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Helps me though :)

Is what I thought - but no I have checked (about 1000 times!) in Command Center - definitely MIDI CC. Good prompt though - many thanks :) - as I have just changed it to CC Toggle and back again to MIDI CC and now it is behaving as expected. Bug?

Hi folks - I just need a reminder on this. I have 10 footswitches all assigned to MIDI CCs's (not CC Toggle). All LED's stay unlit except when pressing the switch (goes out again when you let go of the switch), except one which turns on with the first press, then turns off with the next press. Where do I go to control this behaviour? Thanks in advance

I'm wondering if this is possible? Has anyone made some clever connections that allow you to use the HX as an audio interface on some other device (like an iPad) while retaining the ability to edit sounds in HX Edit on a Mac? I'm guessing not but thought I would ask just in case...... Many thanks :)

Hi everyone - what tips and tricks do you have for warming up the thin percussive sound that thin bodied nylon string guitars have? I have a Godin Multiac Encore btw and when playing single note melodies in a live band setting, with the Helix straight to the FOH only the percussive strike of the note can really be heard with no real body or tone to the sound, meaning the pitches of the notes become less clear. I guess this is a ‘feature’ of this type of guitar as I hear the same kind of thin sound from Cordoba Stages and the Ibanez Tim Henson. A ‘real’ acoustic nylon guitar with a microphone would sound much better but is not practical at volume. I use the Studio Tube Pre as a starting point, but wonder if there is perhaps a compressor that would reduce the attack (most seem to add more click to the start of the note not less), or IRs that work really well with this type of guitar, or anything else you can suggest? Thanks in advance :)

agreed

Thanks - that's a really helpful reply. I'm already digging the Bogner models - your description possibly explains why! Much appreciated.

First of all - thanks very much for all the detailed and considerate responses - much appreciated. Secondly, I guess I'm still feeling like I haven't quite explained my request clearly enough (no surprise there!). So when I say 'amp in the room' what I mean is 'playing in the same room as the amp'. Something happens in this situation between speaker and guitar (and yes depending on many variables such as position, volume, the room etc etc) that changes the way the sound behaves, particularly high gain sounds, and with higher notes up the fretboard. Exactly the same issue arises when recording a real amp or speaker cab that is closed off in another room (if the guitar is in the control room and the amp/cab is in the live room for example). Specifically what I am after is a way of simulating the boost to higher frequencies (notes of the upper strings and especially when higher up the fretboard) that occurs when the player is in the same space as their amp. With high gain sounds sustain is often much longer, a lower gain setting is required to create a usable lead tone particularly when playing legato and so on. With a modeller (or remote cab) I find myself picking and fretting much more aggressively to achieve the hoped for tone the higher up the neck I go. Which then catches you out if you happen to use the sound live in a higher volume situation. All of this is also way more noticeable with single coil pickups of course. Compensating in the modeller by turning up the gain helps, but leads to a 'fizzier' sound of course. I'm not aware that speaker simulation seeks to emulate this 'boost/resonance' but rather to tame higher frequencies to make it sound less digital - and this quite often has the opposite effect as in it reduces treble like a close mic'd speaker would. I'm hoping a modeller would be able to recreate this idea at any volume, that is a playback system is not even required to create it. And I'm not after a faithful recreation if that doesn't exist, simply tips for compensating if anyone else has successfully addressed this. If you feel I am simply repeating myself and missing the point (again!) then please accept my apologies and ignore, but just posting in case it catches anyone else's eye. Thanks :)

Thanks - all good stuff :) Just to clarify - what I am after is effect of an amp and guitar in the same space complimenting each other - that natural sustain, like a boost to the sound especially higher up the neck. I have tried many speaker sim/cab/mic combinations and IRs, and while good at recreating the sound as if you were recording it, do not 'boost' the signal in anything like the same way. That is, they mostly 'take away' from the sound recreating the technical frequency responses/EQ curves of various speakers and rooms. Probably just haven't found the right one yet - if you are aware of any that recreate the effect of an amp 'moving air' that would be great. I guess part of it is more of a perceived effect at the ear also due to the natural compression of the ear drum in response to higher volume levels.

Hi all - I'm guessing this question has been asked in different ways over the years but here goes... Assuming the Helix is attempting to recreate the sound of an amp with a mic in front of it, as if the cab and mic were in a different room and you are sitting in the control room (big assumption - correct me if I have that wrong), what about if you were trying to recreate the sound as if you are in the same room as the amp, or on stage with an amp. The challenge I'm having is that when an amp is in the same space there is the guitar and the amp work together to create a specific sound that is not the same when the they are not. That is, resonance in the room space, in the cab itself and in the body of the guitar 'boost' elements of the sound to create a natural sustain. So when a sound created on Helix is monitored at low volume, on studio monitors or headphones it sounds different to when the same sound is monitored through a loud amp/cab (even if that amp is very 'flat' like an FRFR). What I find is that for example hi-gain lead sounds run out of gain the higher up the neck you play. If you play the same sound through a loud monitor/amp this problem does not occur due to the resonance between speaker and guitar - and often I find I have to reduce the distortion level in a sound like this for live use. So my question is - what tricks do you use to compensate for this when creating sounds for monitoring at low volume or recording? (to be fair I think this is an 'effect' that all the modelling solutions fail to recreate effectively, and possibly where the Helix2 should such a thing ever appear would do well to include - but that's another story....)

