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Okay, it still works. Instead, set 1A's Input block to Multi (which includes both Variax and your wireless Electric via the Guitar In jack), and 2A's Input block to Variax Mags.

 

The separate output blocks for your IEM feed need to be fed by a path, which precludes parallel processing on said path.

 

I'll keep thinking about it. Maybe there's a way...

Ok, cool thanks.

 

But the IEM only needs to be on on Path, right? Making it possible to run dual amp and or parallel FX on the other path?

... Side question.... Can You, on the same main path e.g. Path 1 use f.ex. block  2 and 3 on path 1B for dual amp, Go back to 1 A for a few serial blocks, then do a new split to 1B to run a delay in parallel with a reverb?  

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But the IEM only needs to be on on Path, right? Making it possible to run dual amp and or parallel FX on the other path?

 

The trick is that you need to monitor three inputs (Multi [Variax+Guitar], Variax Mags, and FOH Return), mix them all to one output, but mix only two of them to another output. Therefore, the IEM feed needs its own path, no matter what. If you didn't need separate processing for the Variax Mags, you could route Path 1A (with or without parallel processing) to 2A and use 2B for your IEM feed. So it looks like you either get one parallel path with IEM feed or two serial paths with IEM feeds. Again, there might be a workaround involving Send/Return patching. Will have to take another look later.

Can You, on the same main path e.g. Path 1 use f.ex. block  2 and 3 on path 1B for dual amp, Go back to 1 A for a few serial blocks, then do a new split to 1B to run a delay in parallel with a reverb?  

 

Yep. Each path gets only one split, but you sort of get a third split between Paths 1 and 2 (by routing 1A and/or 1B to both 2A and 2B).

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Quick question - and probably a dumb one, but hey-ho - how exactly do you set up the outputs and inputs for a 4CM going into the amp's FX loop? I'm guessing it's two 'streams' on the Helix - one that has the guitar in and mono output as 'front of amp' (so things like tuner and wah are there), and a second 'stream' that has the send and return ina nd out going into teh amp FX loop, with all the other stuff in there such as delay and reverb....?

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Go to YouTube and search for a 4CM video on the POD HD500. That will give you the basic setup, which you have a good idea of.

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Question about midi mapping.  I'd like to assign tap tempo from Ableton, to the tap tempo switch on Helix, so my on board tempos match my ableton tempos with that one switch.  I belive I read that the tempo switch on Helix is dedicated, can I assign another function to it to accomplish this goal? 

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Question about midi mapping.  I'd like to assign tap tempo from Ableton, to the tap tempo switch on Helix, so my on board tempos match my ableton tempos with that one switch.  I belive I read that the tempo switch on Helix is dedicated, can I assign another function to it to accomplish this goal? 

 

You can still assign MIDI commands to the tap footswitch. So you could easily assign whatever CC Ableton needs for tap tempo and have them sync up that way.

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Now we're cooking with gas!

 

I just read it tip to tail; the ease of controller assignments (buttons and EXP pedal) and MIDI functionality for sending CCs and program change messages looks great. As does auto-learn for assigning an incoming CC to a controller assignment.

 

The A/B split, along with adopting a different way of working kind of makes up for the lack of scenes, though it still doesn't look as straight forward as "this button = that state" that you get with scenes. Multiple blocks/params per button is great, but it's still not a direct replacement.

 

But I really, really hope Line 6 implements Global Blocks in the Helix. I realize it's not the typical use scenario with this kind of gear, but having the same amp (or amp+cab) settings linked across a number of presets is pretty typical of a real-world scenario where you have one, real, physical amp sitting behind you on stage. I'm not going back to a rack-mount preamp or back to carting around a heavy tube head (and all the cabling) to get that however.

 

I am a bit dissapointed in the limited adjustability of the amp models though. I guess they follow the same/similar settings that were offered on the PODs. Maybe it's a good thing though; dial up an amp, make some basic adjustments, and play for f--k sake! Sometimes I get to thinking all the esoteric amp settings in the Axe-Fx are for people who aren't really playing music, but rather playing "tone". Listen to that tone man! Nice, now how about you write and perform some original music with that fancy box.

