silverhead

As far as I know the copy/paste is going to be one block at a time; no simultaneous copying of multiple blocks. But I haven't seen any detailed documentation so I'm not sure.

Ha Ha! At first I thought - yeah, two months is a long time to wait. Then I looked at the year..... :lol: :lol: The good (to some) news is that a new version of Mobile Pod was released recently. It's a substantial change in interface and some feature changes. It does not meet your wish of being HD-compatible. I don't know if there are any new models in it. Check out the recent comments on it before updating - there's no turning back.

Here's a Helix preset I made for my Martin D28 and vocals. http://line6.com/customtone/tone/2044875/ It probably won't sound the same, perhaps not even good, in your setup but you can use the basic structure and block elements a s a starting point to adjust to your taste. Connect the XLR outputs to your main speakers and the L (Mono) 1/4" output to your monitor. The IR block I use is attached. 001 Taylor 314ce - DPA 401.wav

The most common cause of hearing dissonance with custom tuning is that you are hearing two distinct tones from each string. You hear the alternate-tuned note from the modeling but you can also hear the natural acoustic vibration/pitch of the string without the piezo pickup and internal processing. Your ear is surprisingly good at hearing this natural pitch, and it is being produced/heard at a distance of usually less than two feet. The modeled guitar sound from your amp/speakers is normally much further away from your ears and has to be very loud in order to drown out the natural tone. Not saying that this is necessarily the cause of what you are hearing but it's worth considering. A true test is to record the signal. If the playback of your recording is still dissonant then there is another cause. But if your recording only captures the alternate tuned sound with no double-tone then this is the explanation because the natural string vibration is not recorded.

When you are assigning multiple FX blocks to the same footswitch make sure you use the Merge rather than Replace option.

I think you've hit the nail firmly on the head right there.

Good information. Thanks for doing that. While the 'in-tune' range spans nearly 6 cents, the maximum that either string is out of tune is about +/-3 cents. I expect that's pretty consistent across all Helix devices; it's likely not just your device and the few others that have pointed it out here. It's probably the case for my Helix too - enough to be audible while tuning if I really paid attention, but I've never noticed it while playing. Perhaps the range will be narrowed in a future firmware update.

I think you're right - there's no download. Purchasing the model packs simply allows you to unlock/enable them. They are already present in the HD device - just locked up.

We're looking at it from two different perspectives. You are looking at frequency differences at the tuning stage, and you are hearing and seeing a difference of a few cents. I'm not arguing with you about that. Your ears are probably better than mine. I am saying that difference is a relatively minor piece in the context of what really matters - what your tuning sounds like while playing. To me, if I am in tune with the band and my playing is sufficiently accurate to keep my strings in tune with each other, then I'm satisfied. I agree that it would be best if my tuning were accurate to +/- 1 cent. But I probably wouldn't notice it while playing, and I would still have to retune between almost every song if I want to keep it that way. The Helix tuner is perfectly adequate for my needs.

That's expected. Pricing is in $US. Different countries have different customs and excise policies and tax rates. It's not at all unusual to have taxes applied when purchases cross international borders. You will also likely have a currency conversion adjustment from the $US price to your local currency before the transaction is complete.

Nonsense? As I'm sure you know, that's how string bending works. You change the pitch by bending the string. That can happen both vertically and horizontally on the fretboard. It can be accidental rather than intentional, and it can be definitely be caused by a 'heavy' or inaccurate touch when fingering. Guitars with jumbo frets like the JTV-59 almost guarantee tuning issues when played with a heavy touch. The resulting out-of-tune sound can be greater than the Helix tuner issue you are having. That's physics - not nonsense. EDIT: And to be clear. I never said YOU were pressing the strings too hard. I said that ALL of us sometimes cause our perfectly-tuned strings to go out of tune with our fingering, intentional or not.

Is it just the hookup to your H&K that's the problem? Are you able to have Helix working and sounding OK when you use it alone, say with headphones to monitor?

