SaschaFranck

That would be now. At least when using the patch in question. I've spent quite some work on this very patch. At least I'd like to know what went wrong - but so far it seems I can't even access the patch in any way anymore.

Fwiw, managed to reload the patch straight on the Helix, resaved it, worked as well. Fired HX Edit back up, worked. Selected the patch - poof! And now I can't select it on the Helix anymore, either. Has been the patch I created for the first serious gig with the Helix tomorrow. Take a guess about how comfortable I feel right now...

I know it is a computer. But none of the MFX units I owned (or still own) ever did that. And they're computers every bit as much. And what is causing a "badly formatted preset"? I'd really prefer avoiding to create any of these...

Oh, ok, thanks! Doesn't make much sense to me to artificially limit a digital delay because of the analog role model, though.

Got this a few minutes ago. HX Edit frozen in, Helix frozen in. Had to restart both.

It's the number of samples an IR may have as its maximum. Longer IRs are able to contain more of whatever room reflections. 1024 samples at 48kHz (internal sample rate of the Helix) represent around 20ms in length, so 2048 represent 40ms. Personally, I vastly prefer shorter IRs for live playing as certain early reflections they may contain would be kinda implying you'd be in a weird room. I also think that many of those longer IRs feel less direct under my picking hand. Sometimes I even trim them in length (in fact, I always do as I do my own IRs, but that's another story). Whatever, non of them are stereo, the Helix only supports mono IRs. Oh, and the 2048 versions will consume more DSP power - another reason for not using them.

The leftmost parameter of the IR block (on the Helix screen) should take you through your list of IRs. It's called "IR Select".

Elephant Mans note sync is wrong, you get twice as fast delays as what it says. So, instead of quarter notes, you're getting eight notes, etc.

See, I'm not talking about HX Edit, just about using the Helix as a class compliant audio interface. The mixer app of my Zoom isn't working under SL, either, but I can still use it as a simple stereo I/O device.

As said, try normalizing them. You don't lose anything (for obvious reasons, try with a copy).

Well, my OSX is *way* older (Snow Leopard was released in 2009), so there's no way to run anything from Line6 on it anymore, be it HX Edit or the actual driver. But, the same is true for my Zoom Interface - it does work fine in class compliant mode, though. And from all I know, Helix is supposed to work like that, too - at least I remember that @Digital_Igloo once posted something about it.

Hi, I thought Helix was supposed to be a class compliant USB audio device (which is why it's also working nicely on iPads/iPhones, from all I know). As such, it should show up on my old Macbook running OSX 10.6.8 (Snow Leopard), at least other class compliant devices do. But the Helix won't. Is there any secrect setting I didn't find yet? On my Zoom UAC-2, there's a switch allowing switch between "class compliant" and "driver supported" (or so), but I can't find anything like that in Helix' globals or wherever. Thanks in advance for any pointers.

You could check the IRs in an audio editor and see what their maximum level is. In case it's very low, you might want to try normalizing them.

