craiganderton

I'm having the same problem with Studio One 6.5. If you know the MIDI Controller number and you specify it under the Controller Assign function without using MIDI Learn, then it works. It seems the problem happens as soon as you click on MIDI Learn. At least in Studio One, sometimes it's easier to choose a Knob as automation, and then assign the controller (e.g., footpedal) to the knob.

Once you get 3.70 working, you can reinstall from the backup you made prior to attempting the update. Regarding Helix Native, I never uninstall, I just install on top of any previous installation and that seems to work fine. I highly recommend first checking for Windows updates before installing anything, and at least creating a System Restore point in Windows before installing any new software or drivers. Even better, image your drive. Then you can always return to a working state, and start troubleshooting from there. Glitches can happen during an update process. Sometimes updating a second time from what you had originally will do the job.

Maybe throw the Dynamic Bloom Reverb in as well for a blossoming effect when you bring the oscillators in and out. If you mix the Bloom to 100% reverb, you may be able to get away with just using guitar.

The worldwide breakdown in civility/tolerance is a problem, although I do believe this forum is better than most. There are a lot of helpful people here doing their best to assist people who have Helix issues, as well as pass along tips. There will always be some noise, but I feel the signal-to-noise ratio here is way better than average.

That intrigued me, so I gave it a try. I'm curious what you use for the reverb's Mix parameter. The amps I tried had enough gain to bring up the reverb, so I dialed the mix down to 15% or so and it seemed to add that kind of "warmth" you mention. In any case, it's a cool trick. This is off-topic, but what you're doing can also sound good with vocals. Have very subtle variations in the 3 kHz range where articulation happens. It kind of makes the voice sound more lively. FWIW I think Helix is underrated as a vocal processor.

Exactly. It's totally personal preference, the same way some people want to learn through text, and some through video. But if you look at how the brain processes information, you can make certain generalizations about the different ways the brain's two hemispheres process information. Much of this understanding is based on research that won a Nobel Prize in 1981. (Fun fact: The corpus callosum, the bundle of nerve fibers that connects the two hemispheres, tends to be more robust in musicians. I theorize this is because musicians need to use both hemispheres in order to play music, but in the immortal of words of Herman Cain, "I don't have facts to back this up" haha). Here's a simple example: being able to colorize mixer channels in a software console. I use a standard set of colors for my tracks - green for vocals, blue for guitar, yellow for percussion, etc. as well as track icons. When a project has lots of tracks, I find it easier to zero in on a track using color and/or images compared to reading text at the bottom of the channel. This speeds up my workflow, which helps by creativity. Others think colorized mixer channels look unprofessional and have a "Playskool toys" vibe. For them, colors interrupt their workflow because they find the colors distracting or annoying. "To each their own" is so true...

Here's an interesting article on the subject of skeuomorphism. For some, images stimulate creativity because parsing images is largely a right-brain function. For others, images are a distraction. For example, with something like a picture of an amp, it can take longer to locate, say, the Treble knob on an amp image than text that says "Treble." Typically, skeuomorphism's main purpose is to create a bridge between a user's knowledge of something in the physical world that can translate to a computer screen. The floppy disk icon is a good example. People could relate to the picture as "this is how I save data, got it." However, as more people become familiar with the virtual world, images can actually get in the way. This is why companies like Apple have gone from a full-on skeuomorphic approach to a flat design. I know, TMI but it's an interesting topic.

You might want to give it another try, you can do quite a lot depending on what blocks you choose. The following all fit into HX Stomp. My current favorite preset is a parallel path: Heir Apparent > Brit 2203 Amp+Cab > Stereo Simple Delay Feedbacker > Studio Comp But I also like this parallel preset: Parametric EQ > Line 6 Voltage Amp+Cab > Stereo Simple Delay Feedbacker > Soup Pro Amp+Cab You can do weirdass creative things with Feedbacker, too. This preset generates ambient background music all by itself: 4 OSC Generator > Tremolo > Tremolo > Feedbacker > Low and High Cut EQ > Mandarin 80 Amp+Cab > Legacy Particle Verb I put it on in the background when I've had a rough day :)

Thanks for the mention! Version 1.4 of the book is just about wrapped up. It covers all the additions in 3.70, and includes 20 new presets optimized specifically for the new amps. Again, v1.4 will be a free update to owners of any previous version of the book.

One of the best options I've found is placing a parametric EQ before the amp. Set the midrange to a narrow Q, create a deep cut, and vary the frequency until you find the sweetest, warmest sound. This doesn't work all the time, but it can do things like make the new Oblivion amp super-smooth. Of course, YMMV.

Yes, but there are workarounds. I've even done some presets where the Feedbacker is in parallel, going through its own amp. It's a cool sound! BUT, I do have to pay serious attention to the processing power of the modules in the presets. Sometimes it's worth dipping into Legacy World for effects that are more miserly about processing power.

