SaschaFranck

Yeah.

Be happy it's that low. Under macOS, at 64 samples and 44.1 kHz operation, RTL is 16.9ms. Fwiw, my results posted above in this thread where coming from the days when I was running the Helix through macOS' stock Core Audio protocol. Had to install the audio driver for some reasons ever since and I was really WTF?-ing. Usually, dedicated drivers deliver lower latencies than Core Audio, but not so with the Helix. Doesn't look as if this is high on L6's priority list.

For all my use cases, so far the single global EQ was absolutely sufficient. I usually only need it for my personal monitoring path to adjust things according to the stage and monitoring scenario and send the XLR out straight to FOH. The FOH mixer can then do whatever he/she thinks would be appropriate (you need to trust them anyway) and I wouldn't even want to deal with another set of global patch modifications for that very signal. Apart from all that, why I can understand the wish for global EQ presets, I never really felt they'd be too useful for me personally. I have the most important frequency bands pre-prepared, so I can adjust things in a matter of seconds. It's not that I'd be doing huge changes, either, most often it's a little low cut to reduce whatever boom and maybe a slight but broad mid boost to kinda compensate for Fletcher Munson.

Sure - but still, that amount of DSP power is "reserved in any case" as you can still activate the global EQ on even the most maxed out presets. And as far as multiple global EQs go, that's really not necessary. The option to save presets would be sufficient.

Sure - but these are reserved anyway. Switching the global EQ off won't free up any CPU resources. Why would it not be that way? I mean, global EQ presets would be nothing else but favourite presets.

You are assuming the global EQ is applied to all outs. In my case, I only run my personal monitoring out (via TRS) through the global EQ to compensate for different stages and/or monitoring scenarios. I send a signal without global EQ the FOH way. Works absolutely great.

Try to set the reverb to 100% wet and only ride a part of the "Route To" via the EXP pedal.

I think the resources used up by the global EQ are minimal.

Not that I'd need it *that* often, but I absolutely welcome/support the idea.

Glad it worked!

Yeah, even works a treat, but it's usually not exactly efficient. CPU usage goes somewhat up and latency is at least as high as what using the slowest of the devices would result in. There's also chances to run into sync errors in case you're recording through both interfaces simultaneously (even if these are amazingly rare). I have used that option with great sucess already, but in daily life, I rather just use one single interface.

Fwiw, I also own Helix Native (along with the Floor) and use Logic. I also have another interface that I usually prefer to use over the Helix (a Zoom UAC-2, but that shouldn't matter). Personally, when recording guitars, I change interfaces (and quite often, I just keep using the Helix out of sheer laziness) because that way I'm gaining ultimate flexibility. USB Outs 7/8 always record the DI guitar which I may then send through HX Native. But during the last months, I rather prefered to record the sound just the way it comes out of the Helix (it's reducing option paralysis and makes me more productive). But oh well, that's just kinda true. Because I'm not exactly recording everything the way it's generated in the Helix - but just the signal until it leaves the amp block (and sometimes some other things following). All speaker sim and FX duties are dealt with inside Logic. But I still monitor through them straight inside the Helix (doing so within Logic would cause way too high latency as the Helix' interface drivers are pretty bad regarding that, unfortunately). And that's where the Helix really shines. For this to work, I set the Helix up so that path 2 is split into 2A and 2B. 2A is sent to USB 1/2 whereas 2B is sent to the TRS output (which is what I'm monitoring through). Now, everything I slap into path B is just for my monitoring pleasure. Usually that's the cab (I prefer to keep that decision open) and whatever delay and reverb FX. Hence, the signal recorded in Logic is everything but those. Works fantastically well for me. I could post an example patch so you can check it out for yourself.

Unfortunately, this is *not* possible using only the reverb block and the expression pedal. For this effect to work as in the video, you'd have to create a split path, keep one path dry and slap the reverb into the other one. In case you're using a Split A/B (which I recommend), all you'd have to do is to assign the "Route To" parameter to your expression pedal. That way, it'll work exactly as the pedal in the video. Let me know if I should create a demo patch.

