soundog

The Snapshot Automation feature is working as described in the manual for Logic Pro 10.3.x, but it doesn't work here for Logic Pro X 10.4 (under Sierra). You can only automate Knobs and Switches, but not the other stuff that has been added (such as Snapshots). Also, only Switch 1 - 12 (and not 13 - 16) appear in the available list. I submitted a ticket... Is Snapshot automation working OK for others using Logic Pro 10.4?

As @zolko60 sez, use Pro Tools automation lane, not Midi. If you haven't automated before, do a search on "pro tools plugin automation", there are plenty of tips. After you've assign your parameter control knobs and switches in Helix Native, they'll appear as (for example) Knob 3 or Switch 5 in Pro Tools' list of available automation parameters. You have to keep track of which switch is which switch, b*tch. And, if you make changes later, you'll have to re-do.

Probably really busy, not lazy. Lots more users for the hardware than the software. Anyway, installation went flawlessly here .... much easier than updating the hardware! The new FX and amps sound great, this is a feature-laden update. The Snapshot selector works like a charm. But — is there some way to assign automation switches for Snapshots like you can for block parameters? [update: you can in Logic 10.3, but its not working with 10.4.]

be sure to scroll down to the OS you need (Windows or Mac) before you click Download. https://line6.com/software/index.html?name=Helix%20Native&os=All&submit_form=set

While there are plenty of good EQ blocks within Helix Native, I'm getting some excellent results by placing a third-party EQ plug-in before Helix Native. Its especially nice for rolling off some lows and highs, and gently boosting some low and/or high mids on your raw guitar track before Helix starts chewing on it — getting it sounding as good as you can first without Helix enabled. (I'm especially fond of using Eventide Equivocate for this task, but any decent EQ plug-in will do the trick.) This is especially helpful if you don't have a studio-quality guitar and pickups, or if you've recorded a great track but later thought your guitar settings were not where you wanted them. You can also experiment with placing some light compression using a third-party plug-in before Helix instead of using Helix Native's "LA-2A" studio compressor.

read this guy's post regarding a VST host ... its not free, but very affordable: http://line6.com/support/topic/29698-helix-native-for-live-use-my-setup/ hope it helps....

So true!! Using Helix to manage looping plus all of your presets and effects during performance can make for some messy tap dancing. If you can try a looper before you buy, you should. Some folks do performance looping using 2 or 3 integrated loops, some just need a simple single loop. But the function and layout of buttons, smoothness of operation, audio quality and loop seaming makes all the difference. I tried several loopers before settling on the Boomerang III.

For anyone else getting a CCK, I recommend the Apple USB 3 model https://www.apple.com/shop/product/MK0W2AM/A/lightning-to-usb-3-camera-adapter because it allows you to keep your iThing charged while you are using it. If you ever use your iThing at a gig, you can go for hours!

Bottle opener? I'm in!!!

+1

I had always hoped for a fully-functioned looper in an "all-in-one" floor pedal by Line 6 and other manufacturers, but they always come up short. And that's OK. I love my Boomerang III; it's a power-house of a looper and simple to patch into Helix. Don't expect Helix to be a useful performance looper — you'll be disappointed. But the built-in looper sure comes in handy when tweaking presets, or noodling on a new song.

I think one of the best unsung features of Helix Native is DAW automation control. You can use it to fine-tune your guitar sounds to flow with your song compositions and mixes. For example, automate the gain and volume of your amp so they increase during choruses; switch on distortion, reverb, or delay blocks during leads; or draw in automation for wah or volume pedal positions to fit your tune perfectly. You can then tweak your automation while your mixing until its right where you want it. Helix Native even uses automatic "preservation" for automation assignments, which intelligently re-assigns stuff if you decide to change, say, an amp or a distortion pedal, so you don't have to re-do your automation. While Helix Native doesn’t support direct MIDI control (yet, but it will soon), automation is more powerful and useful, and it works like a champ. If you haven’t tried it, you really should. Most major DAWs support plug-in automation (I know for sure Logic, Pro Tools, and Reaper do, and I can’t imagine any competitive DAW not supporting it.) Read the section in your Helix Native guide (currently on page 30) “The Automation/Controller Assign Tab.†It explains how to assign any Helix knob or switch (in any block) to an automation controller number (up to 16 knobs and 16 switches). Then, in your DAW, you can use those knob and switch numbers to create automation lanes along your song’s time line. You’ll need to check your DAW documentation on how to do that, its different for each DAW. You basically use your mouse or a controller to draw in your automation, and select points where effects should turn on/off. Beyond the documentation, there is at least one Youtube video demonstrating how to automate Helix, and its right here. The guy is using Reaper. The video’s a bit long so if you’re in a hurry just watch the first part where he explains how to set up Helix Native’s controller assignments and use them in the DAW, then fast forward to the end to hear how the DAW automation controls Helix Native during the song.

...thanks for all the interesting data; it gives me more confidence in going back to 44.1 kHz. And it gives me more disk space!