 

Overall though the UX of the Helix looks phenomeal! It looks like it's really intuitive and fast to make changes, assign controllers, modify routings, etc. Assuming the interation is pleasant, the buttons feel good, the knob "rates" feel right, screen changes are snappy, then this will defintly be the unit with the best interface out there.

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You can still assign MIDI commands to the tap footswitch. So you could easily assign whatever CC Ableton needs for tap tempo and have them sync up that way.

Note that the Helix does NOT have MIDI clock sync though, in case you ever want to synchronize the Helix's looper to Live clips, or ensure that the down beat is syncronized between Live and the Helix. Tapping on Helix's tempo button will send taps (via the assigned CC) to Live and set the same BPM, but there's no guarantee a metronome out of Live and the tap-temo LED on the Helix will match up. Also, Live's tap-tempo rounds up/down into integer BPMs; Helix may lock into 0.1 BPM when you tap-tempo.

 

Page 43 of the manual mentions a BPM resolution of 0.1. Does this mean if one taps a tempo into the Helix, it will read something like 119.7 BPM? Or will it round that to 120 BPM?

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Page 43 of the manual mentions a BPM resolution of 0.1. Does this mean if one taps a tempo into the Helix, it will read something like 119.7 BPM? Or will it round that to 120 BPM?

My understanding of the way that is worded is it will read something like 119.7 BPM(as per your example)

I would be quite surprised if it turned out to mean something other than that.

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Note that the Helix does NOT have MIDI clock sync though, in case you ever want to synchronize the Helix's looper to Live clips, or ensure that the down beat is syncronized between Live and the Helix. Tapping on Helix's tempo button will send taps (via the assigned CC) to Live and set the same BPM, but there's no guarantee a metronome out of Live and the tap-temo LED on the Helix will match up. Also, Live's tap-tempo rounds up/down into integer BPMs; Helix may lock into 0.1 BPM when you tap-tempo.

 

Page 43 of the manual mentions a BPM resolution of 0.1. Does this mean if one taps a tempo into the Helix, it will read something like 119.7 BPM? Or will it round that to 120 BPM?

 

Yeah, there isn't a MIDI clock sync on Helix right now. I imagine it's only a matter of time before it is implemented given that even the POD HD has it, but at launch, it's not there.

 

When you tap a tempo into Helix, it does indeed set it to the nearest tenth of a BPM. If Abelton Live does round up or down to the nearest integer, I suppose that could cause some inconsistencies. Like you said, too, there will always be some slight difference when you have two clocks going. I've found that if it's just syncing two delays or modulations together, it generally works OK unless you're dealing stuff with really long tails. If you think about how you use a delay effect, for instance, you're constantly resetting it whenever you hit a chord. So even if the two effects are off a little, you generally don't let them ring out enough to hear them get off. It's possible, though.

 

I've often synced delay pedals the low tech way on my pedalboard - tapping in the tempo separately into each pedal - and it's been close enough for rock and roll, as they say. I would think tying two tap tempos together with MIDI, even it is imperfect, is going to at least be better than that.

 

As far as syncing the looper, the looper isn't tied to BPM in anyway. It is completely independent of tempo. DI mentioned it somewhere, but basically the memory architecture of a device like the Helix and a dedicated quantizable and tempo-based looper are pretty different. So it might just not be feasible to ever expect that type of looping from the Helix.

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My understanding of the way that is worded is it will read something like 119.7 BPM(as per your example)

I would be quite surprised if it turned out to mean something other than that.

Yeah, that was my hunch as well. That also corresponds well with the ability to switch the display of various parameters between BPM and msec.

 

The whole lack of MIDI clock sync with the Axe-Fx was a big show stopper in my initial approach to sending a metronome (from the Axe Fx) to our drummer, and synching the looper, the metronome, and Live all together. In my case, the BPM resolution issues didn't even surface - the two systems were so out of sync on the down-beats that it was dead right out of the gate. I was dissapointed to see that Helix also doesn't sync to MIDI clock :-(

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Yeah, there isn't a MIDI clock sync on Helix right now. I imagine it's only a matter of time before it is implemented given that even the POD HD has it, but at launch, it's not there.

