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Showing content with the highest reputation on 11/16/2019 in all areas

  1. 2 points
    Wow...this is really turning into a convoluted discussion with a lot of weird stuff which really suggests you may need some training for the folks running your PA mixer. First, and foremost, there are NO mixers on the market that have a separate trim/gain for auxes. Trim/gain is the first thing a signal encounters when coming into a channel on the mixer and is used to simply adjust the input signal so the signal levels are equal across all channels and then passed on to the rest of the channel strip so that they can be mixed appropriately for the FOH via the faders or the monitors(aux) via the Aux output level for each Aux output. Trim/gain is NOT for setting output volumes, only for equalizing the signals across all channels. So the fact that you were sending in a hot signal compared to the other guitar players makes sense if you were sending a LINE level signal as that's significantly hotter than the MIC level coming from an actual mic on a cabinet. In the end that doesn't matter as long as you're sending a signal that's not clipping. Lowering the gain/trim doesn't affect anything other than make your incoming signal match the other guitar players who are sending MIC level signals. This is the reason I always send my XLR output at MIC level so as to avoid any confusion at the board as all other signals coming into the mixer are likely at MIC level. Loudness is a completely different thing than signal level as that's what results from adjusting the output faders on the board or the aux outputs. All you really need to control at the Helix is a to send a non-clipping signal from the Helix. And that's done by not building up too much volume in the course of your Helix signal chain. It's still important that all of your presets and snapshots are roughly in the same output range whether that be by a loudness meter or by managing the output signal strength using a signal meter on a mixer. I have my Helix set up so that the Helix big knob volume is disengaged from the XLR output and only controls my 1/4" output to my stage monitor which is sent at LINE level to the monitor. That means I'm sending a signal to the board that's equivalent to having the Helix volume knob at full volume. However because it's set at MIC level signal it's not that much different than any mic coming into the board and it's gain/trim adjustment is fairly close to all other inputs all of which tend to be fairly close to unity or 12 o'clock on the gain/trim knob. But I can see why you were shocked when I said I target around -6 db when setting up my presets. That's measured as the signal level coming into a mixing board not as loudness which is db SPL (Sound Pressure Level) which is what you're measuring and that only really relates to output. Bottom line the thing you need to get away from is thinking of the gain/trim knob as a volume adjustment. Although it can have that affect if it's misused, that's not what it's for. Send an appropriate non-clipping signal form the Helix at MIC level and adjust FOH and in-ears via the output faders or aux output knobs and you'll be fine. Other than that, get some training for the people working the board because they clearly don't understand these basic concepts in running a live board. By the way, if you're worried about phantom power on your XLR, simply connect a phantom power blocker on your XLR output line. They're cheap and will protect you from any phantom power applied to your channel...and MUCH smaller than a DI box.
  2. 2 points
    Really? Adjusting the trim causes problems for the sound technician(s)? I'm at a loss for words...
  3. 1 point
    That should work perfectly. Just leave the trim set for the other player then lower your global EQ level so it works for you as well. It is strictly my opinion, but I think you are boosting far too much (+12db) at that global EQ.... bringing that down would be a good thing in the long run. PS: I now understand why it's an issue going back and forth... having "in ear mixes" at play. Thanks for clarifying that!
  4. 1 point
    Yes, another, very interesting tool in the kit - thanks again for the pointer. I blush to admit it, but I don't think I'd even noticed that it had appeared until you flagged it up. What's more, I doubt I would have figured out what it was good *for* without some help :-)
  5. 1 point
    The TILT has a frequency shift control that can take care of things like this. The default setting is a great starting point and would work for most, but it's there when you need it. Just to clarify.... I don't find the Tilt to be a replacement for good hi/lo pass filters.. I use it mostly to simulate the mic placement. It's just another tool in the bag of tricks.
  6. 1 point
    I haven't had any problems with my UX1 ever since I disabled it from being default audio playback source in Windows, which would be quite stupid anyway in my use, since I want it to assist me with playing and recording, not playing random Windows bleeps. I'm only using it with ASIO. The random sounds and generic multimedia goes through on-board soundcard. I have the latest drivers installed, POD Farm, Monkey, all of it. No problems so far. Apparently ASIO model doesn't change much, or they take car of backwards compatibility.
  7. 1 point
    I get where you're coming from. I was initially frustrated, then realised ctr-s saved to the current slot with no dialog (or mouse click - whoo hoo). I now love using it as per rd2rk's post.
  8. 1 point
    My complete and utter indifference cannot be measured with existing technology...;)
  9. 1 point
    I've been experimenting with this too. It works better with some amp / cab combinations than with others as sometimes the low frequency boost is too much. It's really good to have an alternative, fast, one-stop EQ to the High/Low Cut block though. I'm slowly working through patches A/B-ing between the two to see which gives the best results. Definitely a good tip :-)
  10. 1 point
    I don't know the answer but am in a similar boat. JTV-69, HD500x, DT50 and my DT50 is really showing its been on the road. Both grill and tolex have rips and tears. Now that I'm home it would be nice to be able to make it look new again. I'm considering swapping out my LINE 6 logo on the DT50 for a Bogner logo, too, while I'm at it, because I'm just that kind of cheeky bastard
  11. 1 point
    Well, having suggested the damn thing, a few of the best sounds I've dialed in so far: Diezel Fusion Lead Amp: Deity Crunch (Diezel VH4, Channel 3 "Mega') Cab: 4x12 Brit V30 Bass: 4 Middle: 7-8 Treble: 5 Gain: 7 Presence: 50% Diezel Legato Lead Amp: Deity Lead (Diezel VH4, Channel 4 "Lead") Cab: 4x12 Brit V30 Bass: 6 Middle: 7 Treble: 5 Gain: 7 Presence: 50% Shawn Lane Lead Amp: both Diamond Tread (Mesa/Boogie Triple Rectifier) and Bomber X-TC (Bogner Ecstasy) have provided good results Cab: Tread 4x12 (Mesa/Boogie) or Line 6 4x10 (Bogner) Bass: 2-4, to taste Middle: 8-9 Treble: 2 Gain: 8-10 Presence: 40% Delay 1: Digital, mix 30%, speed 305 ms, feedback 39% Delay 2: Digital, mix 25%, speed 845 ms, feedback 39%
  12. 1 point
    For some reason I had completely overlooked the Tilt EQ until I read this. Now it's my best friend! Thanks for the tip!
  13. 1 point
    I set my Helix the same as @DunedinDragon and set my XLR Outs to MIC. Since I don't use my Global EQ for any room correction, I re-purpose it as a PAD on the XLR Outs... very useful if you have to work with many different techs and systems. This is accomplished by assigning the Global EQ to XLR only, leaving all EQ settings flat, and only adjusting the output level of the EQ. Normally I leave it set to -10 and it provides enough reduction to make most techs happy when/if they request a PAD.
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