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Digital_Igloo

Helix FAQ

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BigRalph, check out this video, and in particular the Divided by 13 tone used through much of it.  I've been concerned as to whether the Helix could cop the cleanish Marshalls as well as the Kemper does - and oddly enough none of the alleged Marshall tones I've heard from Helix have convinced me.  But the Div by 13 tells me that the tech is well up to the task.

 

Cool to see a longer video playing around with the Helix. I'm going to have to get one....as soon as they implement global blocks.... ;-)

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The Andertons video was very good. I wonder if they ever finished the video with an smp. I searched YouTube but didn't see it. I thought the cleanish stuff they did was good. They still needed more. Especially for those of us that play mostly Houses of worship and use pristine cleans with lots of delay and reverb. I would hope the delays were good enough I could pack up the Timeline or simikar, or at least use it less.

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That video from Andertons is funny and informative. The sounds are gorgeous, coming direct from the Helix.

 

The video clearly shows the gap between patches - it sounds like between 750ms and a full second. (Much longer than the HD500 which I'd estimate is 150-ish ms.) For me, that's no big deal since I pretty much never change patches within a song: only between songs.

 

For some people with extremely complex effects for different song sections, it might be a dealbreaker, but I'd bet that the majority of those situations can be worked around with judicious use of the multiple paths and the ability to toggle more than one effect or parameter with a single footswitch.

 

Bummer about the 20-25 second bootup time; again not a big deal for me personally, but it sounded like at least one pro player in this thread has to wait to power their rig until like 1-2 seconds before the downbeat, so it wouldn't work for that person.

 

EDIT: Apparently this was not the final 1.0 firmware. Who knows what optimizations may still be possible, or whether there's still debugging code or other things artificially slowing things down on the unit they showed on the video.

Edited by mdmayfield
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Not sure You were seeing patch changes. I think they were changing the amp within a patch.

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The one thing they said in that video regarding the firmware isn't quite accurate. That unit doesn't have the 1.0 firmware on it, as that hasn't made it into the wild yet. So as far as timing of patch changes and stuff, there will still be optimizations.

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Straight to studio monitors or headphone amp, as well as the h'phone outs on the unit itself.

 

Might I suggest you try plugging an analog guitar or the JTV with PUs active via 1/4" jack to something like a small tube combo if you're somehow able to? Humour me. You'll see what I mean about "immediacy" and feeling disconnected, or in this case, connected. The difference is like night and day, and I can't imagine how any musician could possibly miss it. My guess is that you may, as I implied, need to recalibrate your senses by trying the above exercise.

 

If you still don't feel the difference, then I say more power to you; you're a lucky bugger and I can't tell you how much I envy your position!

 

Thanks for readin', bro'... and go the 'Pies.

 

Digital Igloo, I can't seem to find an answer from you on the throughput-latency question I asked 4 or 5 pages back. Do you have a figure in ms for, say, an analog-source guitar through the Helix to its main outs?

 

Any response will be appreciated.

 

I just measured the latency on my HD500:

 

1) Split mono source in analog domain (here, an electronic drumkit set to an extremely sharp transient sound, single hits played manually a few times)

2) Record one copy through HD500 analog in (i.e. HD500 A/D) -> HD500 amp model -> HD500 analog out (i.e. D/A) -> computer interface

3) Record other copy direct to computer interface

 

So one copy goes direct in to interface, other copy takes a detour through the HD500's in and out. I recorded onto two mono tracks simultaneously, so that the latency of my computer setup and audio interface was taken completely out of the equation.

 

(Note: the HD500 was NOT connected via USB)

 

To measure the latency of the HD500, I zoomed in all the way and determined how much I had to delay the direct signal to match the HD500 signal. I verified that I had the correct timing by checking all 4-5 of the hits I recorded. They all lined up perfectly (within a sample) once I dragged the direct signal to the right (delayed it) a little bit.

 

My HD500 in this test, with the AC-30 model and several (bypassed) stompbox models, lined up most perfectly at 45 samples with my DAW/interface at 44.1kHz, which = approximately 1.02 milliseconds of latency combined in/out of the HD500.