 

When you tap a tempo into Helix, it does indeed set it to the nearest tenth of a BPM. If Abelton Live does round up or down to the nearest integer, I suppose that could cause some inconsistencies. Like you said, too, there will always be some slight difference when you have two clocks going. I've found that if it's just syncing two delays or modulations together, it generally works OK unless you're dealing stuff with really long tails. If you think about how you use a delay effect, for instance, you're constantly resetting it whenever you hit a chord. So even if the two effects are off a little, you generally don't let them ring out enough to hear them get off. It's possible, though.

 

I've often synced delay pedals the low tech way on my pedalboard - tapping in the tempo separately into each pedal - and it's been close enough for rock and roll, as they say. I would think tying two tap tempos together with MIDI, even it is imperfect, is going to at least be better than that.

Yeah, totally agreed in the case of regular delays and similar. With normal delay tails you'll always be close enough, and there's no issue with the downbeat alignment since, as you said, you're always "resetting" the measure alignments with your playing. All this BPM and down beat stuff starts to be a big issue though when you're triggering clips in Live, sending a metronome to a drummer, using your tap-tempo light as a metronome, etc. Sometimes I think "what am I doing with all this garbage? Just plug your guitar into an amp and rock out!" heh. It's fun to explore that technology though, and pull some electronic music elements into the rock world. I draw the line at Auto Tuned vocals though ;-) we aint no hip-hop rock band.

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So I just finished watching the 2 hour unboxing and demo on Youtube.  It sounded really good and the patch switching times were incredibly fast for a modeler.  Also, boot time was right around 22 - 24 seconds.

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The trick is that you need to monitor three inputs (Multi [Variax+Guitar], Variax Mags, and FOH Return), mix them all to one output, but mix only two of them to another output. Therefore, the IEM feed needs its own path, no matter what. If you didn't need separate processing for the Variax Mags, you could route Path 1A (with or without parallel processing) to 2A and use 2B for your IEM feed. So it looks like you either get one parallel path with IEM feed or two serial paths with IEM feeds. Again, there might be a workaround involving Send/Return patching. Will have to take another look later.

 

 

 

 

Yep. Each path gets only one split, but you sort of get a third split between Paths 1 and 2 (by routing 1A and/or 1B to both 2A and 2B).

 

Maybe I'm over complicating things... Maybe I could just use headphones out set to multi, split it with a y cable and use a small mixer like the Yamaha mg06 to mix the helix with the aux from FOH and send te output to to IEM. What do you say guys???

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Maybe I'm over complicating things... Maybe I could just use headphones out set to multi, split it with a y cable and use a small mixer like the Yamaha mg06 to mix the helix with the aux from FOH and send te output to to IEM. What do you say guys???

 

Well, that would be less fiddling around in your presets. The drawback to doing all the routing noted before is that you'd have to set every preset you use at a gig up that way. Using a small mixer to take care of your IEM makes more sense to me. It also frees up the Helix to do other cool stuff.

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Maybe I'm over complicating things... Maybe I could just use headphones out set to multi, split it with a y cable and use a small mixer like the Yamaha mg06 to mix the helix with the aux from FOH and send te output to to IEM. What do you say guys???

That's what I did in 2012, with a small Mackie ProFX8, only I wasn't using IEM, but two wedges.

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So I just finished watching the 2 hour unboxing and demo on Youtube.  It sounded really good and the patch switching times were incredibly fast for a modeler.  Also, boot time was right around 22 - 24 seconds.

Interesting that it takes that long ("long") to boot. My Axe-Fx unit boots in a couple seconds. But really, at least for me, 20-30 seconds is plenty fast enough. I want to want a Helix, but I think I need to hold out with the hope that certain features are added. Jesus, I sound like a broken record at this point.

