BlueViolince

I think that it's the opposite. Momentary switches send CC, but latching switches will probably cause errors. The arduino sees a press/release event, and sends one message. In order to send a press/hold message, or a long press message, it needs to wait to make sure that it wasn't a short press. While it's waiting the quarter second, or half second to confirm that it wasn't a short tap, it won't send the press/hold or long press message. This causes a short delay before an effect block will activate in momentary mode. For this reason, the momentary hold cannot engage immediately like it does with the factory switches. The benefit is that I can use latched fx switches, or get momentary effect engagement when I want, without changing block settings. This isn't possible with the onboard switches, as far as I know. This will be handy if I decide to add looping controls, reducing the number of switches I need by setting dual functions for each switch. Press/release, press/hold, double or triple tap can all be assigned to separate functions off of one switch.

I am reprogramming an Arduino switcher(that currently works fine) for my HX Stomp(FW 3.71), and I'm running into some weird behavior. I'm trying to set up switches to work with the block bypass switch modes(momentary or latching), and it isn't doing what I expected. When momentary type is selected in bypass assign, the switch will not get any response. When latching mode is selected, I can get the block to latch on and off, but I can also get momentary engage by holding the switch down on the switcher. My question is this: Does the HX Stomp only work with single incoming CC and PC events, as opposed to continuous fired messages? It looks like for proper hold behavior, I need to send one CC message to engage, and then send a second identical CC message when the switch is released. When I program the switcher to send a continuous CC message, the selected block just blinks on and off, like there's a MIDI loop error. I'm trying to get the switcher to behave like the onboard switches, e.g., program external FS4 and 5 to momentary mode for momentary engagement, or latching mode. I can work with what it's doing now, because with the switch behavior programmed to latching mode on the HX side, I can get the switch to latch or hold momentary. It's just a little less predictable how it will respond than the onboard switches. It also doesn't respond on switch press, but either on switch release, or the timer. Meaning, for the latching behavior, I need to press and release within 125 ms, and for momentary hold, it waits 125 ms before engaging the block.

That makes sense. I'll try messing around with split signals, and see how this affects it.

What does this parameter do? Options are Link or Separate.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

You could cover the large spaces with white tape and/or paper. I like the umbrella idea, personally.

I used an HD500 with Logidy EPSi before getting the Helix, for acoustic IRs. The sound was objectively comparable, when you compare just the bare clean tone. On the other hand, the quality of effects, and speaking of effects as plugins, there is so much more that can be done with them. I eliminated four pieces of hardware when I switched over to the Helix. Two EQ pedals, a MIDI translator, and the IR loader. The Helix made up the difference, giving me a lighter rig. Beyond that, programming patches became much easier, and the finished sounds are better. There's more clean headroom within the chain, and my parallel delay chains sound much cleaner and more natural. I think the preamps and compressors are better quality, which is a big deal. Those are two of the most critical items, in terms of effect tone. Everything else in the Helix is at least as good or better. Worth the price, in the long run.

Just look up Helix items in Ideascale...

What violin are you using? I use a Jensen 5-string and an NS Wav4.

I keep a 4" paintbrush in my desk to remove dust.

Violins go into the LR Baggs Gigpro. I have a Hot Hand 3 set as EXP2, and the motion transmitter mounts onto the violins with velcro. I can tilt the instrument up or down, and that usually adjusts delay feedback. When I'm practicing, I use the Hammond box, which just contains a 10k pot wired to a 1/4" jack. DVP4 mini handles EXP3, which is generally set to control volume before final delay and reverb, on almost all patches.

What kind of commands do you want to send? And are you using anything as far as effects in the Helix?

Interesting. That could be useful, but I guess I would have to run it through a frequency analyzer to figure out how it changes the response. And 15kHz isn't the most useful range for most live players.

What is it supposed to do, really?