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Everything posted by kduck

  1. Here is how the signal flows in 4CM (your setup): Guitar >> HX L/Mono Input >> (HX pre-send effect blocks) >> HX FX Loop Send >> DC3 Input >> DC3 preamp >> DC3 Channel Master vol >> DC3 FX Loop Send >> HX FX Loop Return >> (HX post-send effect blocks) >> HX L/Mono Output >> DC3 FX Loop Return >> DC3 FX Loop Mix (parallel) >> DC3 Power Amp >> speaker in 4CM, the Stomp FX Loop block is simply your DC3 preamp. The output of the DC3 preamp is controlled by the Master on each channel. With the Stomp mix at 0 this means that your signal is bypassing the DC3 preamp, so your signal chain is effectively: Guitar >> HX L/Mono Input >> (HX pre-send effect blocks) >> (HX post-send effect blocks) >> HX L/Mono Output >> DC3 FX Loop Return >> DC3 Power Amp >> speaker. I would guess that the output from the DC3 preamp is overdriving the Stomp FX Loop Return. I would suggest starting with the following (assuming DC3 mix at 100% and Stomp Mix at 100%): 1. Turn down the DC3 channel volume until there is no unwanted distortion 2. Turn down the stomp FX Loop return level
  2. What @SaschaFranck said is correct. The output impedance of the Helix is very low so that it doesn't get loaded down by the amp. For the JTM45, the high impedance input is 1M and the low is 136k. The low input also sends the signal through a voltage divider, which drops the signal -6db.
  3. True that it would use at least one block, but I think it would be possible to map the CV from a single block to multiple parameters, similar to what can currently be done with an expression pedal. I respectfully disagree. The point in the path that you take the envelope measurement can make a significant difference, both dynamically and temporally. The envelope measured after a compressor/limiter would have a different dynamic range than the dry envelope. The envelope after a delay would be much different, as it would have the dynamics of the decaying repeats. The envelope after an autoswell or reverse delay could be radically different than the dry signal. Definitely some merit to this idea. If that CV was exposed on the output of each block you could have the best of both worlds (no wasted blocks and multiple envelopes. One consideration would be avoiding a feedback loop if CV from one block is fed into a parameter on a block earlier in the chain. Of course, that might be interesting in some cases! Just some thoughts. Not trying to start an argument over an idea that may or may not come to fruition.
  4. That's the way I read the OP as well. Implementing as a block would be pretty flexible. You could put the "sensor block" (not sold on that name btw) after a compressor, for example, to refine the dynamic range of the input to the envelope follower. You could put it on the wet side of a delay to use the delay repeats as a sidechain control. The block approach would also allow multiple envelope followers at different points in the signal chain (dry input, effect output, parallel paths, etc.) Lots of possibilities! Also, seems like it would be pretty easy to implement for L6 since they likely (definitely) already have the envelope follower modeled in the various filter blocks (Mutant filter for example). Hopefully it can get some traction.
  5. What is described in the post sounds (to me) basically like an envelope follower that could be used to control parameters on other effects. Think mutron but instead of the envelope follower controlling the filter, it could control any parameter on any effect (drive, phase depth, reverb amount, etc.). Edit: For the record I like the idea. Basically would let you sidechain any parameter.
  6. @phil_m's approach will definitely work if you are looking to toggle the same parameter values from both the HX footswitch and an RJM footswitch. I use this myself frequently to activate/bypass effects from either my Helix floor footswitches and/or my Morningstar MC8. This effectively makes your RJM a remote FS with the same function as the HX FS it is emulating. Another approach is the one I suggested, which is more complex to set up, but will allow you to send several different values from both your MIDI controller and HX FS (or even use an expression pedal) to control the parameter. Note that I'm assuming that the RJM has similar functionality to the MC8 and that the HX/Helix Floor have the same parameters. Since the HX doesn't have a MIDI loopback option, you will need to set up a few things on both the HX and the RJM. I've tested this on my rig and figured I'd document it for others (and myself :) HX (Global Settings >> MIDI): MIDI base channel must be different than the RJM base channel (mine is set to channel 8) MIDI thru: OFF (otherwise you will get a MIDI loop) MIDI Controller: MIDI base channel must be different than the RJM base channel (mine is set to channel 1) MIDI thru: ON (in order to pass the MIDI CC from HX Command back to HX) MIDI Cables set up for bi-directional communication: RJM MIDI Out to HX MIDI In HX MIDI Out to RJM MIDI In Once the above is set up, you can set up your HX effect parameter and footswitch: Map Effect Parameter to MIDI CC (Scream 808 gain in my example) Set Bypass/Controller Assign to "MIDI CC" Set the MIDI CC# for the parameter as desired (I'm using CC4 in my example) Set up FS in HX Command Center: Select footswitch you want to control the parameter (FS11 in my example) Set command type = CC Toggle Set command MIDI Channel to your HX base channel (ch 8 in my example) or leave on "Base" (both options work for me) Set command CC# to the value you set in step 1 above (CC4 in my example) Set the command Dim/Lit values as desired. You will have to play around to get the MIDI value (0-127) aligned with the parameter values you want Set the type (latching/momentary) At this point, test your HX footswitch. It should toggle the parameter between the 2 values you've set in Command Center. What's happening behind the scenes is this: 1) the HX Command sends a value (0/127) on CC4 Ch. 8; 2) the MIDI controller receives it and passes it back to the HX via MIDI Thru; 3) HX receives the message and applies the value to the parameter. Now you can set up your RJM to control the same parameter. Just make sure you are transmitting on the HX MIDI Channel with the correct CC#. With this approach you can also set up additional HX footswitches set different values for the parameter. For example, I could have one FS to toggle gain between 0 and 10 (example above), then set up a second FS to toggle between 5 & 7 (following step 2 above): You can also set up an expression pedal to sweep the parameter across multiple values: ...and all 3 can be used together on the same preset/snapshot. Anyway, hope this helps and you find it useful.
