soundog

@PerS - the sneak peak looks good to me. I agree, it would indeed be difficult to maintain updates using PDF, and Excel makes a lot of sense. I run Excel (and Numbers) on Mac, so would be happy to take your beta file on a quick spin and see if its working OK for me.

All copies of HXN communicate with each other, and know what is going on. Your legit Native became aware you were harboring a cracked version (which are known to spread diseases to healthy copies). So, for defense, your legit HXN shut you down because it knew you were performing at a gig (it even knew you were planning to open with the Floyd tune). I don't know how it does this, but there are some advanced algorithms in there. Just be careful, because Native never forgets and never forgives. When you least expect it...

Curious to hear about your faves (for specific genre of music played). I picked up the Prince, AC100, and Park during their recent BoneMatch sale (got 80% off!). I mainly play originals: alt-rock, Petty/Spoon-like stuff. I've settled on the Prince as my fave of this batch.

Yep, good stuff. Strength is in the custom IRs carefully tone matched to the associated cabinets.

A agree with @silverhead. Either memorize the tunings, or use labels. I use this sort of console gaffing tape for labels on guitars, mix boards, and equipment. It comes off easy with no marks or sticky residue. Gaffing tape comes in different widths, and a roll will last you a long time: https://www.amazon.com/Labeling-Tape-Removable-Adhesive-Products/dp/B078ZL9YYN

There is a dedicated section in the Helix Native manual that details how to do this. You also need to know how to send/relay CC commands from within your specific DAW.

Ah, 2016. Back when there were tone snobs and people got in arguments on forums...

You need to learn to create great presets tweaked for your violin and amplification. One good/fast way to do that is to buy some presets from someone doing what you do, and then studying how the presets are built so you can use them as a model. Check out this guy. He plays guitar and electric violin, and his presets are top notch. He has a small selection of them exclusively for violin: https://www.alexpricemusician.com/helix

I find that a lot of amp sims benefit from low level inputs. You don't need anything special to adjust levels ... just use anything that doesn't do other tricks (eq, distortion, etc). I like TheNormalizer because i like Hornet's stuff, and because it is accurate, repeatable and automatic. Of course, you can simply use Native's input level adjust, but the meter is fussy.

The Stomp is much more forgiving of guitar input levels than Native. Your level looks fine for typical DAW usage, but do listen closely for any unwanted distortion when reamping with Native. I usually keep my dry guitar levels at -18 dbFS in a DAW track so its visible when doing any waveform edits. But I adjust with a plugin (TheNormalizer) down to -24 dbFS right before it hits Native if I am reamping. Here's more info from a Native thread:

I've used a Stomp for various instruments and mics (as well as a Voicelive unit for effects). Here's the deal: - the Stomp works dandy for microphones. For XLR jacks, you can use XLR to 1/4" TRS (as long as the mic doesn't require phantom power). If you need to use a condenser mic, you can use an external 48v phantom power supply. - you can dedicate Stomp's path B for your mic and vocal effects, and path A for guitar. Use separate outputs, or mix down to one out within the Stomp. You can do all this via MIDI CC control and a small controller. - Stomp time-based effects work great on vocals (delays, reverbs, flange, phase, etc). Many sound better than what you can get out of a Voicelive. And more variety! - Stomp harmony effects are not so good for vocals, nowhere near what you can get with a Voicelive - for vox EQ, keep it simple. Roll off the lows around 80-100Hz. You could shave a little of the shrill high end to cut down on feedback. Otherwise you could try sweeping a "broad Q" band in the midrange to see if your voice might benefit from about +3 dB bump somewhere. - vox EQ for live performance is different than studio/recording. In the studio you can really tweak things; live you are constrained by the venue, the mic used, and feedback. - compression? Yeah, maybe a little, but I always find that for live performance it doesn't help that much and usually just increases feedback and bleed - I've used the Stomp for vocal, blues harp (through a dynamic mic), and sax (through a condenser sax mic). It worked nicely for all these (although these days I dedicate the Stomp to guitar only, and have separate "stuff" for other instruments and vocals).

I like the idea of "clean to solo by expression pedal". I think it could be flexible, fun and cool. I might experiment with it some rainy day...

FYI, I'm running OK with no battery. I'm running my Variax Standard off of a Line6 A/B power supply. TRS to the Variax, 1/4 phone to amp. Then my USB dongle is plugged directly into my Mac, and an ethernet cable is plugged into my VDI jack on the Variax. Everything works without a battery installed: both green LEDs on and Workbench HD functions correctly with the Variax. No problems.

This is also a very strange bug:

No.

I want a Fletcher Munson function on my mix board's Master fader.

Nice work! It's surprising how inexpensive some expression pedals are (~$20). Also, for those wanting toggle foot switches, I built a nice one for my Stomp that includes LED rings (but you have to use DPDT switches and a battery, and you have to make sure the toggles are "in sync" with the HX).

The best thing would be to request support for MIDI clock, or Ableton Link. I think the original MIDI spec dropped the ball a bit with the lack of a CC for setting a tempo (hence workarounds like Ampero), but that's water under the bridge. If you have a clever app (like Set List Maker) you can set it up so that a tap tempo CC command is sent on quarter note downbeats in sync with MIDI clock. I use that feature with an HX Stomp all the time; I send the first four beats to set tempo for time-based effects.

I'm going to bed.

Also worth a mention, be careful with the input level setting in Native. It's easy to overdrive the plugin. Use -8dB or -12dB on peaks, and make up for it at the output end.

Have you tried setting levels with NO Native blocks in the signal path? Set your input levels so you get a nice clean DI level. Make sure you don't overdrive the Native input setting (use -12dB for starters). You should have no problems getting a good output level into your DAW track unless there is something wrong in your hardware (bass, DI, Scarlett, or cables). After you get a good level, add an amp block only (with no cabinet). Start with the default settings and adjust. All still good? Then add a cabinet. Add blocks as needed, checking levels along the way. Troubleshooting: start simple, then add stuff. Let us know how it goes.

We're all speculating. Gotta hook up a monitor to figure it out. Essential MIDI troubleshooting tool.

Good suggestions from @rd2rk. Your Helix is obeying orders, so you need to figure out who is sending the orders and how it's happening. Get a copy of MIDI Monitor (free from Snoize) and see what's going on. MIDI Monitor will show you who is sending what. Also, create an empty Logic project and see if it still happens when you press record. Remove as many variables as possible.

Yes. If you think you might need MIDI control for your Catalyst without using a computer or mobile device as your controller, skip the 60W and buy the 100W with MIDI DIN ports. If MIDI control via a computer or mobile device is all you need (or if you could give a damn about MIDI), then choose based on your power needs and budget.

Yes, it could be a USB connection problem. Or—as you already suspect—you could simply be crazy.