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craiganderton last won the day on July 1 2019

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About craiganderton

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  1. A little late to the party, sorry, but I did some research into pickup height, and wrote the results up in Optimizing Pickup Height for Sustain. I was shocked at the difference that can happen from moving a pickup just a few millimeters back from the string. Also, this can also make a difference with effects that need to track the string (e.g., pitch changes) due to the higher average signal level, and smoother attack. Hope this helps.
  2. Hmmm...I have Studio One 4.6, and (as you might expect!) use Helix Native all the time. I have never run into this problem, and tried to duplicate it...used low-latency, didn't use low latency, tried different block sizes, you name it. If it's an insert effect in a track, and I switch presets, the sound changes. Can you give a recipe to reproduce what you're experiencing?
  3. The global settings tip is very helpful. I have the Sonarworks program, which "flattens" headphones and shows the corresponding curve needed to do so. The differences among headphones are HUGE, even for so-called studio models. And, there are differences among headphones of the same make and model - the Sonarworks compensation curves are for an "average" of multiple headphones. I'm acutely aware of this because I do a lot of mastering, and trying to create a master that translates over different speakers and headphones is hellishly difficult. The best I can hope for (or any mastering engineer for that matter) is something that sounds a little bit bad over everything, instead of okay on some systems and REALLY bad on others. FWIW Sennheiser 650 headphones have the flattest response, but of course, they're really expensive and has nothing to do with guitar amps or even PAs...
  4. I could not agree more. Whoever created presets is probably using a different guitar, different playing style, different pickups, different strings, different pick, etc. than you are. Sounds need to be matched to your playing style. Quick story: I got some great sounds out of the original POD. When the next version came out, I was eagerly anticipating much better sounds. I ran through the presets, and the sound quality was horrible! I couldn't believe Line 6 could lose the recipe so completely. Long story short, turning down drive to about 2/3 of the preset value solved everything. It makes sense: I use fairly heavy gauge strings, play with a thumb pick, and hit the strings pretty hard. I was putting a lot more signal into the unit than the presets wanted to see.
  5. I wanted to update my post with some additional information. I think one of the issues people have with Helix and CPU is that it has the potential to create more complex patches that draw more CPU. If you compare a Helix preset using one amp with another plug-in preset using one amp, they may not be that different. But I'm very much into multiband presets, and having something like four amps and a couple cabs is something other sims generally can't do...so Helix can potentially draw a lot more CPU than sims that aren't capable of such complex presets. Also, it's time to update my negative comments about Studio One's amp sims. Version 4.6 replaces the old Ampire with new amp sims that sound really good. Although they don't replace Helix, they provide additional, useful sounds and textures. Finally, I think it's important to re-iterate that some of those "HD drivers" for audio are really problematic. Disable them if at all possible. The quality of the drivers varies among graphics card manufacturers, but one driver a couple years ago increased latency by 75%. Note that with Windows, an OS update can re-enable these types of drivers even if you've disabled them, so check after OS updates, and disable if needed.
  6. Thanks for the props, and for the info. I think that 4.5 GHz clock speed is really helping you out! It seems clock speed is even more important than the number of cores in terms of running plug-ins. I have a 3.1 GHz i7, and it has a hard time running the Waves Abbey Road reverb (so gorgeous, so CPU-hungry!) along with a couple Helices. Then again my multiband Helix presets do take a lot of processing power.
  7. That's excellent performance! What are the computer's specs? Were the Native presets relatively simple (e.g., a single amp/cab), or complex?
  8. Sorry, I somehow missed "manually" and just addressed automation in general. Let's say you want to control the Wah with a physical MIDI pedal that outputs controller #1. Note that #1 is reserved for Helix hardware, so you have to turn off hardware compatibility In Preferences to use this particular controller (or use CC #4 or higher). Basically, you add an Instrument track to Studio One, and assign its output to Helix Native. Assign the Instrument Track's input to the relevant MIDI controller, right-click on the Helix Wah position parameter, and choose Controller Assign > MIDI Learn. Move the footpedal to complete the assignment, and the Position slider will move based on the pedal position. Now you can put the Instrument track in record mode, start recording, and move the pedal to record the automation. For a longer, step-by-step description, please visit the blog on craiganderton.com.
  9. Meanwhile, there's a workaround of sorts...most DAWs have plug-ins that work with hardware. You could put one Helix in front of it, and one after it. Of course this would work only with serial, not parallel, effects chains. The biggest potential problem is that with Helix Native, to integrate hardware you would need to go out the audio interface, go through the hardware, then loop back into the audio interface. This would likely add a considerable amount of latency with anything other than a Thunderbolt-based audio interface. On mixdown it wouldn't be a problem, but there might be an unacceptable amount of delay when tracking.
  10. Did anyone try the solution that was offered previously: Most DAWs have something similar, on Windows as well as Mac. For example with both Cakewalk and Studio One, I refresh the plug-in inventory after installing a plug-in. It's not always necessary, but overall, saves me a lot of grief.
  11. There is grounding among the various units, regardless of whether they connect to a power line ground or not. Here's an article you might find helpful. FWIW I once had a problem where audio devices hooked up to my computer's USB had noise. Apparently the motherboard's USB port was "dirty" - for example, USB hard drives connected to the computer caused clicking and other noises. The solution was getting a USB card, which I dedicated solely to audio devices.
  12. Don't know if this relates to the setlist issues I described in another thread (where people couldn't load the setlist from my multiband presets pack), but the solution was to drag the setlist from its original unzipped folder to the desktop, then import from the desktop instead of from the folder. Don't know if this is Windows only, but it allowed importing my setlists. Maybe it's a permissions issue? Anyway, Line 6 is aware of this and barring issues, I was told 1.82 / 2.82 will contain a fix for it.
  13. Some people have reported problems importing the .hls setlist file from Craig Anderton's Amazing Multiband Helix Presets into software versions 1.80 / 1.81. This is a known issue that will be fixed in the next rev, but meanwhile, there's a simple workaround. Locate the .hls file in the folder that was created when you extracted the ZIP file, and drag this .hls file to the desktop. Then, import the file from the desktop.
  14. Some people have reported problems importing the .hls setlist file from Craig Anderton's Amazing Multiband Helix Presets into HX Edit software versions 2.80 and 2.81. This is a known issue that will be fixed in the next rev, but meanwhile, there's a simple workaround. Locate the .hls file in the folder that was created when you extracted the ZIP file, and drag this .hls file to the desktop. Then, import the file from the desktop.
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