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BlueViolince last won the day on August 5 2013

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  1. That makes sense. I'll try messing around with split signals, and see how this affects it.
  2. What does this parameter do? Options are Link or Separate.
  3. It is compatible with Helix. I decided to modify my receiver mount. Instead of using it as a ring, I have the transmitter mounted to my shoulder rest. This way, I tip the neck down to change parameters, mostly delay feedback increasing from 15% to 50% when I tip it down. At normal playing position, it's set to lowest delay feedback. Plug the 1/4" patch cord from the HH3 into either expression input, and set whichever parameters you want to control to use that expression input. You can set minimum and maximum values.
  4. Yes, you can. I assign exp1 to probably 5 or 6 effect blocks in most of my patches, plus a couple more for exp 2 and 3.
  5. Is there any chance that future Native updates could retain exp mapping from hardware bundles? If I could set three sliders on my Mainstage screen to stand in for the three exp inputs, that would be a huge time saver. Some of my patches have 4-6 parameters mapped to exp1, and I haven't yet figured out the best way to tackle that issue.
  6. phil_m, can you clear something up for me? I see discussions in FB about what people describe as "thin tone" or overly bright tone due to phantom power, but that doesn't sound right to me. Phantom power can introduce noise, sure, but I don't see how it can gut your tone all on its own. That sounds to me like impedance mismatching, which is something I originally experienced. For example: My homebrewed IRs were set too loud from my DAW, and my outgoing signal was too hot, going into a mic input from my DI. I put a 20dB pad on it, and it sounded great. I then went back and re-leveled my IRs, and now my maxed signal going into the DI with no pad sounds just fine. TL:DR- overly hot signal going into the wrong type of input can result in FOH dropping your gain to compensate, which results in a thin tone in IEMs or wedge monitors. I now set my patches to be generally equitable in volume to an empty patch, and now I have no issues with level or noise. Edit: for reference, my output is set to instrument level, I have no pad on the Helix guitar input, and our console has phantom power going to all channels. My DI is an ART cheapo DI.
  7. I'm trying to control looper functions on my Helix from the HD500, as an experiment. I've gotten exp1 successfully mapped to the Helix's exp1, and looper mode and tap tempo works in HD500's normal screen. FS1-8 only send CC/CC toggle when I'm in MIDI assign mode. Once I exit MIDI assign mode, FS1-8 stop sending MIDI to the Helix. Any ideas? I'm fairly confident that the problem is on the HD500 side.
  8. If you have an interface with multiple inputs and outputs, can you assign some of them to the loops? My old Presonus Firebox has two extra sets of I/O, I think. Look for something that has 8 x 8, that should handle everything.
  9. Is there a delay time or subdivision change between snapshots? If the time on a delay is changed, it's just like turn the time knob on an analog delay while you play.
  10. For the stuff I play, I've been known to change modes mid-song, or mid-solo, and given the unpredictability of the average jam, there's no way of knowing what scales I'll end up using ahead of time.
  11. Well, the "we don't care, we'll convert" approach is what the Whammy does, and it handles everything, including strings ringing out when changing strings, double stops, chords, etc. I can play anything through the Whammy, and it will shift it all without a hitch. The actual harmonizers have their own set of problems. It never takes into account alternate modes, complex scaling, or anything else that may get thrown at it in the course of a gig. Unless you're playing really vanilla stuff all the time. I used to have a Digitech Harmonyman, which did "smart harmony", but it wasn't usable for 75% of what I play. Unless I kept it doing octave or fifths. The better ones still have to be programmed specifically for the modes you'll play for each song, if I understand correctly. Ain't nobody got time fo dat.
  12. I second the tracking complaint. I use a Whammy 5 with mine, which tracks multiple strings cleanly, without any glitching. The Helix can't do that. It's similar to any other pitch shift effect from other multi effect processors, no better than from the HD series. But from what I hear, AFX is no different. Of course, EHX and Digitech effects both sound great. I've had less successful results from TC pedals.
  13. I use my Helix for electric violin. I previously used the HD500 for years, which was my first modeler. I play a Barbera-equipped Jensen 5-string, and an NS Wav 4-string. Both get plugged into an LR Baggs Gigpro preamp, before going into the main instrument input. Custom-tuned acoustic violin IR, instead of amp models or cab IRs. I use Digitech pedals for octaver, but all other effects are in the Helix.
  14. LR Baggs Gigpro is my violin input, which goes into Guitar input. FX1 goes into Whammy 5, controlled by instant MIDI. Hot Hand3 handles Exp2, and DVP4 handles volume on Exp3. The black box is a 3d printed permanent enclosure for the cell phone car charger circuit, which I hacked to give the Hot Hand its 5vdc supply. Gigpro/Hot Hand mount is also 3d printed. With this setup, both pedals and the Hot Hand are powered from the Sanyo Pedaljuice. I only need to power the Helix and my monitor from house power. I'm working on replacing the Whammy with a Sub 'n Up Mini, which will free up a lot of space and weight in the backpack.
  15. You could cover the large spaces with white tape and/or paper. I like the umbrella idea, personally.
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