ajwain

Thanks very much for very quick and informative responses. Thanks particularly to ‘rd2rk’ for the suggestion and the example preset. I hope they introduce this functionality as it would be almost a game changer.

I understand that from Command Center, I can configure any footswitch on my Helix floor unit to switch snapshots whilst in 'Stompbox' mode. From what I gather, this is functionality which can be triggered by a single press and release action. Is it possible to configure that same footswitch to trigger different functionality if the switch is 'long pressed'? For example, I run my Helix predominantly in 'Stompbox' mode, so I have 10 different effects configured which I can toggle on and off (either independently or in multiples). One of my foot switches is assigned to a tremolo effect and I have a snapshot which changes the speed parameter of the tremolo. I have another snapshot for a delay effect which changes the delay time parameter to a 'slapback' echo, and I have a 'reset' snapshot which returns any effect parameters across the whole preset back to their original value. Please note, I absolutely do not want to use an expression pedal to effect these parameter changes! Is it possible to configure a footswitch with a single press and release, to turn on the tremolo effect (for example), with the initial speed set to a fast tremolo and should I 'long press' that footswitch, it turns on the tremolo effect, but also initiates my snapshot to change the speed? What I'd like to be able to do is to either: 1) Single press and release the footswitch to engage the tremolo effect with fast speed and then a second press and release to turn it off. 2) Long press the footswitch to engage the tremolo effect with a slow speed but then a second press (as I have now) to disengage the tremolo effect. I use the built in expression pedal for volume only and because my stage real-estate is at a premium, I don't want to have to connect extra foot swithes or expression pedals. I can't seem to find any examples of configuring foot switches for 'long press' functionality and whilst this is by no means essential to me, it would add to the convenience. Many thanks,

I’ve read that carefully and re-read it again. Thanks for your most detailed explanation. I’m on vacation at the moment, but I will most certainly experiment with all these options and I’ve no doubt I’ll have learned a lot into the bargain! I’ll most certainly let you know how I get on. Thanks again.

I’m not entirely sure how that would work. Almost all solutions offered here suggest using snapshots as the most convenient way of controlling the gain. I re-iterate once again that I have no more available snapshots… I’m using all 8 of them. I want to avoid a solution involving snapshots, and if this makes my preset a little more convoluted, then so be it. if I moved one of my drives to path B and then added a gain block, wouldn’t I be unable to use that drive in isolation without the gain block?

Thanks SaschaFranck. I’ll give it a go. I’m happy to try anything but how would I turn the gain block on and off? Would it be another footswitch or would it somehow be programmed to be turned on or off when I activated the gain block? Rd2’s solution magically does the right thing with the gain whether I’m using either gain block 1, gain block 2 or both in series.

Thanks for the contributions guys. I still think rd2rk has the most complete solution for my particular problem. As I said in my original post, I’m using all 8 snapshots and would prefer not to lose one of those to get around my problem. Also, I work in stompbox mode, where all 10 effects are at my feet. I only switch to snapshot mode to temporarily change the character of one of my effects. To have to change out of my “home” mode to go into snapshot mode just to use one of the drives in isolation would be inconvenient. I ride the volume pedal most of the time to blend in with the rest of the band, increasing the level to play a fill and then rocking back to my normal level. I wouldn’t like to have to use this to balance the outputs from blocks with radically different output levels. It’s used for expression, not emergency control. I absolutely use my guitar’s volume to regulate the level of drive, but I hadn’t found an effect which on its own could give me enough drive from my relatively weedy Strat. Yes, I could add a volume stage before the drive, but that would either mean another thing I have to switch on or off, or it would mean the level would be boosted to all of my other effects (which I don’t want). I did think about using a compressor or limiter block after the drive to tame things, but rd2rk’s solution is much more elegant, and doesn’t require any extra blocks or snapshots. I’ve been a semi pro guitar player for more than 40 years, so I understand the concept of picking dynamics and cleaning up the sound with the guitar’s volume pot, but if I start with v little gain anyway, then rolling the volume back just makes whatever sound I have just disappear to nothing. As I said in my original post, I’m used to small, expressive tube amplifiers; it’s the digital world that I’m trying to explore. In my normal world, there are things that just can’t be done (or are damn difficult, like multi-impedance matching), but everything I’ve read led me to believe there are no such limitations in the digital world… hence, I bought a Helix. I’m still learning!

I think rd2rk gets what I’m trying to do. I can’t really get the super saturated sound I require without stacking blocks, and the first block needs to have high output level in order to drive hard the subsequent block. I also want to be able to use each drive effect independently without a big leap in the overall output level. rd2rk’s solution cleverly gives me that by using the footswitch which turns on the 2nd level of gain to also increase the output of the block before it. Genius! Rd2rk has been most helpful and generous with his time and expertise so respect is in order for his genuine attempt to understand and assist with my problem. Thanks again.

Wow! What can I say? A huge thank-you for this… I’m currently away from my Helix for a week, on holiday in Wales. However, I will try this on my return. I really appreciate your time and expertise with this. What you describe sounds perfect, so I’ll let you know when I’ve tried it out. once again thanks so much for your assistance.