 

That's actually better than I expected; I was assuming it would be 2-3 ms. Perhaps others could try this same test to see if they get similar results, and we can compare notes.

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The Andertons video was very good. I wonder if they ever finished the video with an smp. I searched YouTube but didn't see it.

 

They mention at the end to "tune in next week folks...."

 

 

Not sure You were seeing patch changes. I think they were changing the amp within a patch.

 

Check 13:26.  That's definitely a patch change.

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If the FX send/returns can also be used as input, can you confirm that we'll be able to put our favorite analog pedals anywhere in the chain? Via a block? Have to be able to drop my fav OD where I want it.  

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I just measured the latency on my HD500:

 

= approximately 1.02 milliseconds of latency combined in/out of the HD500.

so if we assume 0 latency in a tube amp (which is incorrect but thats not the topic here) then to achieve the identical latency we need to stand 1 foot closer to our speakers when using the HD500.........

 

not that any human being is capable of noticing 1 ms of delay......

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If the FX send/returns can also be used as input, can you confirm that we'll be able to put our favorite analog pedals anywhere in the chain? Via a block? Have to be able to drop my fav OD where I want it.  

 

Yep, that's pretty much the whole point of having the loops, well, a big one anyway.

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so if we assume 0 latency in a tube amp (which is incorrect but thats not the topic here) then to achieve the identical latency we need to stand 1 foot closer to our speakers when using the HD500.........

 

not that any human being is capable of noticing 1 ms of delay......

 

I agree; if my test was valid, and it really does just have 1 ms of delay - or even if it's more like 3ms - any sense of "disconnection" seems much more likely to be from some other cause.

 

The only time that small of an amount of latency ought to be perceivable is when it's mixed in with the 0-latency sound, causing comb filtering. As you say, sound travels only a foot in 1 ms; it's a lot shorter of a time than someone might expect.

 

I can't speak for anyone else's experience, but it seems reasonable to me that some people might feel more "connected" to an analog amp than a modeler. I've had that subjective experience myself. But if the latency truly is only 1ms, then latency being the cause of the "disconnected" feeling does not seem plausible to me. I'm convinced it must come from something else.

 

I've compared a friend's tube rig with my HD500 through a nice FRFR PA speaker, and I perceived a difference, but there are soooo many factors that it doesn't make sense to me to try to assume which one(s) cause that difference. It could be any combination of:

 

- Accuracy of modeling (especially "sag")

- Cab type and number of speakers (4x10 vs. 1x8 or 1x10)

- Latency (though I don't think it's likely; 1-foot distance, as you said)

- Speaker breakup on the traditional cab, vs. clean speaker playing the *sound* of that on the FRFR system

- Different settings on the amp/amp model

- Difference between which amp was modeled and which real amp is used

- Placebo effect/confirmation bias

- Dozens of other things I haven't thought of

 

So while I did experience a difference, I feel like it would be a mistake to think that I know the precise cause(s) of that difference. There's no practical way to control the variables.

 

That's like comparing a wood-paneled 1987 station wagon to a brand new hot-rodded sports car, then saying that the wood paneling is what's slowing down the station wagon, and if you just got rid of it, it could win a race against the sports car.

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Phil_M, you mentioned in a post somewhere, that you've been a Strymon user.  Can you give your comparison on the quality of the Helix verbs, including shimmer and Helix delays as compared to the timeline/big sky?  This is one of the big obstacles for me, as a Strymon user.  If the effects are comparible to Strymon, then that with the routing power makes this a no brainer. 

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just read all 21 pages. ow. i have an optometry appointment scheduled for tomorrow :p

 

i have a few concerns, DI, if you're still available. (you've done an INCREDIBLE job at answering us so far. thank you immensely)

 

stoked about the implementation of IR's. that was on my complaint list with my HD500.

 

i'm really hoping for an effect like the EHX freeze, but thats just wishful thinking.