Let's see. Mac Mini baseline model is around 700 bucks, an adequate low latency capable interface can be had for around 400-500 (maybe somewhat less), a Behringer FCB 1010 (floor controller) comes for something between 100-150, a suitable case (with proper padding for the Mini) would come at around 100-200 and you'd likely need an iPad as a controller unit (a used 2-3y old one would be sufficient), let's say that's another 400. With 2k you'd be all set. Alternatively, you might want to use a Macbook Air instead of the Mini/iPad combo, wouldn't change much with the overall cost. Personally, I'd prefer a computer not having to be exposed on stage. Yeah, that's more than a Helix. But you also get access to *much* more. No need to ask for any better reverbs anymore, just use your favourite plugin. Or whatever plugin you feel like. Or just use what's your favourite looper application. You could even feed a MIDI pickup straight into the computer. Or use Jamorigins Guitar to MIDI plugin. Or feed the multiple outs of a hex pickup into the Adat input of the used interface (there's hex PU to Adat converters around somewhere). Or simply use another modeling plugin along with the Helix. And all the wicked, crazy FX the plugin world has on offer. The possibilities are countless. And with apps such as Mainstage or Gig Performer, controlling the entire shebang is easier than ever before. Seriously, I am actually considering such a setup one day. I'll likely get me an M1 Macbook somewhen (post-Covid, need to raise the funds) to replace my Mac Pro - and one of the things I will certainly check out is all the options for live useability. In case it's working nicely, I may as well just sell the Helix in favour of the setup mentioned above.

The CPU power is there already. Look at Apples new M1 processors. They easily outperform anything you find in hardware modelers. Heck, my 2010 Mac Pro (2x2.66GHz CPUs) manages to run the most demanding Helix patches (in HX Native) at 32 samples buffersize. Compared to any modern computer, the horsepower of pretty much all modelers (maybe apart from the Axe FX III) is almost stoneage technology.

This is pretty weird, given that you can revert to previous firmware versions. I'd probably contact the Line 6 support, because apart from the usual update methods (a full reset along with an offline update being the most crucial ones), there's not much other recommendations you may find round these parts. Well ok, maybe you could still try to revert to a previous version, clean all your presets and IRs, then do a factory reset before attempting to update.

https://helixhelp.com/manuals/helix/reset-options/

So you did a factory reset boot as well?

Did you try an offline update, using the Flash Memory files provided in the download section?

It's using a sample rate of 96kHz, though.

And fwiw, working at higher sample rates could also reduce aliasing, in case the used device (or plugin) is suffering from it, which, at least as far as I (or my ears) can tell, isn't an issue with the Helix. Most modern processing devices/plugins use internal oversampling in case aliasing needs to be adressed/avoided, raising the sample rate internally for those processes where it's making sense. But I've never seen people complain about it when it comes to all of the top tier modelers - and most of them work at 48kHz internally (IIRC, only the GT-1000 and Headrush work at higher sample rates). So it's unlikely we'd gain much apart from reducing latency, which only would be useful when it comes to certain blocks, most of them seem to work fine within the set processing buffer range (hence not adding any latency).

Yeah, that explains things nicely.

64bit processing is something pretty different from using 24bit audio files or running 24bit converters. Most sequencers now process with 64bit accuracy, even when you're using 24 or 16 bit files. It's a matter of processing accuracy, not dynamic headroom. And as far as using higher samplerates goes, that would reduce latency but likely not as much anymore (the Helix is actually doing quite great at that already, in case we leave the interface functionality out of the equation, but that's quite a different thing). Given that an empty path 1 of the Helix comes in at around 2ms, roughly 1ms being converter latency, there's not all that much to gain apart from lowering down the latency of certain blocks (such as the PolyPitch, which, as is, is adding quite a lot in stable mode). But that'd as well require *much* more processing power in case the sample rate would be substantially raised.

Just update HX Edit.