craiganderton

Perhaps he can have someone in the US buy it, update it if needed, and then ship it wherever he's stationed.

The challenge is always how to make advanced technology transparent to the user. When playing the prototypes of effects that had the "listen to me" footswitch, all the guitar player knew was that the effect seemed more responsive. All the heavy lifting happened under the hood. It would be possible to make what went into creating that responsiveness user-accessible, but that would lead to a daunting collection of parameters, and require that people knew what to do with the parameters. I don't think that's what most players want. I think one reason the multiband pack was successful was because people could just load a preset. Tweaking all the parameters in four bands takes forever.

I would love to see sidechaining implemented in Helix for envelope control over selected parameters. But I think it might be difficult to implement. Line 6 would have to decide which parameters in an effect should tie to the envelope follower, and each parameter would need three controls (amplitude, offset, and polarity) to tailor the response to the envelope. Many people already have a hard enough time figuring out what the parameters do. In a related concept, several decades ago I designed a "Pluck Detector" circuit. It generated a trigger every time there was a rapid upward transient. It (nerd alert) used a floating threshold, so it didn't matter if the transient happened in the middle of a sustaining chord or started from nothing. The pluck detector then went through an integrator to smooth out the triggers into a control voltage. The control wasn't based on amplitude, like an envelope follower. Its purpose was to control parameters based on the intensity of your playing. I used it mostly for delay, so that playing faster pulled back a bit on the delay mix to keep the delay from stepping on the notes. As I played slower, the delays would be allowed to come back in more frequently. I also designed a set of pedals for a startup company that, uh, never started up LOL with a "listen to me" momentary footswitch. The pedals tracked dynamics, plucks, and envelopes, and used that data to create subtle differences in the sound that reflected your playing. For example, chorus modulation could be influenced by your playing so it followed what you did instead of just doing the "whoosh-whoosh-whoosh" from an LFO. Unfortunately companies aren't interested in this kind of stuff because, well, most guitarists aren't interested in it. So I just end up implementing these kinds of things for myself. The Helix multiband presets pack was an exception - it made it out into the world because I was pretty sure a lot of people would like multiband processing. v3.50 is letting me take that concept to another level, so there will be more presets in the future as I get time to tweak them. It took me a year to to the multiband preset pack.

In addition to the excellent tips referenced in the previous posts, make sure the USB cables you try aren't power-only cables used for charging, not data transfer. That's bit me a couple times.

You can think of the Helix multiband compression as a three-band graphic EQ where you can choose the frequency ranges for each band. The parametric is more about boost and cut rather than amplifying or attenuating a range of frequencies. I use the MG compressor a lot to create 3-band crossovers for multiband presets, without necessarily using any compression. If you have my Helix eBook, the Favorites folder in the Free Files section has presets for high/mid/low crossovers using the MB Compressor. I did an article about using multiband compressors for equalization. It's not specifically about the Helix MB compressor, but the principles are the same. It might give you some ideas on how to extend the MB Comp for other applications. Fun stuff!

Glad to help! That one mystified me for a while as well.

This is a more complex issue than it might seem. Due to their high resolution, digital devices have plenty of headroom. For example in Helix Native, you can go way into the red on the input or output and not introduce any distortion that's not in an effects block. Where you run into problems is interfacing to the world outside digital processing. D/A and A/D converters have hard limits for how much audio they can handle without distortion. In this situation, you also need to be aware of intersample distortion. Most meters measure the actual values of the digital waveform’s samples, prior to reconstruction into analog. But that reconstruction process can create signal peaks that are higher than the samples themselves, and which don’t register on your meters. This is why DAWs have True Peak meters - they give a measurement of how high peaks will go after undergoing digital-to-analog conversion. (I doubt the metering in Helix is true peak, but with Line 6, you never know...) For that reason, I always avoid going into the red to allow some headroom for intersample distortion. If you want to know more about this, check out Digital Metering Basics for an overview of digital metering, and scroll to the end for a summary of intersample distortion. For an explanation of how intersample distortion occurs, go to the article Why Is Normalization a Dirty Word?, and scroll down to the section that includes fig. 3. Hope this helps! Disclaimer: This was written by a human being, not AI.

Any chance your presets include bass amps? Presets I've made with bass amps crash Helix Native on Windows (don't know about the Mac). Line 6 is aware of this and will likely have a fix soon. I'm not sure if any other modules crash Native, but if the bass amps can, perhaps some other modules can as well. But I haven't experienced problems other than with the bass amps.