 

are all of the amp models guaranteed to be in phase with each other? my biggest issue with the HD500 was that even though i had the DSP to put say... a Dual Rec alongside a Fireball, they might sound all kinds of weird together. this was written off sneakily by L6 as "some amps sound better together than others". i know a cow pie when i step in one.

 

i knew that wasn't the case when i accidentally placed a gate on one of the chains, inadvertently causing either a polarity shift or some latency that caused both amps to sound better. clearly they weren't delay compensated and therefore phase aligned. has this issue been solved? blending amps is absolutely the greatest thing on the earth, and i wish to do it in the box.

 

off hand, do you know if the 5150 that was modded was of the gen 1 "can of bees" EVH style, or if it was more the bias mod killswitch engage/bullet for my valentine destruction monster? and if it is the former, can the "bias" control make it more the latter?

 

lastly, my biggest issue with every piece of line 6 gear i have ever owned (XT, HD500, flextone 3 XXL with floorboard) is the tap tempo button. it is ALWAYS right next to the volume pedal. i don't know if you guys test these things wearing narrow cowboy boots, or if my size 12 hi top jordans (in yellow, mind you ;) ) are just too wide... but every time i go to set the tempo of my delay, i turn myself OFF. once a show, 100% certainty, it will happen. egg on face. pants on head. champ to total clown in seconds.

 

is there any chance that this switch can be moved? so far the only feasible answer that i have found is to buy an expression pedal (that i wouldn't otherwise use) and set *IT* to volume, and use the included expression pedal for the switchable wah. not exactly my favorite workaround. you can put it ANYWHERE else. this has plagued me for years.

 

thank you

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i'm really hoping for an effect like the EHX freeze, but thats just wishful thinking.

 

are all of the amp models guaranteed to be in phase with each other? my biggest issue with the HD500 was that even though i had the DSP to put say... a Dual Rec alongside a Fireball, they might sound all kinds of weird together. this was written off sneakily by L6 as "some amps sound better together than others". i know a cow pie when i step in one.

 

i knew that wasn't the case when i accidentally placed a gate on one of the chains, inadvertently causing either a polarity shift or some latency that caused both amps to sound better. clearly they weren't delay compensated and therefore phase aligned. has this issue been solved? blending amps is absolutely the greatest thing on the earth, and i wish to do it in the box.

 

off hand, do you know if the 5150 that was modded was of the gen 1 "can of bees" EVH style, or if it was more the bias mod killswitch engage/bullet for my valentine destruction monster? and if it is the former, can the "bias" control make it more the latter?

 

lastly, my biggest issue with every piece of line 6 gear i have ever owned (XT, HD500, flextone 3 XXL with floorboard) is the tap tempo button. it is ALWAYS right next to the volume pedal. i don't know if you guys test these things wearing narrow cowboy boots, or if my size 12 hi top jordans (in yellow, mind you ;) ) are just too wide... but every time i go to set the tempo of my delay, i turn myself OFF. once a show, 100% certainty, it will happen. egg on face. pants on head. champ to total clown in seconds.

 

is there any chance that this switch can be moved? so far the only feasible answer that i have found is to buy an expression pedal (that i wouldn't otherwise use) and set *IT* to volume, and use the included expression pedal for the switchable wah. not exactly my favorite workaround. you can put it ANYWHERE else. this has plagued me for years.

There's currently no EHX freeze model, but you could approximate one with delay feedback controllers in five seconds.

 

Amp models aren't like samples—phase relationships don't really apply here. There's no delay compensation, just like real digital pedals, but after making a ton of Helix presets, I've not noticed any phase garbage. The Merge > Mixer block has a Path B polarity switch if you run into issues.

 

The 5150 is indeed the block logo version, and yes, just like the real amp, it sounds like a can of bees. All 5150s sound like a can of bees to me. But there are a dozen ways to make it sound much less like a can of bees, just like engineers do in the studio when they track a real 5150 with a real mic on a real cabinet. Lower the cab's high cut filter—done.

 

There's a larger gap between the treadle and the TAP switch than in previous products. There's a possibility that TAP and MODE could be switched to the left side, but that would preclude 10-stomp switch mode, so it's not a very elegant solution.