So what you're saying is that you can do everything you want, requiring you to use what you consider to be a DSP intensive preset, and you're using slightly more than half the available DSP (having to throw an IR and a reverb Path 2). Like I said... probably not anytime soon. ;) :D

Any one of us will put the guitar out of tune more, and more often, by sloppy fingering than any difference in the accuracy or granularity (take your pick) of the Helix tuner vs. any other. Especially if you happen to use a JTV-59 with the jumbo frets. Try playing a A-chord, depressing all 3 fingered strings fully to the fretboard, and tell me the sound is in tune. The fingered strings are all sharp - more sharp than any tuner will be responsible for.

There's nothing that can go wrong with using more or less DSP in any given preset. There's no degradation in performance as there is with a PC as it uses more and more memory or more and more CPU. Helix DSP management doesn't behave like that. Everything continues to behave normally, at full speed, with no reduction in sound quality, until you discover that you just can't add another FX block to the signal chain. And even then there's nothing that goes wrong - you just can't add the block. People who talk about 'saving' DSP do so mostly in a hypothetical sense, meaning if you can do something to 'save' some DSP (like controlling a preset's volume by assigning an amp's Volume parameter to a pedal, rather than using a VOl block) then you will theoretically be able to perhaps add one more FX block to the overall signal chain than you otherwise would. Not that you're likely to need that extra block........ And remember - DSP is only relevant on a per preset basis. It has nothing to do with how many presets or IRs are loaded into the Helix device. You can fill up all available preset and IR slots with as many DSP-heavy presets as you like. Each preset can make use of all available DSP that the device offers. There's no cumulative effect. Realistically, if you're new to Helix chances are you won't find yourself running out of DSP anytime soon.

Helix greys out some options as the DSP limit is approached. For instance, you may find that you suddenly can't add a reverb to the chain. Everything uses DSP as it is assigned to a preset's signal chain, bypassed or not, but only when it is assigned. All stored presets and IRs use system memory but not DSP. Helix manages its DSP dynamically and will never actually allow you to exceed the limit. It manages this by removing the options that you can assign as you approach the limit.

The Global EQ, imho, is best used outside of your 'normal' location to adjust for different acoustic characteristics in different rooms/venues. I leave Global EQ off in my home studio which is where I mostly use my Helix, and where I create and normalize my tones. When I move to a gig environment or another practice location I will begin by listening for any overall tone changes in the new room compared to my studio and, if necessary, adjust Global EQ to compensate so that the sound is as close as I can get it to the way I designed things.

Your picture doesn't indicate that there are only two IRs loaded. It does show that there are two types of IRs available for selection - one set at 1024 bit resolution and the other at 2048 (which is highlighted indicating that you are selecting from that group/set of IRs). The IR Select field in the bottom row shows that IR#1 in the 2048 sample set is loaded into the preset's selected IR block. What happens if you rotate the knob for the IR Select field? It should move through the available slot numbers. Do you see all 5 of your loaded IRs?

Yes, that is normal. All batteries gradually discharge even when not in use. If you unplug the cable the discharge should be slow. My fully charged JTV battery, removed from the guitar, will retain a useable charge for week or so but beyond that I have to recharge it before use. Earlier models of Variax guitars use alkaline batteries which retain their charge for longer periods, but don't provide power for as long when in use.

I think you can ignore the free shipping offer. You don't need anything shipped. Proceed to checkout and confirm that no additional shipping charge is applied. You will be able to download/access the model pack. Consult the online FAQs (see support tab above) to get the detailed installation and activation instructions.