In addition to the resources mentioned above, the Helix Native Pilot's Guide 3.70 manual at https://line6.com/data/6/0a020a3f1542654ead6ac7570/application/pdf/Helix Native Pilot's Guide 3.70 - English .pdf includes an updated, color-coded list of all the Helix blocks, including the ones that were just added in 3.70.

I've had this happen too, because I got Helix floor when it first came out and created an account. I created a second account for Helix Native when it came out, which probably wasn't a good idea :) When I update Helix Floor, for some reason Line 6 stays with that registration so when I try to run Native, it says I'm not registered. So I simply sign in to Native using its own account credentials, and everything works. Hopefully there's an equally easy solution for you. Good luck!

Just found a crazy application for Feedbacker that doesn't use a guitar (!). Insert the 4 Oscillator block before it, and insert a Gain block between the oscillators and the feedbacker. Set the Feedbacker trigger to random, then vary the Gain block. When the gain goes up high enough, the oscillators trigger the feedback. Bring the gain back down again, and the feedback stops. Bring up again, and get a different note. You can also use a tremolo instead of the gain block to change the harmonic triggering automatically. Put a Legacy Particle reverb at the end...it's a pretty wild "electronic music" effect. It can even be pretty relaxing if you place two Tremolos in series to randomize the note generation.

Like the previous post, I'm also in the "better late than never" category. Of course, the sound can't give that "snap" at the end of the decay like real backwards guitar, but it's a very cool effect on its own. I'm glad you posted this. Clearly, I need to spend more time checking into the legacy effects :)

I'm having a LOT of fun with it, but I've been distracted by applications other than feedback itself. With Unison mode and a little editing, you can get E-Bow sounds as mentioned in the release notes. But it can also work well as a mono guitar synth (anyone remember the Korg X-911?) if you play cleanly. Going through different amps, I've been able to obtain different oscillator sounds (very much like sine, triangle, saw, pulse, square). Changing Drive changes the waveform, which adds interesting animations. I've also been able to dial in fretless guitar and slide effects, as well as a pretty cool Theremin preset. Of course, there are limitations (e.g., you have to play the "theremin" on a single string, and there will always be at least a 150 ms attack time). However, it's important to note that Feedbacker is a squirrely effect unless you find just the right settings - it takes some effort to make it do your bidding. You really have to understand what all the parameters do, and how they interact. FWIW I'll be including several presets along these lines with v1.4 of The Big Book of Helix Tips and Tricks. (I'm working on the updated version now, and expect that it will be done in December. Like previous versions, it will be a free update to current owners.)

Just tried it with Native, no problems but I was using Windows. It might be an Apple/Logic thing.

Just to follow up - the update failed, so the updater advised me to turn Floor off and on again, then restart the update. The second time it worked fine.

It's important to remember that the internet is a house of cards built on a foundation of quicksand, using a fractured telecommunications infrastructure. Servers go down or get slow periodically, whether it's in-house, Amazon, Azure, other cloud services, whatever. I use OneDrive for real-time saving of docs. Sometimes it's lightning-fast, sometimes it takes several minutes while the data sits a queue to be saved. However, I updated HX Stomp and Native last night with zero problems, using Windows 10. I'll be updating floor today, and I expect it will work equally well. The new amps are really good, and the Feedbacker effect is wild. It's also great to see more hi-res cabs. Overall, a very welcome update IMHO. BTW I will be updating The Big Book of Helix Tips and Tricks to v1.4, and it will be a free update to current owners. I don't have an ETA yet, but hopefully before the end of the year.

It would definitely have worked for the sessions I did. If I brought in a Tele and the produce wanted a Les Paul or a Ric, unless the rhythm guitar was going to be mixed up to solo guitar levels and dry, I really doubt anyone would have noticed. OTOH having been bitten many times in the past by the evolution of technology, I've just kind of resigned myself to the fact that a lot of hardware and software is of the moment, and that I depend on it at my own risk.

In case anyone wondered, it's not just Mac - it supports Windows 10 and 11.

That, and not being able to use the Variax concept with "their" guitar. OTOH when I was doing studio work in NY, I would have given anything for a Variax.

It isn't the same thing as hold on a delay, but the Poly Sustain's ability to "freeze" sound is pretty cool.

According to Premier Guitar, all the bright cap does is let through more high frequencies going into the second gain stage. So, it seems to me you could emulate this effect with EQ. As to affecting the attack, the EQ would probably need to be inserted in front of the amp as opposed to after the amp. If someone can provide a spectral analysis of the Fractal amp's frequency response with and without the bright cap settings enabled, I can probably figure out what kind of EQ settings would give a similar, if not identical, effect.

That has always baffled me as well. VST2 sims usually support program changes. Perhaps the assumption is that if you want to change the sound, you can record an additional track with just that sound. But that doesn't do you any good if you use plugins live.