 

Size eleven here; I would never be caught dead wearing cowboy boots, as songs with progressions that end on the tonic are like nails on a chalkboard. :P

 

EDIT: Turns out there is indeed delay compensation, but it's only applied per path; that is, if you're placing amps on both paths 1 and 2, compensation may not always be applied correctly. Luckily, each path can normally accommodate two amps (as long as you place more DSP-intensive effects on the other path).

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The Andertons video was very good. I wonder if they ever finished the video with an amp. 

 

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This is a question I asked a little while ago but never received a response I think i got buried in one of the post video threads lol

 

I noticed in the video one of the staff using a Livid guitar wing midi controller.  Is this a viable option for switching presets/patches wirelessly?  Livid wing sends and receives MIDI through USB so how would that work?

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Hi DI awesome work here!

Could you explain the CV connection in some detail.

I'm looking to have a control pedal or two (Momentary switch type) to use as footswitches.

I currently use a Rolls midi fc with my HD500 so I have 10 patches without banking up/dn and that leaves me 5 f/s for effects on the 500.

I would like to eliminate the f/c since it wont fit in my board case with the larger Helix.

It looks like there are 10 fully assignable f/s so I could use 8 as preset and two for effect f/s correct?

It would be ideal if I could assign a ext control to tune/tap and use all 12 f/s for patch and effect assigns.

I don't need mode or bank u/d for live use and could use the knobs to access those functions when necessary, possible?

Thanks

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This unit just looks too good to be true! I can't wait to read the instruction manual. I do have a couple of questions for this forum though. Excuse me if some of this has already been asked and covered.

  • In the routing options can you split the signal and effectively send it to two FX loop outputs (to two amp inputs for instance)?
  • Can the returns from those two FX returns then be routed to the left and right outputs?
  • Are all the models useable as just a preamp so I can effectively bypass the preamp of my valve amp and just power it through the power amp section (which I'm aware may compromise the reproduction of the initial target amp)?
  • Will new models be release to the unit after the intial purchase date and how will we be able to get them - software updates?

Thanks. This is has just turned my head from the fractal stuff!

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It looks like there are 10 fully assignable f/s so I could use 8 as preset and two for effect f/s correct?

It would be ideal if I could assign a ext control to tune/tap and use all 12 f/s for patch and effect assigns.

I don't need mode or bank u/d for live use and could use the knobs to access those functions when necessary, possible?

 

There are two primary footswitch modes. In Preset mode, you get 8 presets or 4 presets plus 4 stomps. In Stomp mode, you get 8 stomps or 10 stomps. There's currently no option for 8 presets and 2 stomps, as Bank/Preset Up/Down are always active in Preset mode.

 

  • In the routing options can you split the signal and effectively send it to two FX loop outputs (to two amp inputs for instance)?
  • Can the returns from those two FX returns then be routed to the left and right outputs?
  • Are all the models useable as just a preamp so I can effectively bypass the preamp of my valve amp and just power it through the power amp section (which I'm aware may compromise the reproduction of the initial target amp)?
  • Will new models be release to the unit after the intial purchase date and how will we be able to get them - software updates?

 

Yes. Yes. Yes. Can't talk about it, but one could surmise that if we were to offer new models, yes, they would appear in firmware updates.

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What about old Variaxes compatibility with Helix? (Variax Bass, Variax 700, 600, 500, 300, acoustic)

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I just measured the latency on my HD500:

 

1) Split mono source in analog domain (here, an electronic drumkit set to an extremely sharp transient sound, single hits played manually a few times)

2) Record one copy through HD500 analog in (i.e. HD500 A/D) -> HD500 amp model -> HD500 analog out (i.e. D/A) -> computer interface

3) Record other copy direct to computer interface

 

So one copy goes direct in to interface, other copy takes a detour through the HD500's in and out. I recorded onto two mono tracks simultaneously, so that the latency of my computer setup and audio interface was taken completely out of the equation.