Okay. It’s great to know I’m not the only one using it this way. I will give it a try, and I’ll have to sacrifice one of my carefully programmed snapshots in order to free one up for this new function. Incidentally, I have all my blocks “bypass” function disabled from snapshots, and I only use snapshots to change parameters. For example, I use snapshots to change the key of the harmoniser, but I don’t want that key change to switch on or off any other effects I may have had set when I saved that snapshot. I want it to change the key only, and not change what blocks I have on or off (if you see what I mean). So if I use it the way you’re using it, I’ll need to turn on my distortion block (from stompbox mode), then switch to snapshot mode and engage the snapshot which adjusts the level? That’s 3 footswitches depressions in order to engage a high gain sound - correct?

Thank you for your reply. Yes, I understand that any parameter can be assigned to a snapshot, but I’m currently using all my snapshots for the things I mentioned. I’d really like to be able to kick on and off the different stomp boxes though, without any appreciable change in volume. To have to flick into snapshot mode in order to change the level would require three footswitch depressions instead of one. It seems a bit of a backward step. I just wish I could get that fluid legato high gain sound from one single block without the block before it driving the input signal.

I bought a Helix floor about 6 weeks ago to replace my BOSS GT-6 Multi-FX, and I just can't get the gain structure I need into the front of a valve/tube amp! I want to use the unit (as I currently use my BOSS unit) entirely in "stompbox" mode, using each of the 10 (ten) foot switches to independently switch individual effects. For this, it's great, except for my drive/distorted tones. First and foremost, let me say that I can absolutely get the sounds I want using the individual stombox models, so it's not the actual sounds I'm frustrated with.... it's the matching of the gain and overall output level such that I don't get significant jumps in volume when I employ the individual effects. I liked the specs of the Helix because it appeared to offer more independent footswitches than any other unit, and therefore within my single 'home' preset, I could switch on (or bypass) upto 10 different effects completely independently. Also, it had an IEC power connector and not a proprietary DC adapter. Altogether, I thought, a significant upgrade from my BOSS unit. I have had cause to play in theatre bands which operate a 'silent pit' policy, and so I have been unable to use an amplifier. The Helix would satisfy this amazingly well because of it's amp modelling. Other than in this scenario though, I want to use it as a simple pedalboard into the front end of a real amp. My problems started when I experimented with the distortion pedal models in trying to get varying levels of gain. I need to go from pure crystalline clean with almost infinite headroom, and then kick in one block to give me a nice crunch, then kick in another block to give me super-saturated liquid gain. So far, I have not been able to get a really high gain sound without stacking pedals. If I do this, then the first distortion block in the chain (which I want for my crunch sound), needs to have the output level high in order to drive the input of the block which follows it. That's okay per se, but when I want to use only the crunch block, the output is so high that it causes a massive jump in volume. Just for interest, I'm using all 8 snapshots to change parameters of the blocks I have turned on, so for example, I have a snapshot to change the delay to a 'slapback', and another snapshot to change my tremolo from fast to slow. Remaining snapshots are used to change the depth of reverb and to select a key for the intelligent harmoniser. The only way I could achieve this functionality is to disable bypass of any block within snapshots, otherwise my snapshots would be changing which blocks I had enabled. My expression pedal must at all times be used as an overall volume pedal so that I can adjust my output level on the fly without changing the sound or character of the gain. I sometimes use it for a volume swell effect also. I fully appreciate that I'm not using the Helix exactly in the way it was designed to be used, but all my research led me to believe that it was sufficiently flexible to be able to do what I require. If I'm unable to achieve this without enabling any amp (or preamp) models, then I'll be devastatingly disappointed that my Helix cannot do what I've been doing for more than 20 years with my BOSS unit i.e. I don't ever switch presets, I just turn on and off individual effects within a single preset. I desperately need to replace the BOSS GT-6, as it has become unreliable of late, and the market appears to be laden with much more capable units which purport to be able to do everything I'm used to and a whole lot more. Have I bought the wrong unit?

I have a similar problem. I have recently switched from a BOSS Multi-FX to a Helix floor and am using it in Stompbox mode. If I set up an overdrive as the first block in my chain (and leave all subsequent blocks bypassed), I can adjust the output level to be roughly the same as my bypassed signal. So, if I set it up with a Strat, for example, I observe no perceptible change in level when I engage the overdrive - the overall output remains similar. However, when I change to a Les Paul, I would expect the overall output to be much louder, and this is indeed the case with the bypassed signal. However, when I engage the overdrive block, my overall output volume reduces significantly. Am I doing something wrong? I fully understand that the gain structure would change enormously due to the increase in the input signal to the overdrive, but what I didn't expect was the volume to drop like a stone along with the extra compression and more saturated tone. If the answer here is that I need to create separate patches for the different guitars, then possibly the Helix is not for me. I've used my BOSS GT-6 and GT-10 without this problem for over 20 years, and it is only within the last two weeks that I have obtained a Helix. However, I'd still like to understand why the drop in volume... I can understand the overdrive compressing the signal but not to make it quieter than the original input level. Oh, and by the way... I'm using the Helix in this example with no amp model selected. I'm using it purely as a stompbox into the front of a guitar amp. Eventually I mean to experiment with the amp modelling and go straight into FOH, but for the moment, I want it to emulate my previous rig. Comments and suggestions gratefully received.