  7. I haven't tried this (not at my rig currently), but I think that you could assign a command center command to accomplish this. Assign the parameter to a MIDI CC (as you have with your RJM) , then set up a command center MIDI command on the desired HX Stomp footswitch to toggle that CC.
  8. To be clear, the problem I had did NOT disappear/resolve when I rolled back to previous firmware as I stated in my post here:
  9. Update: I shipped my Helix to Line6 for warranty repair (shipping paid by Line6). I got it back 14 days later and everything is now working. The tech support rep was very responsive throughout the process. I did ask the rep, "Just out of curiosity, have you had other units fail post 3.5 upgrade?" The rep's response was, "Its not a common failure, so it's most likely just a coincidence rather than an issue with the update." Just thought I'd share that exchange with the group. All in all, a positive experience for me.
  10. Very strange. Maybe check to make sure that Logic isn't sending a MIDI CC #70 message.
  11. Update: I submitted a support ticket to Line6 late Friday 3/3. Support responded 3/7 and issued me an RMA# and offered a repair at no charge. FWIW, this was before I mentioned that my unit is still under the extended warranty, so seems like Line6 is standing behind their product. Prepaid UPS label was emailed to me today (3/9) and the Helix will be on its way to Calabasas tomorrow. I'll try to provide updates on the progress via edits to this post. So far, it's been a positive experience.
  12. I've submitted a ticket to Line6. Here is my synopsis (which I included in the ticket): Issue: Encoder 4 not working properly. Only toggles between 2 values when turning. Press works as expected. This started after the 3.50 upgrade. No issues with the upgrade process itself. Encoder definitely worked properly prior to upgrade. Others have reported this issue: Troubleshooting steps: Factory reset (power on w/ FS9+FS10 held) Issue persists UI Test (power on with FS3+FS4), ENC4 Only toggles between value 127 and 128 when turned Manually reinstall 3.50 firmware per following instructions: Performed factory reset Issue persists Manually reinstall 3.15 firmware per following instructions: Performed factory reset Now encoder 4 does not have any effect when turning In UI test, turning ENC4 does not register Manually reinstall 3.15 firmware per following instructions: Performed factory reset Encoder 4 does not have any effect when turning In UI test, turning ENC4 does not register Reinstall 3.50 via HX Edit + Factory Reset Issue persists UI Test (power on with FS3+FS4), ENC4 Only toggles between value 128 and 129 when turned
  13. Well...after finally upgrading to 3.5 last weekend, I now have this exact same issue on encoder #4. I know it was working fine before. I will try all the suggested steps above and report back. <sigh> EDIT: my unit is a Helix Floor vs. the OPs Helix LT. Same issue, though.
  14. Not sure I completely understand your signal routing, but I'd stick a cheap mixer with a mic pre between the 2nd mic and the aux/return3 to boost the mic level before it hits the Helix.
  15. Not the only way, but it is the easiest and safest, IMO.
  16. Sounds like a ground loop to me. If you have a DI box with ground lift, try it between the helix and one of the amps. If the hum goes away, ground loop verified.