You've got a great bass and a knowledge of all the stuff, but for what its worth I've been playing quite a bit with bass tones this past week for recording purposes. I'm having the best results by: 1) splitting the signal with a Y split block (upper path is amp, lower path is DI) so I can mix the straight-through DI level with the amp/cabinet level 3) for the amp path, these blocks: Studio Compressor --> Amp --> IR --> Cali EQ ---> Amp choice is up to you based on your style of music, but my preference is old-style Amp B15 (Tuck n Go). The stock cabinets are OK, but I like the bass cab IRs from Redwire (I usually use the Ampeg B15). Play with the amp Drive and Master levels, then tweak the amp's EQ, and the final output EQ to fine tune. As @djuhajla sez, get the basic tone where you like it before getting fancy or adding extras like distortion, modulation, reverb, etc. Also, make sure your input level is not too hot, especially with your active pickups. Maybe try the Aux input (10 kΩ), though I never noticed that much difference with my Stingray clone.

...what ever is easier for you. I personally think it works better to record a dry track using your Floor unit so you can monitor the amp/FX without a hit on your DAW during recording, then tweak your dry track later using Helix Native. Plus the hardware unit has A/D and impedance tweaked for geetars.

If you have Note Sync turned on to "Follow Host" everything should just sync with your DAW as expected (it seems to be fine in your vid). I think Native simply defaults to "non-DAW, independent sync", like most delay plug-ins. You could always set up a preset thats synced to your DAW, and copy that between multiple instances so its not dreadful.

On a related topic .... i recently started recording new projects (Logic Pro X) at 88.2 KHz, 24 bits bits (used to use 44.1 KHz). I started having problems with crackling and midi/audio synch. This is on a newer, potent computer with lotsa RAM. After reading some white papers showing experienced listeners often couldn't distinguish differences between 88.2 and 44.1, 24-bit classical recordings, I've gone back to 44.1 KHz, 24 bits and things have improved. Interestingly, many sample-based VI's work better at 44.1 anyway. I don't want to start a debate about 44.1 v 88.2 v 96 KHz, but there are complex decisions to be made these days (sample rates, CPU, chip set, RAM, DAW, CPU-hungry plug-ins like Helix, audio interface, hard drive speeds, on and on). Trade-offs have to be weighed. The last thing I want to do is reset buffer sizes or freeze tracks when I'm heads down in a mixing session.

Using Helix floor or Native for studio mixes, I'm still not able to get a bass tone that works for rock, alt rock (think Tom Petty, Spoon) that wins out over my simple Cerebrus bass amp plug-in. I've tried using bass cab IRs, etc, but still not getting the tight round fat tone I want. What do others use for Helix amp/cab settings?

In Washington state, we like to enjoy a bowl of Purple Kush and press on liquid crystal displays to watch the water ripples in clear, vivid colors.

Thanks guys, got it! Looking forward to Snapshots and the new Legacy and HX FX!

Can you provide a link to an announcement? All I am finding now is stuff about the new HX Effects pedal. Thanks!

Helix Native is powerful, so its also a bit of a power hog. You need to be aware of how Cakewalk Sonar Pro (or whatever DAW you use) runs on your system with regards to setting your audio buffer size, using Native with lots of tracks or plug-ins, etc. If you're using it during mixing and not tracking, things are a lot easier. When you're tracking, you're better off (I think) monitoring your guitar playing through your Helix hardware if you own it. If you monitor through Helix Native (for example, you prefer to leave your Helix pedal somewhere else, or don't own the hardware and are using software monitoring), you have to play some tricks to get the latency (audio delay) down low enough that you can still play tight while recording — it can be challenging, depending on your system and DAW. Sometimes I freeze all other tracks to free up resources, or in a pinch I'll bounce all other tracks to a single audio file, and use that in a new project dedicated to recording Helix Native tracks with my buffer and latency set as low as possible. Helix Native automation can be very powerful, because you can tweak EQ, gain, pedal FX, etc within your guitar tracks for precise control to fit the mix. I use Logic Pro X, and can automate every Helix Native parameter by assigning automation controllers. Unless the new NAMM update addresses it, Helix Native doesn't yet support direct MIDI automation, so automation has to come via your DAW. Not sure if Cakewalk Sonar Pro supports this or not. ​Make sure your levels are set good when recording your raw guitar tracks. Avoid any digital clipping like the plague. Set your Helix Native input levels so they are peaking at around -12dB. Use a good EQ plug-in before the Helix Native plugin to gently tweak your raw recorded guitar track until it sounds good (take out any mud, boom, ugly frequencies, etc). Tweak your EQ with and without Helix Native enabled. No garbage in...no garbage out. Spend some time learning how presets are saved with Helix Native vs within your DAW. It can be confusing, so you just have to experiment. Otherwise, you might lose a carefully tweaked preset when you load up an old tune into your DAW.

If you're planning to buy Helix just for acoustic guitar (and you have a good guitar and pickup), instead I'd consider spending the money on a ToneDexter and add any other FX pedals as needed. The ToneDexter will get you as close to a studio guitar sound as I've heard, straight into a board or PA. It includes a quality preamp and saves your personal acoustic IRs to firmware. I had been using the IRs in a Fishman 16, but this is way better. More holistic and holy. But if Helix is your thing or you double on electric, @PeterHamm hits the nail on the head in this thread re: presets for acoustic guitar. Those Martin 3Sigma IRs sound great with my Alvarez Yairi.

IRs are just dandy, but after hours of wading through folders of wav files with cryptic names and managing Helix's IR slots to match presets .... I watched this video .... How to Love your Line 6 HELIX Stock Cabs .... created some presets based on the content, and have pretty much stopped using IRs.

Sennheiser HD 600! I like 'em better than the 650's and they're smooth and true. But if you're on a tight budget, then Audio-Technica ATH-M40X's will do. [chorus]