mvk20

I’m seeing it as $99 - am I missing something? Still a good price.

Ah - doing it in Native is something I hadn't thought of - and probably should have. I don't have Native, but I should be able to get it for not too much since I have a Floor. Would I need a DAW in addition to Native? If so, is there an inexpensive one you'd recommend? I have Cubasis for iPad, but obviously that won't work for this. Also I'm assuming this Match EQ would be a plugin - is there one of those you'd recommend too?

There may be some brutally obvious way to do this, but my google-fu didn't get the job done. I'd like to use software to give me some guidance on ways to use the EQs built into the Helix. What I'd like to do is this - I'd make a tone on the Helix for a certain song, play, and then feed a wav or mp3 of that recorded sound to be compared with a reference tone, like an isolated guitar only track that would also be fed in. Then, ideally, the plugin, or even better - standalone software, would show the difference between the 2 across the frequency spectrum. You would then theoretically be able to come up with some settings for a 10 Band Graphic EQ or a Parametric EQ on the Helix that you would add to the signal chain that would make your tone closer - not exact, but just get closer to the overall feel. I know that there are plugins that will kick out an EQ within a DAW that would provide an EQ Match, but there are two things about that I'd like to avoid. One would be, I'd like the tone to be able to exist on the Helix alone, and not be tied to a DAW, so it could be shared, or just be used that way. The other thing is I'd like the EQ to be able to not necessarily be an exact match, not an EQ curve with a bajillion nodes - just something that one, or maybe 2 at most, EQ blocks could do to push the tone closer to the reference. A side benefit is that I think I would learn a lot about how to use EQs on my own with this kind of a workflow. If it's all automated within the DAW, I'd get a closer tone maybe, but I wouldn't really learn as much about how to do things in a more "real" setting. Hope that makes sense - please excuse the lengthy post and thanks for any ideas!

Thanks - that's helpful and will get me on my way!

I'm still not quite understanding, so let me try a different way: What I would like to do is emulate a wet-dry-wet setup, but coming out in stereo to feed 2 powered PA speakers. I'd like to have the dry sound (coming from an amp or cab block) going to both the L and R parts of the signal. Then I'd like to have L with a 220 ms delay, detuned -9 cents, and be able to control how much of that is mixed with the dry sound in the L speaker. Then I'd like to have R with a 440 ms delay, detuned +9 cents, and have the same mix control as the R speaker. Would this work? Send the Amp/Cab block out into an A/B or Y split, 1A would have nothing until the merge. Path 1B would have Dual Pitch Block that does the detuning mix at 100, going into a Dual Delay doing the two different Delay times, then to the merge block? What I'm not quite understanding is, coming out of the Dual Pitch I have L and R signals, but does the Delay "know" to basically function as 2 separate mono delays? I'm used to feeding a mono signal into a Dual Delay, and having the repeats just come out at different times on the two sides. Is that just how the Dual Delay works - if you throw a mono signal at a stereo block, does it basically just use an identical L and R signal, and process them separately? How would this work if you switched the order and had the Dual Delay feed Dual Pitch? Would Voice 1 be going out both R and L, but you'd only hear Voice 1 in the R speaker if you panned voice 1 all the way right? I hope to goodness that all makes sense to someone - I know it's pretty convoluted and I'm probably not explaining it well at all!

I'm a little confused about how stereo effects work in the Helix. For example, how would a Dual Delay work? Can you feed it a mono or a stereo signal from the previous block? As an example, could you send a stereo signal out of a stereo Dual Pitch block, into the stereo Dual Delay block, and then the L delay would only affect what came in on the L and R delay only affecting what came in on the R? What would happen if you switched these two blocks' order?

The one modeled in the Helix is the Deluxe? I thought it was one of the older versions.

Which version of the BE-100 is the Placater based on? It sounds like different iterations of the Friedman had different clean channel circuits - earlier on maybe Fender or Vox style, and the Deluxe maybe is more of a Plexi?

Is there a POD Go Tone viewer anywhere online that someone here is aware of? I've seen several Helix ones in my searching, but none for POD Go. I have a couple of POD Go Tones downloaded that I'd love to see the settings for to potentially put into my Helix Floor. Not sure how I can do that though. Thanks!

I'll post there too - just thought here might be a good shot. The only reason I need this viewer is because I don't have a POD Go.

Is there a POD Go Tone viewer anywhere online that someone here is aware of? I've seen several Helix ones in my searching, but none for POD Go. I have a couple of POD Go Tones downloaded that I'd love to see the settings for to potentially put into my Helix Floor. Not sure how I can do that though. Thanks!

Which version of the Revv Generator 120 was modeled? MK3?

I'm using the Ballistic, as that is a model of a clone of the Op Amp Muff that Corgan used. Is there a good way to approximate the overdub? Is stacking fuzzes even an option for that? Also still think I'm hearing the octave up and down on this.

I was wondering if anyone might have some tips on how to get a reasonable approximation of this crazy tone. I've got the clean and main tones for the song pretty close. For the solo, seems like Corgan used a synth, maybe with an octave up and down, and obviously a load of fuzz. I could especially use some hints with the synth component. Thanks!!

I've put a gain block at the front of my patch with a slight boost, and renamed the scribble strip the name of my quieter guitar. Plug in that guitar, stomp on the switch, and off we go. No problems when I've done this.

If you wanted the kind of behavior mentioned, couldn't you assign both wah and volume to EXP1 and also to a different footswitch? Then you could use the footswitch to engage the wah without a volume jump. You'd just have to stick the wah in the spot you'd want the volume before hitting the footswitch to turn off the wah.

I've seen the list of impedance that gets applied if you have it set to Auto for each block that could get hit, but that only goes up to 2.9. Does anyone have a more up to date list? I'm particularly curious about Ballistic Fuzz - given that it's a fuzz I suspect it would be a lower value. Thanks!

Quick question - I’m having a hard time figuring out the behavior of the scribble strip on the EXP1/2 pedal switch when I customize it. Looks like if you try to customize it, it sort of defaults to the name of the wah pedal if that’s what you have attached to EXP1. But then, it seems like it it lit whether the pedal is on or off, and then after stepping on it a few times it seems like it’s dim when the wah is on and lit when the wah is off, which is backwards from what you’d expect. Does anyone know exactly how that aspect works?

Interestingly, the FBV4 doesn't seem to be listed as compatible or incompatible with the HD series. Not sure that one is as small as you (we) might like anyway.

I found what I was thinking of - it's not the newer firmware, but just some tests that were done to show that Input 1: Guitar/Input 2: Same is not the worst way to go. Here's one discussion - by the end there was a comment to this effect: https://line6.com/supportarchivenew/thread/74045?start=0&tstart=0 Later these two had a much more thorough discussion: Not meaning to start a war or anything. I just remember using it a couple of years ago and following the initial recommendations (not using Input 2:same) and feeling like stuff didn't sound right. Then I saw the later posts and switched to Same. I had to rebuild patches, but it didn't take me that long and I felt that stuff sounded better. For the record, I am not using low output pickups - my main axe is a Flying V with a 500 in the bridge.

I was under the impression that this was much less of an issue with the newest firmwares. Is that the case at all?