The preset I offered to make serves two purposes: - it will playback audio from an external device such as a CD or MP3 player, and - it can be used to play your guitar along with backing tracks The first purpose is useful for providing sound to the room during breaks between your band's sets. The second purpose is useful both during gigs and just for practice. While setting up a separate preset I realize that it's so simple it doesn't need its own preset. It would consist of a single stereo Return block. You can easily add this to any existing preset. Here's the method. 1) Select any preset to which you want to add this capability. If desired, select a New Preset and use it solely for the first purpose above. 2) Select (or arrange for) an empty block immediately preceding the Output block in any path. You want this at the end of the chain so that your external sound is not processed within Helix; it goes straight to the outputs. You can use Path 2 exclusively for this purpose if you wish, reserving Path 1 for your guitar processing, but it doesn't really matter. If you're using Path 2 for this you can leave its Input block empty (X'ed out). 3) At this end-of-path location, add one of the stereo Return blocks in the Send/Return items, e.g. Return 1/2. 4) Connect the stereo output of your device, using adapters if necessary, to feed its L/R outputs individually into the selected Return pair above on Helix. 5) Start playing the external audio device and adjust its volume level to balance with your guitar playing level if desired. That's it, that's all. EDIT: @Andy1175 - I realize after a later post that you have a different requirement than either of the two purposes above. In your case you would either have to use a computer and the USB connection as described above, or add this stereo Return block to all presets for which you want this capability. It only takes a few seconds for each preset but I know it would be tedious to do it for all factory presets. The USB connection to a computer would be much easier.

I'm no expert on EQ but here's my understanding. The first parameter identifies the sort/type of EQ. In your example it idenitified the low end of the frequency spectrum. There are different types of EQ here - a shelf, a filter, ...? The second parameter identifies a specific frequency within the range of the type of EQ. In this case I would expect to see a range from the lowest frequency that the human ear can hear (20 Hz) to some upper limit. This value identifies the central frequency of the EQ's affect, but the EQ will operate over a range around that value, as specified by Q. The third parameter, Q, identifies the range of the EQ's affect relative to the central frequency above. You can think of this setting as a width in the EQ curve, broad or narrow. Think of a graph from your math class days, say a so-called bell curve showing the distribution of student grades. The class average is in the center of the curve, and the curve plots the number and scores of students above and below the average. In the context of EQ, the Q setting adjusts the width of the curve which in turn affects the range of frequencies below/above the central frequency that are affected by the EQ. A high Q setting narrows the curve and a low setting widens it. For example, if your chosen central frequency is, say, 100Hz you would use the Q setting to specify whether you want the EQ to affect frequencies from 90 to 110 Hz, or from 60 to 140 Hz, etc. Like a bell curve, the EQ will have a very low impact on either end of the frequency range and a gradually higher impact on both sides as you approach the central frequency, at which point the impact is maximized. The fourth parameter, Gain (often called Level), specifies the level of impact of the EQ. The higher (or lower) the value the more the specified frequencies in the range are boosted (or cut). This is what you actually hear, and what the EQ actually does. It boosts or cuts selected frequencies so tha you hear them as enhanced or diminished in the sound. Putting it all together, you first select the type of EQ you want to use ( low pass filter, high shelf, whatever) and then you select an appropriate central frequency. You use Q to shape the range of affected frequencies and you use Gain to make the impact very noticeable, very subtle, or somewhere in between. When you use a multi-band EQ like the one you mention you do this boosting/cutting of frequencies at several points across the human hearing range of 20 Hz to 20,000 Hz. The number of bands in the EQ type indicates the number of points at which you can specify an EQ effect.

I've never owned or used an actual Gibson 185 amp, but I know it's referred to as a 'boutique' amp. To me that suggests that it has a rather unique sound. I wonder how closely the Helix modeling reflects the actual sound of the real amp? Can anyone with experience with the real amp comment on that?

Pod Farm version 1 is fully compatible with the Pod XT, meaning you can transfer files to and from both environments. Pod Farm 2 is 1-way compatible. You can transfer POD XT files into PF2 with full compatibility, but you can't necessarily transfer all Pf2 files back to the POD XT. PF2 supports signal routing capabilities that are not supported in the POD XT. However, PF2 also includes a utility that will export a POD XT compatible version of the preset by removing any incompatibilities.

But are you able to use Workbench with this setup? Some POD devices may work in terms of using Monkey for firmware updates but still may not work as a Workbench interface. I don't know the answer - just pointing out that this is not yet a conclusive answer.