 

(Note: the HD500 was NOT connected via USB)

 

To measure the latency of the HD500, I zoomed in all the way and determined how much I had to delay the direct signal to match the HD500 signal. I verified that I had the correct timing by checking all 4-5 of the hits I recorded. They all lined up perfectly (within a sample) once I dragged the direct signal to the right (delayed it) a little bit.

 

My HD500 in this test, with the AC-30 model and several (bypassed) stompbox models, lined up most perfectly at 45 samples with my DAW/interface at 44.1kHz, which = approximately 1.02 milliseconds of latency combined in/out of the HD500.

 

That's actually better than I expected; I was assuming it would be 2-3 ms. Perhaps others could try this same test to see if they get similar results, and we can compare notes.

 

I very much appreciate that you went to all this trouble, md.

 

I could have done it myself years ago, but didn't see the point as the difference was like night and day to me.

 

I agree; if my test was valid, and it really does just have 1 ms of delay - or even if it's more like 3ms - any sense of "disconnection" seems much more likely to be from some other cause.

 

The only time that small of an amount of latency ought to be perceivable is when it's mixed in with the 0-latency sound, causing comb filtering. As you say, sound travels only a foot in 1 ms; it's a lot shorter of a time than someone might expect.

 

I can't speak for anyone else's experience, but it seems reasonable to me that some people might feel more "connected" to an analog amp than a modeler. I've had that subjective experience myself. But if the latency truly is only 1ms, then latency being the cause of the "disconnected" feeling does not seem plausible to me. I'm convinced it must come from something else.

 

I've compared a friend's tube rig with my HD500 through a nice FRFR PA speaker, and I perceived a difference, but there are soooo many factors that it doesn't make sense to me to try to assume which one(s) cause that difference. It could be any combination of:

 

- Accuracy of modeling (especially "sag")

- Cab type and number of speakers (4x10 vs. 1x8 or 1x10)

- Latency (though I don't think it's likely; 1-foot distance, as you said)

- Speaker breakup on the traditional cab, vs. clean speaker playing the *sound* of that on the FRFR system

- Different settings on the amp/amp model

- Difference between which amp was modeled and which real amp is used

- Placebo effect/confirmation bias

- Dozens of other things I haven't thought of

 

So while I did experience a difference, I feel like it would be a mistake to think that I know the precise cause(s) of that difference. There's no practical way to control the variables.

 

That's like comparing a wood-paneled 1987 station wagon to a brand new hot-rodded sports car, then saying that the wood paneling is what's slowing down the station wagon, and if you just got rid of it, it could win a race against the sports car.

 

Thank you again for further exploring this, md.

 

Out of respect and appreciation of your effort, I'll address each possible cause you mentioned:

 

Accuracy of modeling (especially "sag")

I programmed 4 presets for each amp model - clean, overdriven, distorted and lead. Sag was used perhaps 15% of the time.

 

Cab type and number of speakers (4x10 vs. 1x8 or 1x10)

At least half a dozen cabs were used for the presets, and I did audition all of them many times as I built them.

 

Latency (though I don't think it's likely; 1-foot distance, as you said)

... and yet I did experience it and am determined to not have to go there ever again, such was the frustration that built over time.

 

Speaker breakup on the traditional cab, vs. clean speaker playing the *sound* of that on the FRFR system

The speaker-breakup thing was irrelevant; I did most of the programming using HD25-1s plugged directly into the unit.

 

Different settings on the amp/amp model

All the onboard models were used, each with 4 stages of clean->heavy dist., and all exhibited the problem.

 

Difference between which amp was modeled and which real amp is used

The real amp was a Vox 4w (I think - I borrowed it) combo (the cream one), and yes, it was different from all the models offered in the HD500. I couldn't help that, but even standing 6 feet away the latency difference was a no-brainer. Bear in mind that the L6 was used with headphones as well as my home stereo system, so I'd have thought the h'phone source at least would have compared favourably considering the 6ft distance difference.

