PierM

Also be sure you are not getting phasing issues. Depending how you are routing and how you are mixing dry/wet in the Strymon, and what loop block you are using (the single fxloop or dedicated send and return blocks), you should always be sure you are not creating phasing issues with two overlapped signals. Mix should be set to 100%, or in the case of Send block, you should also set Dry Thru to -120dB, otherwise the incoming signal passing through the send will phase against the "dry" returning signal from the looper.

SRV is laughing from the sky now. :) (just joking eh)

Didnt know Ben Adrian is actually Ned Flanders

Since this is a totally nonsense statement, from any point of view, I'd say you should either change studio or sound engineer.

Right there on the left.

Im wondering if you "quadcore" guys are actually playing guitars or doing 3D renderings for Pixar.

Grab a telecaster, a blackface, notch a bit on the mids. Done. :)

For my experience, Poly Beebo and Empress Zoia are the only capable to "automate" effects with the use of some logic (comparators, slew limiters, VCAs, etc etc), all through MIDI protocol, for every single param in the Helix. Assuming this is what you were asking for. For example, I did create some smart controls for the Helix Reverbs, that are raising decay and mix in relationship to signal dynamics, so that the reverb does stay quieter in a busy phrasing, and kick in where there is room to do that. This is good for long ambient reverbs, that tends to be boomy on busy playing, but they are beautiful when things slows down or at the end of a phrase. Or another smart thing you could do with these toys, is to make helix doing something specific with any effect param you need to automate, as soon as you play a specific note on the instrument. It's lot of fun, but isn't stuff you can do with that chase bliss pedal, whatever it is. :)

...this place definitely needs a full set of emoticons... :P

For some reason the G10S seems way more sensible to a busy wifi. Never had a problem with dropouts, with the basic G10 receiver, but was going nuts with my new G10S. Tried everything, even using a totally unused channel, but didn't worked. Very unstable signal and dropouts on all channels. The only solution that worked for me was to shut down the 2.4Ghz in one of my two routers, and only use the 5Ghz Wifi for my devices. This way I cleaned out a bit the signal and thanks to that I managed to find a good and stable connection for the G10S, on Channel 6. For my tests, looks like isn't only about how busy are your wifi channels, but how close is the G10S to other 2.4Ghz Wifi devices and routers.

You can do it, with some caveats, which are mostly related to possible audio loop, so be careful while you are trying that using very low volumes. ;) Since you can't split at the input as with the full Helix, you can do this way (im doing that on my head, but it should work just fine); Input set to MAIN L/R Plug Guitar to L input on the back of the Stomp. This should be set to Instrument Level in the Globals Plug Mandolin to R input on the back of the Stomp. Same as the above as for the Instrument Level. Add a mono gain or a mono volume pedal to the path and through the use of the Action button, move that block to Path B, so that you split the path in two. This block could be bypassed, as it's needed just to keep the double path alive. Select the Y joint just before the Output, and through the Action button, move that to Path B, so that you obtain a dedicated output for each path A and B. Now you should have Path A ------> Output MAIN L/R and Path B -------> Send L/R. In the Globals, set Main Output as Instr Level to match your amp input, and Send as Line level for the mandoline to FOH. Now go back to the Y joint just after the input, and through the rotary selector make it a Split A/B. Assign the RoutTo param to a EXP pedal or a FootSwitch to swap between the two extreme positions; Route To A100 to play guitar, and Route to B100 to play the mandolin. Assign these two positions to the pedal, or better, to a FS for an instant swap. You should now route the Left Output on the back of the Stomp to your amp front and route the Right Send from Stomp to FOH. Main Right Output and Send Left Output are unused in this scheme. You can now assign effects for guitar on Path A, and those for mandolin on Path B. If you need global effects, like a compressor, you can place it just before the Y Split. Since these are gonna be routed to full Mono, use only Mono effects to save and optimize DSP usage. I attached a quick version for you to test. FS1 is swapping from Guitar to Mandolin. 2Inst2Out.hlx

