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  1. 6 points
    They're both outstanding units but neither will sound outstanding until the user has learned to use them in enough depth to dial in the tones that they are aiming for. EDIT: I've just now watched the video that SaschaFrank posted above, and the chap there says exactly the same thing, so clearly must be correct :-)
  2. 6 points
    In my opinion, those who successfully embrace FRFR are those who don't need it to have an "amp in a room" feel. I wanted an FRFR in the room feel ... and it did that perfectly. Powercab is your best bet, but if you really want an amp in the room, it's a scientific fact you need to place an amp in the room.
  3. 5 points
    Opinions? Easy: I'm never going back to analog again. I've been trying to achieve the sounds of my guitar heroes (and the sounds i hear in my head) with analog gear for 26 years now, without success. And let's not talk about how to bring that on stage, because that's another vast can of giant worms. :) Digital gives me everything i've dreamt about: i can now sound exactly* like the recordings i'm used to. Vai, Holdsworth, Robben Ford, and even a bit of those Alex Argento and Jens Johansson dynamics - all within the reach of my toes, consistent day to day, unit to unit. We live in the future, and i love it. :) *probably not exactly, but it feels like it, and sometimes even better than the original...
  4. 4 points
    Hi Everyone, I'm fairly new here, just got a HX Effects about 4 weeks ago. I wanted to build a simple pedalboard for it, an expression pedal, a drum machine/looper pedal, and a tablet page turning pedal. I still have some room on the board for a wireless receiver and a small MIDI controller in the future. I'm powering the HX Effects with its standard power supply under the board along with another power supply for the other pedals. I did find a power strip with the right plug orientation (https://www.lowes.com/pd/Globe-Electric-3-Outlet-Black-Power-Strip/1000690350) to allow the HX Effects power supply to fit in line with it. I thought I'd share what I built in case others are looking for a simple do-it-yourself pedal board. I'm using my HX Effects with a Boss Nextone amp in 4 cable mode. I saw someone else use braiding to keep their cables nice and tidy so I looked up the method for making a 4 rope round braid on the internet and followed the directions to make a nicely braided cable snake for my board. I'm really pleased with the way it all turned out. The board is made from solid pine wood. The top board is a 1x10 cut to 28 inches long. I used a 1x2 on the front edge to tilt up the board and make room for the power supplies underneath. I had to use a router to make a pocket in the underside of the 1x10 to get the necessary clearance for the power supplies and power strip. If you don't have a router, you'd need to raise the board a little higher with some extra rubber feet. I also added an on/off switch in the power line of the power strip to make it easy to turn the entire pedalboard on and off. Everything was then painted flat black. The power strip and power supplies were attached under the board using silicone caulking to hold them in place. The pedals were attached with velcro and wiring was done with zip tie methods. I've attached a bunch of pictures to show the build. Mark
  5. 4 points
    Mid and upper mid, not high frequencies are what make a guitar tone cut through the mix. Too much HF just makes it sound scratchy and fizzy and poor.
  6. 4 points
    Nobody has ever brought this subject up before. After this many years, I don't think we should start now.
  7. 4 points
    Just a quick "thank you" for adding the Tone Sovereign to the 2.8 update. A clone of the KOT was my last analog pedal on my board and has been the source of my main crunch sound for a couple of years up to now. I did an A/B with the Tone Sovereign and while there is a slight difference, I cannot tell which one is better (and forgot which one I was on after some playing).
  8. 4 points
    I had over 50 years of playing with tube amps and personally going all digital has given me all the things I could never accomplish effectively with my tube amps. But that's probably due in large part to playing a very wide range of styles from blues, to rock, to jazz, to rockabilly, to funk...etc. So for me, bringing a polished studio sound into the live environment was what I always strove for and was never able to achieve effectively with tube setups, especially when it came to mic'ing the amps to achieve that finished studio sound. For me, this was a one stop shop for getting what I've always wanted.
  9. 3 points
    So be it... if that's what you "have to do" then you have to work with it. I try to pick my battles... this wouldn't be one of them. IMO... this is how I would approach it... Save all the presets you use into a new location with the cab/mic modeling disengaged. (leave the amp model engaged). This way you are not messing with your real presets. Global Settings: Set the 1/4" output to "instrument level" (this can change later if needed) Global Settings: Set the Volume Control to 1/4" outputs only TURN DOWN THE HELIX VOLUME FOR NOW! Keep everything on the marshall turned down... if the Master Volume is needed turn it up to at least half. I suggest this because you want to make sure the power in the Marshall stays clean - allowing the Helix to do it's job.... adjust as needed, but I'd start with it fairly high. Now turn up the Helix as required for the show. If you find you have to run the Helix too loud, turn the master MV up more. NOTE: Unlikely, but If you cannot get enough volume from the Helix.... turn it down then set the Global > 1/4" outputs to LINE and slowly turn up the Helix again. It will be a lot louder!