 

Placebo effect/confirmation bias

Valid observation, but not in this case. I wasn't looking for anything when I borrowed the amp; my brother insisted I try it out, that's all. I was shocked at its immediacy and therefore its playability, even 'though I'd forced myself to tolerate the HD's delay and at the time was only curious to hear how the Vox sounded. The latency thing couldn't have been further from my mind; I'd blocked it out as a matter of budgetary necessity.

 

Further to this, I'd prattled on and on to my tube-obsessed brother for years about the fact that I was more than happy with how Line6's modelling sounded (except for the fizz and lack of cream in the HD unit). I'd tried to convince him to buy one but couldn't even come close, and that's an understatement of immense proportions. So you see, if anything, I'd convinced myself that the tube combo wasn't going to be up to much. Forgetting the sound, which was sparkly and kinda stellar, I was seriously floored at how much better I played from the first note onwards than I'd ever played before. It wasn't because of the sound; no sound change has ever had that effect on me before. It had to be because of that immediacy I spoke of, at least, that was and still is my conclusion as I've not heard a better explanation. The strings felt as if they had a life of their own, and any touch, scrape, pluck or whatever I did was instantly heard and felt, a far cry from what I'd become "used" to.

 

Dozens of other things I haven't thought of

Yeah, it sure is possible there's something else going on here; I do have an open mind. It's just that I'm no newbie in the playing / writing / recording area, and I know latency when I experience it. Just as you did, I considered all the other usual suspects, and it simply had to come back to this. I mean, if you chug along playing muted, precise picking, and you hear a time interval between your action and the resulting sound, IMHO that can be nothing if not latency, and that is indeed what happened... with all amp models. Whilst I had FX programmed for all the presets I mentioned earlier, I didn't dare use them for fear of exacerbating the problem.

 

In a way I feel bad that I hadn't asked about this years ago; that way I'd at least have had the option of working through it with you. The horse has bolted already, I'm afraid. My first notes through the Kemper produced that same sense of immediacy I spoke of, and there can be no question of this. My tube-obsessed brother had the same experience. He's selling his JVM410H, which he's sworn for years he'd keep for life and that it was the only amp he'll ever need. Ironic, really, 'cause my mission to convert him to the digital side of things, hopeless as it had seemed after many years of pushing it uphill, was literally accomplished in seconds when he played his first few notes. For the record, I was 4ft away from my Opals, so there was 7ms total delay time - 4 through the air and 3 from the Kemper (2.5 probably, but I'm happy to be conservative). He sat roughly 7ft away for a total of around 10ms.

 

Your 1ms figure is truly food for thought. I'm confident I'll / we'll figure it out eventually, not because it matters anymore, but 'cause I just don't like not being able to explain things, as I suspect you do too!

 

Once again, thank you for all you've done, md!

Nicky

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What about old Variaxes compatibility with Helix? (Variax Bass, Variax 700, 600, 500, 300, acoustic)

 

Not right away, unfortunately. Helix 1.00 officially supports JTV and Variax Standard only.

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Well, thanks for your kind response but I would have preferred something more concrete.

"Not right way" sounds as if it could still be some hope that someday be supported... or maybe not at all. So I remain as ignorant I was.

Anyway, I think it's probably time to sell my beloved Variax Bass 705. There have been many years together, but do not even know what I could do if a piezo fails, not to mention the electronics.

If Helix does not support the old Variaxes, it is expected that many of these will be sacrificed on ebay along the PODs HD in order to buy the new toy.

 

This is how the planned obsolescence works, I suppose.

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keep in mind, he can't say/commit to any future plans publicly....

"not right away" means there's a good chance that it's been considered for future and not ruled out at this time....

 

for all intents and purposes i take that to mean "more than likely"

but clearly he knows more than i do... and can say more than i can... but also can't say what he can't say :D

glad i cleared that up :D

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Can I use Helix to for vocal effects with a microphone?

 

Oh yes. The mic pre is the same one from StageSource M20d.

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One of your competitor's products, (the big K) has a parameter called "headphone space" that adds some room simulation to the headphone out, this really helps tame the harsh sound that distorted guitars have through headphones. Does the Helix have a similar option for its headphone out? Thanks.