I'm using an Alto TS310 for almost 2 years now. It's supposed to be pretty much identical with the Headrush. Had a direct shootout between it, the previous model (TS210), a Yamaha DBR10 and a Yamaha DXR10 (both of which seem to be well received as modeler monitors), an older RCF 12" (sorry, don't remember the model name, would have to look it up, but it was rather heavy) and a 12" Mackie Thump. The Mackie was plain horrible (boomy and shrill), the RCF was great but is out of production, the follow up models are significantly more expensive than the other contenders, too - and as said, it was noticeable heavier than all the others. Both Yamahas (which, at least to my ears, are pretty much identical when used for modeling duties) would do a better job as general purpose monitors as they come with a switchable EQ setting somewhat boosting the mids, which might be extremely welcomed on some stages - but apart from that, I liked the Alto better (added bonus of saving a few bucks, but that wasn't the important thing). Fwiw, I went for the 10" model because I actually like the form factor and didn't miss anything in terms of fullness compared to the 12" RCF. A few things to consider when it comes to using any more or less typical FRFR monitors (even if you're already using some): - You generally need to get used to the experience. It's different from playing an amp. The good old "amp in a room (or onstage) vs. mic'ed up amp" debate. But let's not get into that here, personally I do by now prefer it over playing through a real amp (or cab, for the matter). Which leads to... - I would place any typical FRFR monitor the way they're meant to be placed. Which would be in front of you. Quite a different thing from the way you usually place a guitar amp or those dedicated solutions such as the Powercab, the Mission Engineering ones and so on. Might be the most different thing from typical amplification. Tip: Try to place it a little further away than straight in front of your Helix. Not as relevant with coaxial designs but with non-coaxial 2-way designs you may experience certain phase issues here and there when standing too close to it. One of the reasons I will likely try out a coaxial thing one day (not sure I need it, though). - Never expect the same decent bump into your legs, booty or whatever you may get from a guitar cab, at least don't expect it from any of the lightweight models. There's just not enough physical substance to back that impact up. Even if those things may sound impressive on their own, once drums and bass kick in, all lower (or low mid) end will simply not push as much physically. Another thing to get used to. - Make absolutely sure to use the global EQ as a dedicated monitoring EQ. Send the signal without EQ to the FOH folks but keep the EQ adjustments to yourself. For me, the best way to set this up and dial it in quickly is to set the mid peak band to a rather broad band (right now mine is set to Q = 0.4 and 1.2kHz) and adjust the level of just that. This will likely sound nasty when adjusting sounds in your comfortable home/rehearsal/studio environment but it may do wonders live. Depending on your FRFR, you may want to chose a different frequency. Seriously, having a dedicated monitor EQ for me has been *the* best thing ever since I started using monitors and has as well been the reason why I always had a little mixer with me before going Helix. It's also a godsend for the FOH guys as you can make adjustments to your overall sound without destroying what they might've done for the house sound already. Having all that said, this summer I played a whole bunch of outdoor gigs with a pretty loud drummer (and partially bass player) and never missed a single thing. Never had to have my guitar on further house monitors, either. Both the bandmates and the FOH folks seem to love that solution, too, as there's no nasty, beaming speakers pointing at anyone else but me (and well, there's significantly less beam with FRFR monitors anyway). Fwiw, I still have 3 very good guitar cabs (1x12, 2x12, 4x12, all with great worn in speakers) and considered getting one of those Duncan poweramps or so - but that won't happen. For me, the days of using any such things are over once and forever (unless I have to use some rental stuff). But, as said, regardless of which FRFR solution you go for, they all take quite some getting used to. But you may know that already.

Yeah well, really, pretty much anything would do. And even if I'd love whatever global amp/fx/anything feature, I'm playing devils advocate here: Quite obviously, there's "risks" getting along with anything globally valid. People will forget they used a few of those global blocks in a preset they really dig. Then they fool around in another preset using them as well - *blam*, big drama, complaints sent to Line6. There could be some warning messages either at the first edit of any such a patch or once you save them (would probably be better), but that would have to be switchable because it'd defenitely annoy me. Anyhow, I do as well think these global blocks should be limited in a way. First thing to limit would be the number of blocks. Could possibly be realized a little similar to IRs, so you'd have a list of whatever how much blocks could be assigned. If you wanted something to become a global block, you'd simply drag it into that list. Ideally, at least in HX Edit, you would as well be able to select such a block and tell the program to "show a list of all patches using this block", so you would know whether you can safely delete it in case you'd be running out of blocks (fwiw, this functionality would be really great for the IR list, too - you really never know which ones are in use). Such a listing funtionality would be great to have anyway, as you could as well abuse it as a favourite thingy. Instead of the menu thing, you'd just grab an item from the global list. Come to think of it, such a favourite list would be great without the global block functionality as well. In addition, there might be a special kind of patch list reserved for any patches containing global blocks. Whatever, there's tons of improvements that could be made in that aspect. And seriously, being mainly a live player, they would help me tremendously. I would possibly just use patches with 2 global amps, 2 global drives, 2 global EQs 1 global delay and 1 global verb - these are the things I'm using in every patch and it's the very same way I organized things with my analog amps and my last pedalboard. I would then vary those patches as in using just one of the amps and different kinds of all sorts of effects - but I could always return to my most basic patches (which, in my case, are a clean and an overdriven rhythm sound, a lead version of each plus options to add a little more drive to either of them).

Well, if they only came up with any way... And fwiw, from what I remember, Fractals way wasn't particularly clunky.

Oh btw, there's even a kind of (in this case IMO not so great) global setting within blocks: It's IRs. Slap another IR into slot 1 and each and every patch using the IR that is loaded into slot 1 will then be changed (fwiw, IMVHO, this is a pretty much less than ideal way to deal with IRs - but that's a wellknown Helix caveat anyway).

