PierM

Whatever format you put in the Helix, this one will be converted to 16Bit Mono 48Khz, so in that Sigma structure you need to pick your samples from the 48 folder.

My average feedback on delays is 10/25%, nothing dramatic, and yeah I'm pretty sure it's related to the trail buffer, which does retain some signal from the tuning process, bouncing back when you lift the tuner switch. The workaround I found today, working in da house, is to set a dedicated snapshot just for tuning, with all these effects turned off. I do use volume pedals but position and assignments are changing, depends on the preset, so I can't use it globally.

 

A good fix from Line6 could be NOT sending signal to the trail buffer while in tuner mode, as I think was doing in the past (?), as I really didn't get this problem with old firmware but as some point I stopped using the Helix tuner, so I don't know when this popped in. Sure it does not sounds right.

 

Interesting is that the BANG does vary with different pickups, even at low guitar volume. With my Gibsons it's the worst.

Yesterday I had a really nasty issue which really upset the mixer guy (and I wasn't happy too lol); usually I don't use the Helix tuner but in the past never had this issue, but yesterday every time I was lifting the tuner footswitch, to go back to patch, a huge BANG was bouncing back the FOH, like if you were plugging a guitar in an amp, without turning down the volume. I've noticed this is on all my presets using a reverb and/or a delay. It's like some trail is happening after switching, flooding the output with a big sound BANG. Long story short, I've been asked to not use the tuner anymore in offline mode and almost forced to not use the Helix at all.... Really bad stuff. (XLR output were used)

 

It's that a know issue?

 

I'm on 2.11 btw.

You guys are really missing the ABC of trolling management. Not good move on feed him...now you are again left holding the bag. He's pretty good on his job.  :)

I'll drop the bomb; imho the plink issue just does not exist as a technical issue. Every time I asked someone to describe, was about a different tingy, I never seen a single solid description, nor a sound file, that was proving something..and all these reports are all, more or less, description of normal limitation related to how piezo saddles are working and the very basics difference with a magnetic pickup.. There is also loads of people who think a palm mute on top of a piezo saddle has to produce same tone than a palm mute happening after a magnetic pickup (and not on top of it). This is, alone, a proof someone has no clue how a piezo is working, on its fundamentals. :)

 

Now, duck'n'cover....:D

 on my iPad and the iPhone is on the mobile version. I will have to check how it looks on the MacBookPro and the big 5k Retina down in the studio.

 

Nice show off! :D

I'm getting overlapped elements and the entire forum is a huge waste of space. I guess they are working on it just now. 

What happened with the forum template...??

 

I'm getting a mess over here

@ PierM,...  almost $4K for one? Must be a seriously customized, or ultra

fine, or tricked-out US made one for that price for a refurb.  But then, the guy

that does the US builds does really fine work.

 

No it is not a customized. Just a "regular" JTV59 made in USA. Not saying they are not good (at the opposite I've read good words on those), but considering it's a totally niche market, and it's a refurbished one, I'm expecting this guitar sitting there forever.

 

I honestly would be tempted to buy a US 59 (I do love my Korean JTV59!!) but I can't stand a price tag that high because used market it's basically non existent. :)

3999$ for a refurbished US 59? U kidding me? :D

 I think it's kind of a niche effect. Really, how many popular guitar songs are there that use pitch shifting? As a percentage basic, it has to be tiny. I'm actually surprised EHX has done as much with it as it has, in a way.

 

It's for sure a niche effect, but modeling it is dedicated to a niche market, which usually is mostly composed by musicians who likes to experiment outside the typical set of pedals you could buy alone. Usually it's also a good system to know, approach and learn a new range of effects that you could lately buy in a different form (standalone, rack etc). For example, beside the amount of delays in the Helix, there is nothing (ATM) capable to beat the old good DL4. :) As for me I'm a big user of pitch shift and intelligent harmonizers, in various forms, so for me would be a blast to have a polyphonic PS.

The only entity which could say it's not possible, is Line6, but even in that case I would say it's more because they don't want to invest in such pipeline, and I could understand. ;)

These days you don't need that huge power you were asking your processors for old FFTs, working (bad) with linear scaling. It all depends how they want to implement such effects (if they want). There are several available approaches to solve same goal, more or less efficient, more or less good. It also depends if they want to add advanced transients detectors, heuristics trackers and much more math in the middle of the pipeline, to reduce tone artifacts before hit the out, but in general we are not talking about flooding DSPs. Sure I would expect some input latency, but that is another kind of issue. It's really a tons of constants and few algos. I would honestly expect a block a bit more demanding than actual harmonizers. Imho problem here it's not the processing power (which by the way should be declared by L6, not by their users), it's to find the time and resources to write down a good set of algos to compete with those stomps. I'm not holding my breath on this, but don't tell me is because it does require more power than the one the Helix has already. That is task overestimation. :)

It's not 1995 anymore guys. Helix is more than good to run a polyphonic pitch shifter.

And if you are simply looking to have a stereo effect to fill out a sound - as opposed to relying on stereo separation for an integral part of the sound (e.g., ping-pong delay) - you can just let the reverb at the end do that and run everything as mono up to that point.

 

^ This! ^

 

Serializing multiple stereo effects, one after the other, its just flooding the signal and making everything muddy, other than kicking on DSPs....

I can't believe there is not a moderator to delete this stuff and ban the guy....