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You can still assign MIDI commands to the tap footswitch. So you could easily assign whatever CC Ableton needs for tap tempo and have them sync up that way.

NB: I noticed last night in Ableton Live that mouse tap-tempo locks to integer BPMs, but external tap-tempo via MIDI revolves to 1/100s BPM.

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Maybe I'm over complicating things... Maybe I could just use headphones out set to multi, split it with a y cable and use a small mixer like the Yamaha mg06 to mix the helix with the aux from FOH and send te output to to IEM. What do you say guys???

I use this 

PM351_Large.jpg

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1. Yes, the 4 cable method works great. The nice thing is that it's really easy to set it up with the Helix. You don't have to mess around with setting levels to compensate for anything, and there was no noise. It just works.

 

2. Yes, you can assign multiple effects to the same footswitch, and you can actually use a custom color for the ring around the switch and create a custom label for the scribble strip above the footswitch. Beyond that, the other thing that is really nice is that you can assign control functions to footswitches. So let's say you had a patch with a distortion pedal and delay on, but you wanted to change the drive level of the distortion and increase the delay mix level during the chorus. You could assign both the distortion drive level and delay mix (and really any other parameters you wanted) to a footswitch. You could even change the behavior of that footswitch to be momentary instead of latching if you want. So the flexibility and usability is through the roof. It's really just limited to your imagination.

 

Oh, and btw, you can actually assign multiple effects to one footswitch on the HD500X, too.

 

Hello Line 6 expert (Uber Guru) 

 

At this line is the POD HD500X 4 cable method the same for the Helix Line 6????

 

http://guitargearfinder.com/guides/use-four-cable-method/

 

Byron Nemeth

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At this line is the POD HD500X 4 cable method the same for the Helix Line 6?

Sure, except Helix can also do 7 cable method with two amps, 10 cable method with three amps, or 13 cable method with four amps.

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Where can we submit performance videos of the Helix in action please?

 

 

You can always post links here.  :D

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As I don't want to make any assumptions....  Can the expression pedal control more than one parameter at a time?

 

Specifically I'm looking to create a very specific effect that uses Delay and Reverb and also some control over levels and feedback...  the controller would adjust the Frequency of the delay as well as the level of Reverb and it may need to have a couple of other of the parameters tweaked at the same time.    Basically..  creating a Hyperspace Pedal if you know what that is.

 

Again. to be clear.. not switching between paramaters.. but as example... as the pedal moves it slows down the delay's frequency, and increases the reverb's depth.

You may have some unexpected results from changing the delay lengths while holding a note or when delays are stil repeating. On my 500, it causes pitch changes as you sweep the pedal. It should be fine if you make the changes during a quiet moment.

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You may have some unexpected results from changing the delay lengths while holding a note or when delays are stil repeating. On my 500, it causes pitch changes as you sweep the pedal. It should be fine if you make the changes during a quiet moment.

 

LOL.. Thanks the "causes pitch changes as you sweep the pedal" is somewhat the point of the Hyperspace effect.  ;)

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Does Helix send out different MIDI messages for Stomp, Looper and Patch Select modes? The HD500X sends out a fixed set of MIDI messages when the Looper switch is on. This can be used to get send different MIDI messages by using the Looper switch as a "mode" switch allowing the same footswitch to do different things depending on the mode. I used this for example to control MainStage. When the Looper is on, MainStage maps the fixed MIDI CC messages to its internal looper. When the Looper is off, the footswitches send the configured CC messages which are mapped SmartControls associated with a MainStage track.

 

I'm hoping Helix behaves the same way and can provide the same capabilities.

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I have a question about the Slipt Crossover function:

Does it work polyphonically? Meaning, could you set up a tone for your bass strings and another for the trebble strings and do chords with it?

I'm imagining a jazz scenario with an octaver for the low-E and A strings for walking-bass comping. I think the GT100 had this feature, but it would get all crazy when you tried doing chrods with it.