  10. 3 points
    This whole thread seems like an absurd comparison to make in the first place. The Helix and the Axe-FX III are separated from each other by over $1600 if you include the required additions of a foot controller and expression pedal. The four processors in the Axe-FX III and probably some of the other components are superior to the Helix as you would expect in a device that is so much more expensive. There is substantially more processing muscle in the Axe-FX III than the Helix. To me it comes down to which features you value most, what kind of UI you prefer, and whether you are willing to spend an additional $1600 for a setup that probably does have a better sound (provided you even have the ears to detect it) and more tweakable parameters than the Helix. I generally don't bother trying to convince myself that devices separated this dramatically in price are just as good as each other. I know it's heresy here but they probably aren't. I'll admit it is somewhat comforting that even with the price differential there are still some things the Helix does better. Just happy to have the Helix. It does an incredible job and offers an amazing amount of features and flexibility at its price point. I don't expect my laptop to do everything a Cray super computer does either, nor did I have to spend millions on it and my laptop does fit nicely on my desk and doesn't require 10% of the Hoover dam's electrical output to run. Suits my needs and budget.
  11. 3 points
    Any parameters you want to have change per snapshot have to be assigned to a controller. If you only want them to change with snapshots, assign them to the Snapshot Controller. On the unit, the shortcut to do that is to push and turn the knob under the parameter. You'll see the parameter turn white. Now you can assign a different value in each snapshot. As far as leveling different snapshots, there's a number of different ways you could do it, but I think the easiest way is to assign the Level parameter in the Output block to the Snapshot Controller.
  12. 3 points
    Sabrett franks are FAR superior to Ballpark franks. Not even debatable.
  13. 3 points
    IMO, you don't get an "amp in the room" from an FRFR. You get a finished sound.... which includes the mic as part of the tone. A poweramp and cabinet will nail down an "amp in the room" but you won't have an FRFR so you can never go down the path if you want to. Most FRFR's cannot turn off the horn which makes it difficult to achieve the "amp in the room". The PowerCab is capable of doing "amp in the room" because many of it's options disable the horn. When those modes are used it is not an FRFR, it is a speaker cabinet with some tone shaping on the speaker alone. The PC is an FRFR when it is set to FLAT or if you have the PC Plus and load up 3rd party IR's... I would suggest looking at a PowerCab Plus. You can control that fully with a Helix and swap settings per preset. That way you can get the "amp in the room" tone when you need it, and you are fully setup to take full advantage of an FRFR at your own pace. If money is a concern, the PowerCab can also do "FRFR" or "amp in the room", but you won't be able to control it per preset from the Helix.
  14. 2 points
    How cheaply can I put together a minimalist (sort of) do EVERYTHING home studio that doubles as a touring rig. Extremely easily provided cheap is relative. And all these amounts are in Australian dollars. Hoping the end result of this journey is useful to any of you wondering how to maximise your setup. So, in some rough order, what I purchased, why, for roughly how much, and what it can do. First purchase was a Line6 Variax JTV-59. Bought it for the ability to use alternate tunings on the fly as I could not afford multiple guitars. It should be noted the guitar modelling was a bonus, not the main reason for purchase. Bought used from a dealer in Brisbane for $1200 Already had the M-Audio Fast Track interface, cost me about $100 from a dealer in Canberra in 2011. The Shure SM-58 was even older, couldn’t swear to it, but I think it cost around $150 new at the time. So now I own: (A) a bunch of completely customisable virtual guitars (electric, acoustic, banjo, sitar, etc) with a bunch of completely customisable virtual tunings. (B) An interface that effectively DI’s guitar (or keyboard if you’re so inclined) as well as vocals with adjustable gain and output. (C) A highly respected industry standard vocal microphone. I won’t bore you with the computer build, but back in 2017, to upgrade my Mac Pro to Mojave REQUIRED the purchase of a Radeon RX580 (specifically this card, I’m not kidding!) Which happens to have 5 Video outputs, And that’s when I started to think about how to set this whole thing up. Anyway, my Mac Pro cost a bit under $2,400 start to finish 18 months ago and should frankly see me through for quite a long time