Indeed, noted from your previous post and that will be addressed this week. I just figured this was a priority - the Studio One book contents is pretty just individual items, it doesn't drill down into subheads like the Helix book. And while I have everyone's attention...remember there's a dedicated support forum for all my Sweetwater books. I really appreciate being able to interact in this forum, but not every person on this forum has the book (at least, not yet, LOL) and I don't want to overstay my welcome. Any errata will be posted in that forum, and suggestions for future revisions are welcome.

Sweetwater has posted version 1.2.1, which fixes the problem with the sidebar index showing only thumbnails. I gotta hand it to them for getting on this so fast!! It might take a little bit for any caches to refresh, but it's there. If you've already downloaded v1.2, then download it again for the version with the hotfix. If you haven't downloaded or purchased 1.2 yet, you'll receive version 1.2.1 when you do.

Update: I sent v1.2.1 to Sweetwater. They're really fast about turnarounds, so it should be posted on Monday. @hungri-yeti - I tested v1.2.1 with Skim v1.6.15 on the Mac, and it worked as expected. I also tested it on other readers. Thanks again for catching this! It's odd...every revision (and there were a lot of them) up to the final version worked as expected. I'm not sure why the default changed for the final export, but I'll add it to my list of QC checks before sending files.

You have indeed found an issue, and thank you for bringing this to my attention! For some reason, the default on Word's PDF Export was not set to generate bookmarks from headings. I double-checked the setting, re-exported the file, and now the headings show up properly. I'll create a hotfix update and send it to Sweetwater. They'll probably have it up by Monday. Try downloading the file again, and check that the version number on page 2 is version 1.2.1. It should then work as expected. Good catch!

@themetallikid - I adjust the frequency by ear, but it usually ends up being around 100 - 120 Hz or so. As to compressor settings, I mostly use the LA Studio Comp's Limit mode to reduce peaks. It's not about using compression to add sustain. @Aged_Cheddar - You could probably bump the cut above 35 Hz, like 50 Hz. See what works best. I often use highcut on the Cab block to tame the "tweeter sizzle," but adding a sharp notch with the parametric around 2 - 5 kHz can also help, if you can isolate the frequency creating the sizzle.

I think it may depend on which PDF reader you use. The eBooks are optimized for Adobe Acrobat, because it's so common. In the sidebar on the left side, you can choose between a thumbnail view (as you show above for v1.2) or a bookmarks view, which has a hierarchical structure that lets you unfold and chapter heading to drill down. I don 't know if the Skim reader reacts similarly. However, if you open the PDF in Microsoft Edge or Google Chrome, you have the same two options for thumbnails or a hierarchical view. I also don't know how many readers have a memory stack when you jump to a link, so you can return to where you were. I haven't yet run into a limit as to how far back Acrobat can go, but it makes it easy to jump around to different parts of the eBook. Neither Edge nor Chrome can do this, as far as I can tell. I appreciate your brining this up, as I can include more detailed instructions in future books about the different views available in PDF readers. Thanks!

Yup. For example, in some presets, I've had the best sound and tracking from putting Poly block effects between the amp and cab. For downtuning on guitar, I insert a lowcut filter before the Poly Capo so it doesn't transpose low-frequency artifacts that you'll never hear anyway. Similarly, I use a highcut filter when transposing up. Bottom line is your ears will let you know what works best!

If you contact whoever you deal with at Sweetwater, they'll take care of you. Tell 'em I sent you :) If there are further problems, I'll step in. But if that's necessary, I'll need a couple more pieces of information: did you buy the original 1.0 version, or did you start with 1.1? If you started with 1.0, did you successfuly download the 1.1 update? The reason I ask is there were some issues early on in getting the updating process nailed down. They had to make some backend changes to allow people to download free updates. Bear in mind I am not a Sweetwater employee and do not work there, so you'll need to go through "official channels." But some other people had this problem, and Sweetwater resolved it for everyone so far. Craig

I'm glad y'all are enjoying the update!! Datacommando is correct, the way to get the update is just to download with the original link. (If you didn't save the email that arrived when you bought the book, the code to access the link is in your Sweetwater account.) I did want to mention that almost all the presets have been redone to take advantage of the new cabs (even if the name is the same as a preset from a previous version). The ones that don't have cabs are pretty much the same. In particular, the multiband presets in the Chapter 9 free files folder are not only new, but also cover amps that were added after my original Multiband Preset Pack was introduced. So, they help fill out that collection. The Chapter 9 files also has a setlist of the 82 new "amp replacement" presets, so you can load the setlist and audition them easily from the Helix library. Finally, let me remind you there's a dedicated support forum at MusicPlayer.com for the Sweetwater books. If you have any questions about updating etc., or there are sections that aren't clear, that's the place to go. Suggestions for future updates are also welcome. Finally, any errata will be posted there, in the first post. Thanks again for your support! Given how much effort it takes to put these eBooks together, it's really gratifying.

