phil_m

It’s probably worth noting that the RE-201, which the Cosmos Echo is modeled after, isn’t a stereo effect to begin with. So I’m not exactly sure what the Spread parameter is doing. It seems to have some effect on new repeats, but it doesn’t seem to affect those already self-oscillating.

If you have blocks after the IR, you are most likely sending too hot a signal to them. Commercial IRs are normalized to line level, so that's why the IR block comes in with a default level of -18dB. If you need more output, the best way to do is to increase the level parameter at the output block. Also, if you're using the Studio Tube Pre, you'd want to have the sensitivity parameter set to Line instead of Mic.

Yes, you could do that. There are number of ways you could go about it, but one way that comes to mind is creating a parallel path with those effects and putting a volume or gain block as the first thing in the path and using the expression pedal to blend that path in.

Dragging and dropping works for me with the new editor on Windows 10.

The Cosmos Echo is definitely stereo (the stereo version at least), it's just not as in your face as a ping pong delay or anything like that. To hear the stereo effect, you really need to use one of the multi-head settings and get well into self-oscillation. You start to hear it swirl all around. I can hear it even with my studio monitors, but with headphones it was more noticeable.

He wasn’t referring to this update... That will be the next one.

Thanks for keeping us updated... hehe...

There is no Echo Platter effect in the Helix...

Ben Adrian's notes on the new "Cartographer" model: https://www.thegearpage.net/board/index.php?posts/25282322/ Cartographer Amp Information and Instructions The Cartographer amp in Helix is a model of an amp that I built for myself to use in my band "Cartographer." The amp started its life as a 1977 Traynor YBA-1. When it came into my possession, it had been poorly modded as was not working very well. I decided to take the amp and mod it myself into the amp that would work best for my band's sound, and my unique guitar (an Electrical Guitar Company C500). The first step was to get it working. I took out all the old modifications. I cascaded the bright and normal channels, making it a single channel amp. I began with a circuit very close to the JMP MkII amp. This included adding a master volume. The output transformer (OT) was not performing well, and was on the small side for a 50 watt amp. I replaced it with a larger OT. The amp was a bit bright for me (my guitar has a lot of highs), so I nudged the tone stack component values a bit, and I removed the two high-shelf circuits in the preamp. Of course, I couldn't leave the amp alone. As time went on I changed some resistor values to add more gain. I added the second gain knob, which adjusts the volume between the second and the third gain stages. This allows the preamp's distortion voicing to be varied by adjusting where the most distortion is being generated in the preamp. Around this time I began my job at Line 6. Every month I had a different amplifier on my bench. Any time I discovered a clever or particularly good sounding bit of circuit, I would try it out in my personal amp to see if it pushed it into a more pleasing direction. I also began using other guitars and realized that I needed those high shelf circuits for darker pickups. I added presence and depth controls. People around the office played the amp and lobbied to get it put into Helix. I was happy to oblige. Since the amp model is unique and slightly complicated, I wanted to give a rundown of the amp parameters. Drive 1, Drive 2 Drive 1 is the traditional gain knob in a high gain, master volume amp. This is located between the first tube gain stage and the second tube gain stage. Drive 2 controls the amount of gain between the second tube gain stage and the third tube gain stage. The character of the amp can change drastically based on where these knobs are in relation to one another. Drive 2 at max is the default position for high gain tones. then Drive 1 is the traditional gain knob. Of course, watch out for the Master knob being too high or things can get mushy. If Drive 1 is set low (say about 3) and the Master is set high, then the amp will get a plexi normal channel vibe with Drive 2 acting as the gain knob. With Drive 2 set low (2-3), and the Master volume at full, the amp can get big and clean, with Drive 1 bringing in just a bit of grit as it is turned up. There are lots of textures available. Please experiment with the interactivity between Drive 1, Drive 2, and the Master volume. Bass, Middle, Treble These behave line a regular amp tone stack; located between the preamp and the power amp. Of course the values are slightly different than the big name amps. Use your ears and turn until it sounds good. Channel Volume Like on every other amp in Helix, this is a volume control at the end of the model used to adjust the overall level of the preset without changing the tone or distortion amount. Master This knob behaves like the Master Volume on the actual amp. It's located after the preamp, but before the power amp. When it's turned up high it will cause power amp distortion and saturation. At lower levels it will add less of its non-linearity and the tone and distortion of the preamp will come through more clearly. Presence, Depth These are similar to other amp models that have these controls. Presence and Depth are treble and bass boosts respectively. They occur after the preamp but before the power amp. They can affect overall tone of the amp model, or help define the character of the power amp clipping. They can also be said to affect the damping in the power amp. Bright 1, Bright 2 The Cartographer amp has two bright switches. Both of these switches are high shelf boosts. Bright 1 adds a high boost after the first tube preamp stage. Bright 2 adds a high boost after the second tube preamp stage. They can be subtle, especially at higher gain setting. The usually affect the character and the harmonics of the preamp gain rather than provide a distinctive level boost in the high frequencies. Try turning them on for darker guitars. try experimenting by turning on each one individually and then both at the same time to discover how each one modifies the sound. Sag, Hum, Ripple, Bias, Bias eXcursion These behave the same as on other amp models. Have fun, experiment with knobs, and enjoy.

