BlueViolince

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.

Hi, I have the same problem with switching from one Snapshot to the other with a 'Simple Delay' with Mix of 50%.

But it´s more than pop/noise. There is some kind of a weird disharmonic chord slide up from aprx. a whole tone. 

Really not feasible to me!

 

I understood that it´s the 'main point' of snapshot feature to play without disruption live by switching from "Verse" to "chorus" as it´s explained in official video tutorials. :-(

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'm curious what other devices you're comparing it to when you say it doesn't track well. Also what signal flow and exact blocks you're using to come to this conclusion. I'm not saying it doesn't track badly for you, but my experience is quite different, so I wonder what you're doing to have a different experience.

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.

And from where did you order those custom covers?  Dust is my Waterloo.

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?

For me, the HD500 eventually sounded very good, with add-on hardware and lots and lots and lots of tweaking.  The Helix sounded great on day one, but has much better workflow, flexibility, and headroom.  And there's tons of room to grow into, with the Helix.  It immediately eliminated two key pieces of hardware: an IR loader, and a MIDI translator. 

So I messed around with mine to piecemeal something together, and I think I did alright.  I put two parallel pitch shifters, one octave up, one octave down, both at 66% mix, after an Autoswell with 153ms attack, log taper, and a rotary vibe at the end of that path, with exp1 controlling fastspeed.  Sounds pretty good with my violin, but not perfect.  Guitar might require additional processing.