Sorry but I have to disagree about the "IMPOSSIBLE" dogma. You can't probably imagine what you can do with few bucks of proper electronics, a LCR/pass filters etc...... but yeah, as soon as you have to route more holes for circuits I would probably ask myself why not put a neck pup. But, in general, it's possible. Not gonna sound exactly as a real neck pup but your OP was not asking that. :)

Guys, let's get a little perspective here. The Helix isn't very good at doing the Synth stuff but I doubt that the EHX Synth 9 could do what the Helix does. You can't really compare the two because they're two completely different animals. The EHX is a single purpose device specifically designed to do what it does. It's hardly fair to expect the Helix to do the excellent modeling that it does AND do the Synth stuff as well as a dedicated Synth box like the EHX.

 

It's mostly about quality of the algorithms. I don't think Helix has any lack of processing powa to do same or even better than that stomp. It's for sure true that EHX are masters on that area.

You can made an Helix patch that shapes out the high end and push the curve on the bass side, but you'll probably also needs to cap your highs through the volume tone. Also you should learn to pick on top of the bridge, for the bridge tone, and pick on top of the "missing" neck pup to bring back some mids and limit the harsh attack of the pup. It's something you could also do with an active PCB (equalizer + band pass filter) to be hosted in a body cavity. This would probably be the best option. It will NEVER sound 100% realistic, but you can for sure tame the bridge tone to make it sounding more rounded and "neckish"..

Believe me, I'm not a fanboy and I also don't like the way other people here sometimes overreacts to product critics. It's quite annoying but this is the internet...so...

 

Said that, I still don't get the point for this thread. What you were expecting exactly? I mean, I guess you've done a forum search before start the thread (don't you?), to see if other people were getting your same "issue", and then hoping for a tweak and fix to try your own. But instead of that you started a thread with just all answers ready to whatever obvious question. You basically bounced everyone over here, every single suggestion, every single question, every guy trying to help....and now that you return it, you are still here talking about something you didn't like at first and you don't have anymore. I mean, seriously? All this time you are wasting here it's time you should spend in a better way, if not with your friends, with a Kemper, which by the way has a digital fizz. I'll start a thread on Kemper forums soon. (kidding I don't have a Kemper)

 

Ciao ciao.

Hello all,

 

Not sure if this has been covered, but I have the floor Helix and am planning to the Native at the discounted price for owners at $99, when it comes out.

 

But what happens if I sell my Helix floor later on - will I still be able to use Native, without having to buy the non-discounted version?

 

Thinking how the licence will behave, when being registered to a new user.

 

Thanks

 

 

 

Good question. I also heard the discount will be for US customers only. :( Is that true? 

Give your Helix a proper case and no more bumps. :)

 

EDIT: btw, just tried side pulling and hitting my XLRs, I can't get any pop on the signal.

 

Yeah I'm pretty sure.

 

I did the test feeding a continuous white noise signal going into the back monitor in L/R and then changing speaker scheme in the app.

 

The exit compressor seems working for both mono and wide stereo. In wide stereo it does probably use a different crossover setting to drive less highs on the exit compressor, probably to create that "wide" feeling.

 

If you have the amp you can test yourself. Just remove the front cover and check. :)

It seems to happen at all volumes. Unless it's so loud that I'm damaging my hearing, which in fact may help the helix sound better.

 

But either way, shouldn't this cloud of noise NOT be there even At lower volumes?

 

Quite the opposite.

 

If you are setting your helix volume to low numbers, your signal is sitting next to the noise floor (which is present in every circuit, more or less).

Given the signal to noise ratio of the Helix, you should use an high main volume output from the Helix, and then managing on the final stage (speaker volume, mixer, whatever). This way your helix signal will sit at proper distance (dB room) from the noise. I did some measure, and I get the best from 50% and above (helix volume). But this also depends on your chain and preset, but concept it's the same.

 

PS: as other guys said, you should tell people what's your equipment, especially what is there after helix. ;)

Not if you can run the wet's L&R and the dry thru 3 channels in a mixer and control their output levels using sub outs, then send the wet's L&R into the monitor ins L&R, and the dry into the EFX Return (on the FireHawk 1500), as I do with my Kemper. In fact I can completely kill the dry and hear nothing but the wet L&R doing it this way. And it sounds great when mixed right too.

U dont need all this mess to do so. I can do the same just sending XLR from Helix WET path straight to Fh1500 monitor IN, and a send block after amp sim block, straight into the fh1500 guitar in, using a blank preset with no amp and no cab. I can then use the master Helix Volume to control the WET and the master guitar in to control the dry. Point here is you are mixing volumes, sound pressure and also missing some points.

 

Whatever volume you will assign into the wet you cant go wider the coaxial speakers freq response range, and you cant bypass limiters protecting them, so you will still lack presence, while muffling the curve because of limiters.

 

What you are doing is just making the amp going more in the back, at the time you'd kill the dry.

 

Your scheme would make sense with 3 identical speakers, but here we are talking a woofer vs two mid/high freq. small drivers.

Monitor In, L/R (this is what I get, over here):

 

Mono; Top Horn, Center Speaker - No limiters as small Coaxial are not engaged. It does work basically as a standard single FRFR speaker.

Stereo; Left Coaxial, Center Speaker, Right Coaxial - Limiters kick in to protect Coaxial

Stereo Wide; Left Coaxial, Center Speaker, Top Horn, Right Coaxial - Limiters kick in to protect Coaxial