2.30 is live... Go get it!

Just go to the Command Center and set the Instant Commands (the lightning bolts) how you want them for each snapshot. It goes fast after you do it once.

I do have the Mobius and BigSky each in their own loop, but even in your case you could still do what you want, I believe, with snapshot changes. You can have up to 6 Instant Commands per snapshot, so you could send 3 PC messages, each on its own channel, and the CC message for bypass if you needed to (it would be cleaner if Strymon used a PC message for bypass).

I'm a little confused with what you're asking for specifically, but I think you're basically saying you would to have the ability to assign more than one MIDI command to a footswitch in Stomp Mode... I generally agree that would be nice. One thing to remember, though, is that the Instant Commands apply to snapshot changes as well as preset changes. So, for instance, you can have each snapshot in a Helix preset select a different preset in the Mobius. I have the Mobius and the BigSky connected to my Helix, and I have presets where I change presets in both pedals per snapshot. It's actually still really powerful as it currently exists.

Have you tried the Mandarin 80 model, based on the Orange OR80, in the Helix? That seems like a more natural starting point to me. It seems to me that all those Orange amps are voiced to focus on the lower mids like you say. The Mandarin 80 is pretty versatile, too, since it has the Shape parameter.

The issues you're describing with driver crashes and whatnot aren't typical... I have never experienced it in the 2+ years I've had my Helix. These are the sorts of issues you should open a support ticket for and have someone from Line 6 help you troubleshoot. Every system is different, so I wouldn't just assume that your specific issue will be fixed. Line 6 can only fix a problem if they know about it, so if you haven't already done it, I really do recommend opening a support ticket. http://line6.com/support/tickets/add.html

Well, the next firmware update will be coming out sometime in the next few weeks... As far as the three months, I'm saying the landscape will be quite different after that... :) BTW, support is more than simply firmware updates. In case you missed, Line 6 extended the standard warranty for the Helix (at least those bought in the US) from one year to years, and they introduced an extended warranty program. It's pretty clear that Line 6 is taking support of the Helix line very seriously. It become ever more clear in the future. Oh, and let me know when Fractal offers its users a full-blown plug-in version of the Axe-FX for $100...

Well, my response to that is wait three months, and see how you feel about things... I think you'll be pleasantly surprised... :) I'd also say, though, that if you look over the last year, the pace and size of firmware updates from Fractal isn't what it was before.

Are you playing in bare feet? The snapshot swap is activated when you touch-hold two footswitches at once. If you want to defeat that behavior you could always turn the touch capatitance in the Global Settings menu, at least when you're playing live. If your playing in typical rubber soled shoes, though, it really shouldn't be an issue.

D# all the way!

I answered you on Facebook, I believe, but the MIDI Moose isn't really a great MIDI controller. It really only does one thing, and that's send pre-programmed PC messages depending on what bank it's in. It can't send CC messages, which is what you need to change snapshots in the Helix.

Sounds like complaining and/or whining to me... But that's just my perspective. I mean, what's the point of bringing it up if that's not what you're doing? They're selling something for a certain price, and you think the price is too high, so don't buy it. I think $11 for a beer at a concert is stupid, so I won't pay it. Right or wrong doesn't really come into play.

I believe you're seeing the parameters that are tied to controllers. That could be either a real-time controller such as an expression pedal or footswitch, or it could be a snapshot controller. Those parameters are shown in white, as you say, and they have brackets around them.

If you want to set specific notes, use the 3 Note Generator block, not the 3 OSC Generator. The Note Generator will allow to choose discrete notes from the scale rather than just frequencies. The 3 OSC Generator is really more for making Theremin-like weirdness and stuff.

I honestly don't understand this perspective... Line 6 is a little unique in the fact that it's selling plug-ins as well as selling hardware, but I don't see other companies in the MI market offering the sort of loyalty discounts you're talking about. I've bought like eight Strymon pedals over the years. They certainly aren't going to offer me a discount on the next one just because of my previous purchases. Companies that solely make plug-ins do often upgrade discounts, but that's really with the goal to convince customers to upgrade who otherwise wouldn't. I mean, if you look at a plug-in like Ozone Izotope, the differences from one version to the next typically aren't huge. It's not like upgrading is getting you an entirely new product. All in all, it simply comes down to the fact that Helix Native is either worth the price to you or it's not. For people who do a lot of recording and re-amping of guitars, $400 is not a bad deal, imo. You have to consider that that price is going to cover the cost of Native for as long as the Helix line is supported and upgraded. So it's not like Line 6 is going to be releasing paid upgrades every year.