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I have a question about the Slipt Crossover function:

 

Does it work polyphonically? Meaning, could you set up a tone for your bass strings and another for the trebble strings and do chords with it?

 

I'm imagining a jazz scenario with an octaver for the low-E and A strings for walking-bass comping. I think the GT100 had this feature, but it would get all crazy when you tried doing chrods with it.

 

It works polyphonically in the sense that there's no actual pitch tracking taking place, so there's no artifacts or glitching on anything like that. It works like a crossover in a PA system. It sends audio below the set frequency and above the other. It's not exactly a hard cutoff, though. Also, each string on your guitar is going to be producing all sorts of overtones, so it's not going to be a perfectly clean split. But, you could still set it up so each path had different effects, and it would probably sound OK. It would be a cool way to emphasize the bass notes more.

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yes

 

Can you set up the Helix to switch between patches instead of blocks with the foot switches?

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1) What is the unit gain setting?

 

Helix has Vol control on the front panel, channel vol and mixer level.....

 

2) I use Helix with a L2T. Should it sound better with 1/4" or line 6 link cable?

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This question is regarding the Trails option in the FX Loop Settings as a workaround for spillover.

 

If I have Trails set to On for an FX loop in a preset, does that mean that the Return is always active?  Or does Helix ignore signal coming into the Return until the Send is activated?

 

I am planning to use an external delay pedal with the Helix, and I thought that this might be an interesting way to achieve spillover.  Say for example that I have 2 presets with the same stereo FX loop and Trails On.  I'm playing through preset 1 with the Send engaged to use my delay pedal.  When I change to preset 2, the Send is not active but I still get spillover through the Return coming from my external delay.  Is that doable?

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I have not seen these items addressed specifically in any of the demos...   

 

 

Audition:

Do the effects audition as you scroll through them?   This is to ask... as example... If I'm going to add a distortion pedal to a block....  but I'm not sure which one I really want....  can I rotate through the different distortions without actually selecting one right away just to get an idea of it's tone?   This is really helpful and maybe more helpful with amp and cab modules.    I used to have a Vox Valvetronix and it was great to set up the effects I wanted, and then just roll through different amp models without having to commit until I found the one I wanted to use.

 

 

EQ:

Are any of the EQ's customizable ?   Specifically..  is the center frequency of each band of EQ programmable.  or as I'm not really familiar.. maybe the question is....   How many bands is the "Line 6 Original" or can you make it as many bands as you need set to the frequencies that you need?

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I have not seen these items addressed specifically in any of the demos...   

 

 

Audition:

Do the effects audition as you scroll through them?   This is to ask... as example... If I'm going to add a distortion pedal to a block....  but I'm not sure which one I really want....  can I rotate through the different distortions without actually selecting one right away just to get an idea of it's tone?   This is really helpful and maybe more helpful with amp and cab modules.    I used to have a Vox Valvetronix and it was great to set up the effects I wanted, and then just roll through different amp models without having to commit until I found the one I wanted to use.

 

 

EQ:

Are any of the EQ's customizable ?   Specifically..  is the center frequency of each band of EQ programmable.  or as I'm not really familiar.. maybe the question is....   How many bands is the "Line 6 Original" or can you make it as many bands as you need set to the frequencies that you need?

 

Audition:

Before scrolling through the effects over the currently selected block, copy the block first. That way when you want to go back to what you had before just paste it.

 

EQ:

The simple eq has an adjustable mid frequency and the parametric eq's frequencies are adjustable.

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Audition:

Before scrolling through the effects over the currently selected block, copy the block first. That way when you want to go back to what you had before just paste it.

 

EQ:

The simple eq has an adjustable mid frequency and the parametric eq's frequencies are adjustable.

 

So I'm not sure I was clear enough...

Audition:  The copy idea sounds great.. but more simply asked... If I send a signal in... maybe a guitar part from the DAW looped.... can I just scroll though the amp options (as example) or do I need to actually SELECT an amp option, listen, then SELECT another amp option, Listen etc...

 

EQ:

How many bands are on the simple and parametric EQ's ? and can you add more?  

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