Haha! It does seem kind of scary, doesn't it? But I figure with an electronic book that doesn't have constraints on page count or 4-color illustrations, it's worth having a layout where you don't have to squint to see what the images show :) Quite a few people download my books to tablets, so they can read along while doing things on a computer.

The free update for owners of previous versions is now available from Sweetwater. Here's what's new in v1.2: 459 pages (91 more pages than v1.1) 337 Presets and files (over 100 more than v1.1), including new presets for Poly Block low tuning, bass, bi-amp processing, EQ-based cabs, combi-band processing, and 82 new multiband presets for Helix 4-path devices Extensive analysis of all the new cabs and mics in v3.50, with frequency response curves and performance summaries Coverage of the new effects blocks in Helix 3.50: Pillars OD, Vita Dist, Vita Boost, 4-Voice Chorus, Flexovibe, Dynamic Ambience, Boctaver New section on Send/Return block applications Expanded bi-amping chapter Surround sound and multi-channel audio configurations with Helix I hope you find it helpful!

Also make sure that the volume for USB 1/2 is turned up.

I recently stumbled on the free spectrum analyzer from SIR Audio Tools, and I like it a lot. It has a lot of functionality despite being free. It's what I've used to analyze the 3.50 mics and cabs. If you're into this kind of EQ matching and have my Helix eBook, check out the section on "How to Create EQ-Based Cabs." It goes into how to create test setups with pink noise and an RTA to emulate cabs, but the concepts apply to anything that can be shaped with EQ.

Well, it works for me on Windows and Mac...but saying that doesn't do you any good! Be aware that quite a few USB cables DO NOT have data lines, only power. They're supplied with consumer goods that only need USB for charging. You'll never get anything audio-related to work with those kinds of cables. Unfortunately, there's no outside indication whether a USB cable carries data or not (there should be!!). In addition to not using a hub, I've been told by people who know more about computers than me that it's good practice to use a USB port that's located close to the power supply (e.g., on the rear panel if it's a desktop) rather than one on the front panel. It's been said several times here how important it is to follow updating instructions to the letter. But there can also be connection oddities with different computers. For example, I have some USB peripherals that the computer won't recognize unless it's connected when the computer starts or restarts. With some other USB devices, the computer won't recognize them until you plug them in after the computer has booted. Finally, with Windows, eject any Helix hardware the way you would any USB peripheral (e.g., a hard drive). If you do something like turn off your Helix, Windows goes to sleep, and then wakes up, it won't know what to do with this non-existent peripheral which its driver says still exists.

Actually there's a lot of news on that front. New multiband presets for amps released subsequent to 2.71, with the 3.50 cabs, are included in the Free Files folder that's part of the version 1.2 download of The Big Book of Helix Tips and Tricks. I'm 300 pages into proofing the book, so it will be finished any day now. However, I've discovered new techniques, and learned a lot, since doing the original preset pack. I want to create two new preset packs, one for 2-Path Helix devices, and one for 4-Path Helix devices. It takes me forever to do these, so I don't have an ETA. Finally, I released my new album today on YouTube - it's a big deal for me. The album is called "Unconstrained," and Helix is all over it. I hope you enjoy it!

Almost all of the electric guitar parts use sounds from my Helix Multiband Preset Pack - there really isn't any other software that makes multiband presets so easy to do. When you check out the album, you'll definitely hear the multiband presets working their little butts off. There's an occasional PRS amp sim, AmpliTube, and Ampire. No physical amps at all :) The acoustic guitar parts mostly used a la carte selections of Waves plugins. Processors for keys, drums, FX, and bass were all over the place. They were like the UN General Assembly of plugins.

Just wondering...I've been experimenting with 4, 6, and 8-channel audio (4 sends, two 2-channel outs) with the Floor Helix, as well as with Helix Native. Although I still mix my music for stereo release, I've been cutting tracks with potential surround remixes in mind. Helix is great for that. If anyone else is into it, maybe this thread would be a good place to share tips and tricks.