Hm, I don't see why that would happen. I mean, a Placater is a Placater, regardless of the position and patch it is used in. Define this as "global amp #1" and you're done (obviously without losing the "un-global" Placater). The hidden parameters of any amp/fx are saved globally, too (such as the tube types, which you can't exchange on Helix amps) - just that they're not exposed. So, really, not sure whether it'd have much to do with DSP allocations.

Well, I'm just used to hardware Wah/Volume pedals and thought I could treat the Helix pedal 100% the same. Apparently not so. But then, as said, I may even learn to enjoy it. Would perhaps be interesting to elaborate how often the Helix behaviour would result in a "wasted" toe switch vs. a saved toe switch.

Fwiw, I have just been discussing the issue on the phone with a long time Helix expert - he didn't find a sufficient solution, either, others than using a separate on/off switch for Wah/Vol and controlling both through the same EXP (1 or 2). Depending on the pedal position, this may however cause a volume jump once you switch from wah to volume. Personally, I will keep my global Snapshot Edits settings at "Discard", keep "Snapshot Bypass" active for the Wah and save it as "off" for each snapshot. Will then require a new toe switch each time I switch snapshots and want to keep the wah active, but in the end I may even find it useful here and there, such as when switching from a wah clean to a wah-less riff sound. Not what I expected things to be like but should be a decent way for the time being (I hope this will get adressed somewhen in the future).

I have tried all that. Right now, there is *no* way to keep the setting of any Wah/Vol switching consistent when using snapshots, regardless of the global settings and/or the "Snapshot Bypass" settings of the wah block. You can try it for yourself. Just set up 4 snapshots and do the Wah/Vol thing. Switch snapshots and the toe switch either way, leaving the wah on before you switch snapshots and leaving it off. Doesn't work the way I'd like it to work - as in it working as a global Wah/Vol pedal with the status remaining the same all throughout. In case I'm wrong, pretty please post a patch along with what has to be set in the global menu.

I like the global EQ - but it's something not even remotely adressing the things I wish were possible.

Ok, what's the recommended setting to get a Wah/Volume functionality from EXP1/2 throughout snapshots without the snapshots altering things? I seem to have tried everything: - Set global Snapshot Edits to "Discard" and "Recall". - Set global EXP position preferences to "global", "preset", "snapshot". - Set the wah block to Snapshot Bypass on/off. - Saved after each Snapshot edit. - Exchanged EXP 1 and 2. So, what's the secret sauce to get this going?

Ideascale submission here: https://line6.ideascale.com/a/dtd/Librarian-Controller-for-Mobile-Devices/966074-23508?submitted=1

2) Controller Ok, we're all old men in white suits. So we don't want to crawl around on dirty stages, destroying our backs and contaminating our pants. Don't get me wrong, the Helix is incredibly easy to adjust with the capacitve switches and the clever navigation options. But apart from the possible uncoolness coming along with stage crawling, nothing beats a properly laid out touchscreen for parameter adjustments. And most of us have one of those with us all the time. So why not make use of them? Please note: I am *not* talking about an editor for mobile OSes here. I don't think it's required, either. I mean, you will very likely craft your precious patches at home, using all the comfort of HX Edit on a real computer. But you may want more and easier control while playing (or while setting the Helix up). Without the stage crawling. So, what such a controller should do is to allow for a user defined amount of parameters to be controlled through a user defined amount of virtual faders, switches and maybe XY-controllers (think along the lines of, say, a Kaos Pad). Now, there's generic MIDI controller apps which could be used for similar things. But they're coming with serious issues: - On Android, the amount and functionality of those controllers are abysmally bad. - Once you use snapshots (an who wouldn't?), things get pretty messy with the Helix, see this thread for further information: - There's no feedback between whatever apps and the Helix. Which means, when you change a parameter on the Helix, it won't be reflected in the app. The same goes for switching patches, the changes of whatever parameters won't be reflected in the app. So, IMO it'd be just great if Line6 offered such a controller app. To give you an (extremely) rough taste of what such an app might be able to do (among plenty of other things), I created a very rough mockup (first attempt got hosed because the Helix acted up, see thread linked above). Please ignore my voice, my english, my playing and the video quality.