  17. I use a Morningstar MC-8 and external pedal to control my whammy, but the MIDI commands should be similar to send from the HXFX. I have a Helix Floor, so I can't comment on exactly how to set up the HXFX, hopefully someone else can help out with specifics if needed. Before starting, make sure you know which Midi channel your Whammy is set to--the instructions are on page 9 of the manual. You may need to change the channel if you are using other MIDI devices. You will need to send on this channel from your HXFX. To change the settings on the Whammy, you use Program Change (PC), not CC. For each setting, there is a PC for selecting the setting in either bypass or active state. The Classic mode and the Chords mode (the toggle on the Whammy itself) each have their own PC numbers. An example using the excerpt from the manual you provided above: To engage the Whammy in "Classic Whammy 1 octave up" mode, send PC# 2 To bypass the Whammy, staying in "Classic Whammy 1 octave up" mode, send PC# 23 To switch the Whammy to "Classic Harmony 1 Octave up/down" mode in bypassed state, send PC# 42 To engage the Whammy in "Classic Harmony 1 Octave up/down" mode, send PC# 21 To engage the Whammy in "Chords Whammy 2 Octaves down" mode, send PC# 51 (page 11 has chords mode MIDI settings) To stay in "Chords Whammy 2 Octaves down" mode, but bypass the pedal, send PC# 72 (page 11 has chords mode MIDI settings) To change the pedal position via MIDI, you use CC11. Per the manual page 12, "A value of 0 on MIDI CC 11 corresponds to a toe up position and a value of 127 corresponds to a toe down position. Example: To engage the Whammy in "Classic Whammy 1 octave up" mode AND toe down, send PC# 2 THEN CC#11 value 127; to change to toe up, send CC#11 value 0; to change to pedal at 50% (unison), send CC#11 value 63 or 64 (1/2 way between 0 and 127). One nice feature of using MIDI to control the Whammy is that you can create intervals that don't exist in the manual settings on the pedal. For example, if you want to set it to Whammy up a 3rd, you can use the Whammy up 4th setting, then figure out the CC value corresponding to the pedal position that gives you the 3rd instead of the 4th. Hope this helps.
  18. Octave/pitch effects usually go first or very early in the chain for the best tracking, but there is no wrong answer. Best part of having in the fx loop is that you can try it in literally every spot in your chain just by dragging it around in the editor!
  19. You might try experimenting with a Studio Tube Pre >> LA Comp >> Room Reverb >> Retro Reel chain.
  20. The sale is still going, I got the 70% off deal just a few minutes ago. I'll report back once I get a chance to try them out.
  21. kduck

    Helix Help

    That monitor should work fine with the power amp you already have and will give you options should you decide to upgrade your power amp. Personally, I would go for the 12" (as long as you don't mind moving a bigger cab around)--it will move a bit more air and should give you better bass response. You will need a 1/4" to dual pole (speakon) cable (or adaptor) to run from the power amp to the monitor.
  22. I don't own an Orange Terror or an NS2, so someone please check me on this... I think of your current setup as the following blocks: Plasma Pedal NS2 with [OD >>Fuzz>>Orange Preamp] in the NS2 loop Oil Can Delay Power section: Orange fx return >> Orange Power amp >> Orange Speaker Out >> Loadbox Speaker In load box line out >> AI >> DAW If you want to keep the plasma out of the NS2 loop (per your diagram) and keep the preamp/OD/Fuzz in the NS2 loop (per your diagram): Guitar >> Helix Input Plasma Loop: Helix Send 1 >> Plasma In >> Plasma Out >> Helix Return 1 NS2 Dirt + Preamp Loop: Helix Send 2 >> NS2 Input >> NS2 Send >> OD >> Fuzz >> Amp Input >> Amp FX Loop Send >> NS2 Return >> NS2 Output >> Helix Return 2 Delay Loop: Helix Send 3 >> Oil can delay input >> OC delay output >> Helix Return 3 Helix 1/4" output >> Amp FX Loop Return (optional) Helix XLR Out >> AI In the setup above your Orange preamp will always color the tone when the dirt loop is engaged. Alternatively, you can put your Orange preamp in its own loop. This would allow you to bypass the Orange preamp and use any of the Helix preamps instead. Or blend the Orange preamp with a helix preamp. Or put 2 preamps in series. Lots of possibilities. However, you will not have noise suppression on your Orange preamp (not sure if that is necessary or not). Guitar >> Helix Input Plasma Loop: Helix Send 1 >> Plasma In >> Plasma Out >> Helix Return 1 NS2 Dirt Loop: Helix Send 2 >> NS2 Input >> NS2 Send >> OD >> Fuzz >> NS2 Return >> NS2 Output >> Helix Return 2 Preamp Loop. Helix Send 3 >> Amp Input >> Amp FX Loop Send >> Helix Return 3 Delay Loop: Helix Send 4 >> Oil can delay input >> OC delay output >> Helix Return 4 Helix 1/4" output >> Amp FX Loop Return (optional) Helix XLR Out >> AI You'll probably (definitely) have to play with the send/return levels. If you want to use helix to process audio post load box, you could do that as well, but I'm assuming you would do that processing in the DAW. Hope this helps.
  23. What @phil_m said + you have to push the toe down kinda hard when they're new--they break in after a while.
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