that's all in the manual. The contents section lists everything the book covers, so if you don't see a topic listed, it's probably not in the book. However, again, let me emphasize that despite all the 5-star reviews I'm always up for hearing what people would like added to the book. That's how it got to be 550 pages, LOL :) In fact, earlier this evening I was handling a question from a reader about how to have consistent levels going into Helix Native so his presets would always sound as expected. That's a great topic. I'm explaining it to him and if he says the explanation makes sense, it will be cut and pasted into v1.6

I'm sorry to hear that, let's see if we can fix it. First of all, was including the contents for all the chapters on the Sweetwater site not sufficient? I did that so people would know what topics to expect. But second, and more importantly, these books are updated frequently. If you can describe what would make the book more helpful, that could provide guidance on additional material to include. The book isn't going away any time soon, there will definitely be more updates. Many reader suggestions have gone into the updates since v1.0. Note that I try not to include material that's already covered in the manual, or is well-represented in videos on YouTube. The goal is to supplement the manual with more details about effects, and more applications. However, the reality is if there's something you think it missing, then it's probably missing for some other people who didn't take the time to write in. This is why I solicit feedback. I am committed to making this book at helpful as a possibly can, but I can't always guess what people want. If for some reason you don't want to do a public reply, you can use the contact email provided in the book.

Why do old threads about old versions of my book get so many spammers?!? I'd bet money that AnnaFrost2390 is another one. (FWIW the book is at version 1.5.)

Sascha Franck's reply covers what I would have said. However, there's another option. Basic PC laptops are cheap, and even small audio interfaces (e.g., what IK offers) are high quality. You could run your plugins of choice in a basic computer and as datacommando points out, connect Helix to it with Send/Return connections. Then you can have your sturdy Helix with footswitches living on the floor where it belongs, and the computer off to the side to be used as needed.

You can create an attack/delay type of effect, but I suspect the ramp up time wouldn't be as long as you'd like