Of course - the answer is right there in front of me as usual - thanks so much!!

Ah OK thanks - shame the export function doesn't append the slot reference (01A, 01 B etc) or give an option to - hope this kind of thing is made easier for folks who use Native and hardware in future updates :)

Hi all I figured out how to select multiple presets and drag them from HX Edit to Native (or vice versa), but when they paste into the destination they are listed in alphabetical order, not the order they are in at source. Is there another method for transferring presets (apart from one at a time) that allows them to be imported in original order? (Export and Import does the same thing). TIA

Sounds interesting - where do I find this - is it a delay?

Good call just being lazy...

Hey folks - I'm a big fan of Retro reel for adding movement and 'colour' to a tone, but is there another effect that does wow and flutter (where the pitch goes up and down) without adding any distortion elements? (I know you can turn down the saturation and texture in rero reel but this doesn't remove it). TIA

Thanks - thought so - I can change Settings in Logic Pro so it doesn't send, but this is a global change for all projects and all other gear so was hoping the Helix could be a bit more granular. Oh well - maybe Helix 2? ;)

Hi all, using Helix floor with Logic Pro I see that Logic sends out a bunch of reset messages when opening a new project. These are received by the Helix, and it turns out that controller 1 affects volume in the Helix, which makes sense as it is typically used for 'Expression'. The result is the Helix is muted - which is remedied by touching the expression pedal. So the question is - where in the Helix can this be edited so specific incoming controllers can be 'blocked' or redirected? And can this be set up per patch? Or is it just global settings/disable MIDI IN? Any thoughts? TIA

Ah thanks for clarifying- yes that is my experience. And yes the whole copy/paste thing could use some improvement- Helix 2 I guess…..

I have set up a template using Command Center which has different MIDI commands per footswitch across all 8 snapshots. So in Shanpshot 1 footswitch 12 might send CC 66 but in Snapshot 2 the same footswitch sends CC 67 and so on. Attempting to copy and paste all commands as per this instruction https://helixhelp.com/tips-and-guides/helix/command-center#copying-and-pasting-all-commands only seems to copy the commands for the current snapshot and paste them to the current snapshot in the new preset. It also doesn't copy/paste the custom Footswitch names (annoyingly these are the same across all snapshots but they still don't get transferred). Can I actually copy ALL commands and paste them all into a preset? Or am I doing something wrong here? Thanks in advance

Thanks for these comments - your experience is certainly valued by folk like me :) Ref the use of ICs - yup that's one of the ideas I had today while doing something completely different (funny how that happens) - so I'll give that a go over the next few days - thanks for the suggestions so far though - much appreciated

Ah ok - thanks for the detail - good to have it confirmed I suppose. Out of interest is this documented somewhere? The use case is as follows: Helix is doubling as a MIDI foot switch sending messages to TouchOsc (which incidentally is acting as a MIDI router and graphic interface for control of things like GigPerformer and Ableton) TouchOsc is set up to have 8 banks of 10 switches corresponding to the 8 snapshots of 10 switches available on the Helix. I was hoping to have (on some banks at least) a switch that allowed you to jump from that bank to another, so say on bank/snapshot 6 switch 1 selects bank/snapshot 2. So: Helix sends a CC to TouchOsc (on switch press) TouchOsc sends the snapshot select CC back to Helix It's at this point that Helix sends the additional CC (on switch release) because Helix is now in the new snapshot

Hi thanks for the reply - I have attached a preset with just MIDI CC's assigned to switch 2 that has a different CC per snapshot. This on its own doesn't show what I mean unfortunately - to see this in action you need to somehow send MIDI to the Helix in between the press and release of the switch as follows: Press Switch 2 (if in Snapshot 1 this will send CC1 value 127 out of the Helix) - hold it down Send CC69 value 1 into the Helix (channel to match HX base channel) from an external device - this will cause the Helix to change Snapshot 2 Release Switch 2 (HX is now in Snapshot 2 and sends CC2 value 127 out of Helix) So what I want to be able to do is tell the Helix not to do anything on Switch release - hope that makes sense :) Forum 1.hlx

Hi folks - wondering if anyone has come across this: I have a switch set to send a MIDI CC message which I assumed would only send one message. But - I actually have the switch set to send a message to select a different snapshot. So what happens is that when I press the switch it changes the snapshot and then when I release it it sends another message which is what the switch is set to send in the new snapshot. Strange. Is there a way to stop it sending the second message?

I have probably missed the point completely, but can you set up different functions for the same switch depending on which snapshot you are in? Say in Snapshot 1, FS 2 sends a MIDI CC, but in Snapshot 2 the same switch recalls a preset. Is that possible?