craiganderton

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

A few ideas... Acoustically, there's a huge amount of interaction with a room, which acts as a filter. It will emphasize certain frequencies that Stomp won't emphasize on its own. So, carefully analyze the frequency response you hear acoustically that you like, and try to nail those same characteristics with the parametric EQ. A room also acts like a complex delay line that's heavy on the early reflections. Of course, a live venue will add its own reflections, but it may be that some very short delays (e.g., the ambience block) would supplement the reflections that the venue is adding. Because of this interaction with your room environment, when you move your head even the slightest bit you're experiencing stereo phase and level changes. It's hard to fake this with a guitar processor but subtle chorusing at a very slow speed can help the guitar seem more "alive." Some pickups have resonances that bring out weird midrange frequencies. Frankly the notch response on the Helix parametric isn't that great, but try creating as narrow a midrange notch as possible, and sweep it slowly in the midrange to see if that helps even out the sound more. Good luck! Hope this helps.

Can a moderator please ban Vladllen 1054, it's a spammer.

Vladllen1054 is clearly a spammer, and seems likely to be associated with some kind of online casino thing. Could a moderator please delete this thread, since it's obsolete anyway - the current book version is 1.5.

FYI this is an old thread. The latest version is 1.5, and yes, it's a free update :)

Excellent point. BTW for those who can't deal with Device Manager, it's often the case that the USB connection closest to the power supply will be the best option, and USB connections on the front panel are the worst option. That's not always true, but is most of the time.

The main way I use four signal paths is for multiband processing. This involves splitting the incoming audio into three or four frequency bands so that you can optimize amps, cabs, and effects for specific frequency ranges. Ultimately, they end up as stereo, but with lots of imaging and placement options. If you want more information on multiband processing, see Chapter 9 in The Big Book of Helix Tips and Tricks. The more you work with Helix Native, the more you'll be amazed at what it can do :)