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Oh yes. The mic pre is the same one from StageSource M20d.

 

This is sweet as.

 

So, would it be possible in one bank, to have certain footswitches engage guitar FX, and others to engage vocal FX?

 

And this leads on to the ultimate question.... is there a TalkBox-style setting...? :D

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Yes - you do that on an HD500 as well

 

No - Talk Box requires small speaker pushing air up a tube into your mouth and then you gurn to shape the sound which is picked up by a microphone sent to the PA. No built in speaker and tube for you to dribble down on the Helix, but you can easily add one on an FX loop.

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I'm currently using an M13 that I send into two amps (Orange Rocker 30 and Koch Twintone II). I'm considerating buying an Helix to replace my M13.

 

I saw the effect list, and saw no mention of Lo Res Delay. Is there any equivalent to the M series Lo Res Delay in the Helix?

 

Thank you for your answer.

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Also, is there some good EQ with a Q setting to achieve what we can do for example with a ParaAQ (http://empresseffects.com/products/paraeq) and have a really thin frequency range affected? 

 

Yes. The normal Parametric EQ has three fully parametric bands with high and low cut filters. It's also available as a Global EQ.

 

I saw the effect list, and saw no mention of Lo Res Delay. Is there any equivalent to the M series Lo Res Delay in the Helix?

 

Not sure how equivalent it is, but you can approximate things with two or more block locations. A dedicated low res block is #1 on my personal, super-selfish model wishlist.

 

So, would it be possible in one bank, to have certain footswitches engage guitar FX, and others to engage vocal FX?

 

Yes. Your guitar and vocal signals can have discrete inputs, processing, control, and outputs.

 

One of your competitor's products, (the big K) has a parameter called "headphone space" that adds some room simulation to the headphone out, this really helps tame the harsh sound that distorted guitars have through headphones. Does the Helix have a similar option for its headphone out? Thanks.

 

Hmmm...

 

Actually, yeah, you can do this, but it's not a global feature. You'd split off a parallel path right before the output block (set to XLR) and route it through any reverb and then out the 1/4" outs. Then set the Global Settings > Ins/Outs > Headphones Monitor to "1/4" Outputs". This lets you to set up special headphone mixes with any blocks.

 

Or swap the XLRs and 1/4" outputs in the above scenario.

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Thank you Digital_Igloo.

 

Great for the EQ.

 

Hope Lo Res Delay will be added in the future.

 

A last question. Or a few last questions while we wait for the manual :)

 

- Is it possible to have the expression pedal simulanously control several parameters of several blocks as it is possible in the M series? (for example the mix/feedback parameters of several delays)

 

- Will most of the expression pedal be compatible with the Helix? (for example this one: http://www.moogmusic.com/products/accessories/ep-3-expression-pedal)

 

- When we load a preset, if we don't move the expression pedal(s), what is the behaviour? Is the preset initialized with the last known value of the expression pedal, or is it loaded with the value when we saved the preset, and stays that way while we don't move the pedal? That was a problem with the M-series for me. I ended controlling the M13 via a Midi controller and having the expression pedal value manualy set at each program change. If it's still the case, is it still possible to set the expression pedal current value by MIDI signals?

 

Again, thank you.

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- Is it possible to have the expression pedal simulanously control several parameters of several blocks as it is possible in the M series? (for example the mix/feedback parameters of several delays)

 

- Will most of the expression pedal be compatible with the Helix? (for example this one: http://www.moogmusic.com/products/accessories/ep-3-expression-pedal)

Yes. Each Helix preset can have up to 64 controller assignments, so the expression pedal could potentially control all 64 parameters at once. The only other limitation is that each footswitch can be assigned to up to eight things, including block bypass (latching or momentary), controller (latching or momentary), or Command Center assignment (latching or momentary).

 

We've tried it with several (Line 6, Mission, BOSS, etc.), but I understand that there are still a lot of weird expression pedals out there. Currently, there's no compensation for resistor value or polarity.

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