For sure modeling does waste much more of your time, fiddling around all those possibilities and sounds. It's an endless tone chase and sometimes it can be a damn rabbit hole. I think this applies to the entire pedal market nowadays. Sometimes it's a just lot of showoff, sometimes just an infinite pedal flipping, and for these reasons it can be an humongous waste of time. Im old school and even if I use modeling since the red bean pod era, I learned guitar in the early 80, with just an amp and a damn guitar. Nothing in the middle. Sometimes just a pedal or two. It's granted that if you start learning this way, you focus a lot more on qualities you mentioned for two basic reasons; there is nothing else to mess around with, and the less the pedals and effects, the more your touch and style are exposed. Well, stating the obvious here, it also depends what kind of genre you are playing, because if you are just a 250BMP metal shredder, there is no much articulation to talk about. On the other hand, if you are into jazz or blues, where the base tone it's extremely easy to find even with the cheapest amp and guitar in the market, it's better you focus on those aspects you mentioned, or you'll be stuck as a mediocre player, doesn't matter if you have a Fractal or a Zoom, a chinese Casino or a 20K Gibson L-5... My take on this is that a kid learning guitar should not have access to all these toys, until he develops his own style with just basic tools. Then, if there is zero talent available, doesn't matter what you get, articulation (as the expression of dynamics through your playing technique) will always be felt as artificial. Which is more or less what I perceive when I listen all those famous youtube players, doing pedal reviews, 24/7. I guess that's also why I'm totally fine with Helix, and my other pedals. I just use them as "extras" to my style like if they were extensions of my palette, instead of trying to create (or hide) my style through those devices.

Documentation for a software/hardware is always a PITA as 90% of the time should be done from the same people who develop it. You are hardly moving these resources to write down a too deep and detailed documentation, as this is basically a "non productive" task from a business standpoint. I do work as GFX guy for a software company (can't name it because of NDA), but yeah - I was writing manuals and tutorials in my free time. :)

This is getting boring, so I'm wondering, when they'll release a Helix III?

Also forgot; Helix has a dedicated hardware button (Amp Icon), that does jump straight to amp/IR blocks. So, it's like 2 clicks to select and bypass, even in the most complex and messy presets, since that button just automatically select amp/IRs at first click. :)

Sure, I was just trying to give you a possible solution. Said that, that scenario, doesn't make much sense to me, as most of the time, in a Helix preset, there are time effects placed post amp/cab blocks, or parallel, or in the middle of an amp and a cab. These effects, just placed before a real amp as they are, would sound totally garbage. So, isn't just amp/cab you should turn off when going direct to an amp, but also the entire preset and routing, should be re-considered from scratch or properly modified for the purpose. Then, if a buyer uses a real amp/cab - there is the HX FX right there for this goal. IME/IMHO. :)

Just assign all of them to the same footswitch and voilà. Then, if you save those blocks as Favourites, they'll reload the same FS assignation, when you reuse them in a different preset.

Yeah, at some point while reading your replies, was obvious so I deleted the post to avoid possible misunderstandings (wasnt polemic, just curious). Thanks!

Neck binding, nut, headstock shape, logo, body shape, neck heel, missing body routing and electronics, ugly body work.... To me it's screaming fake chinese piece of c..p :)

Yes.It's well hidden, but it's there. I did a bunch of shots to visualize the process... Select Block Bypass you want to change color--->Press PageLeft+PageRight--->Bypass assign--->Page Right--->Customize--->Page Right--->Switch Led (rotary)

I'm sure you know it already, but here you can find real counterparts (and sometimes even original manuals) of Helix amp/cabs. https://helixhelp.com/models

Don't know that specific pedalboard brand on the video, but if you like that kind of style, just check the Ruach Kashmir pedalboards. (they also have side holes to add routing accessories as DC in and IN/OUT)

Wild speculation...could be they did it that way because the helix tuner does require some processing for both audio analysis and pixel rendering/animation, so they couldn't offer full working tuning at the same time of a full audio pipeline rendering. I just keep a mini korg pitchblack just before the helix, out of a volume pedal (the tuner out), works great and it can stay ON all the time. Clip is also fine, just be sure you don't have a nitro finish on your headstock. :)

Harmonizer, as for any other pitch tracking/detection algo, it's sensible to signal quality, strength and clarity. If you are 100% sure your guitar tone is clean (and I mean, no fret buzz, clean playing, clean phrasing, no clipping, in tune etc..) then I'd try placing some compressor before the harmonizer, and of course, harmonizer before any other effect and amp/cab. IME, if the input is clean and my playing style is clean, these effects are working pretty good and in a predictable way.

I use a lot these kind of effects. I do have a plus pedal, a freeze, and also the one in the Helix. The longer the sample, the worse the effect, as more samples means more amplitude variations, hence more audible and ugly patterns. So, IME, the secret here is to learn how to use these pedals. The best technique, for me, is to exaggerate a bit the attack strenght, and then engage the effect just after the attack of a note/chord. This way you grab the portion with lot of harmonics and note separation, but without the attack clipping (which again is cause of audible pulsing) and without losing any note. It's kind of lag you need to use, between all your playing attacks, and the freeze effect. Once you learn the flow, you will get some solid and cool drones.