to come. It also runs 3 dummy accounts in the background which feed 3 individual iTunes libraries to different AppleTV’s. Partially why I’m a bit trapped in the Apple walled garden. Please note that I have an extensive background in Apple hardware and software, so I designed accordingly. But this system would work equally well with a PC based setup at significantly less cost, so if you’re a PC guy, adjust the figure accordingly. So that’s $3,600 so far. Not pocket change, but far cheaper than any equivalent multiple guitar setup. Next was the Bass. Always, repeat, ALWAYS wanted the Kubicki. (Stu Hamm you ruined me you horror show of a bassist, LOL!) Way out of my price range, so I cheated. I bought a 30 year old unauthorised Japanese prototype (Google it, it was a pretty much a literal world class screw up in communication) gutted the electronics and bought all original pickups, hardware and electrics directly from Karla at Kubicki. Who had no problem with what I was doing whatsoever, for the purists screaming foul at this point. An absolutely lovely lady who did everything she could to help me realise my little dream. So go buy stuff from her. Anyway, the entire exercise came to $2,200. Again, not pocket change. But hey, for your DREAM vintage bass, with genuine BRAND NEW electronics… well, you do the subjective math. But at the end of the day, this system works with the cheapest bass guitar you’re happy to play, so again, adjust the figures accordingly. So it’s $5,800. And with Garage Band on a powerful Mac, jamming along to iTunes is happening, and the basics are all happening. But I want more… more, more, hahahaha! I then decided on the Helix LT. Why? From a background of pretty much everything electrical, AV, Hi-Fi or IT based from a VERY early age, here’s one of the few across the board statements I subscribe to… “Buy the best you can afford and don’t upgrade until it dies!” This is my second pedalboard. Ever. My first was THE first. The Boss ME-5, and yes I still own it and yes it still works as well as it ever did. THAT”S why. So why Helix and not Kemper, Headrush, Custom Board, etc ad nauseam? A number of reasons. (A) Drives the Variax power and software via a Cat6 Neutrik lead. (B) Effects remain compact, easily accessible, instantly portable. (C) Amp and Cab sims at a top level tier. The Kemper/Helix debate rages, personally I’ve come to my own conclusion that they’re slightly different beasts and if you’re the type who truly needs the n’th level of modelling accuracy then you should probably own both. Or pay more attention to your actual playing and composing than the whole ’tone wars’ silliness. IR’s for cabs are easily used as well. (D) Enough inputs and outputs. My system is for 90% home use, 10% for taking to a mates house. Didn’t see any possible future need for more I/O or scribble strips on the Helix Floor for my application. And I already had a headphone amp and microphone interface. YMMV. So $1500 and a brand new Helix is mine, coincidentally from the same dealer in Canberra I bought the M-Audio interface from all those years ago. I’m in Maitland, go figure. Total so far, $7,300. For any guitar, any tuning, any amp, any cab, any effect in any order, any mic at essentially any distance and all recordable and portable. So fleshing this system out was an ALTO 3000w PMPO (Lord knows what it’s ACTUAL wattage is, I literally laughed when I saw that.) $400 on special. $7,700. Now I’m playing live… figuratively anyway. The balanced headphone amp is not, strictly speaking, necessary. I’ve had it for at least 10 years. There is a 1/4” out headphone jack on the LT, but since I route ALL audio through the Helix, it made sense to use Hi-Fi cans through the balanced amp for listening purposes, and studio cans direct to the Helix for mixing and mastering purposes. Use what you have. And yeah, this is a cheat. Because the monitors were actually given to me by a friend who used to use them in his DJ’ing days in Ibiza (a clever front to cover his 3 year secret mission of ridding the world of cocaine one line at a time... he failed, but we remain thankful of the sacrifices he made for our safety!) :) $200 got me three 19” Lenovo monitors which sit above the main 32”, and a 24” which sits on the desk return with the HELIX. The 32” I’ve had for years. The monitor stand is literally a pice of sanded scrap plank with three $15 Bunnings monitor brackets screwed to it. I got an offcut of 35x90 pine, cut the base and uprights (3. Main upright centered in line with the base crossmember. Screw the 2nd and 3rd upright front and rear to both the main (1st) upright and the base crossmember itself. Creating a 90 x 105 post footprint.) Then connect the monitor board to the main upright at the appropriate height to clear your main monitor and leave just enough space to top mount a webcam. The advantage here is it puts the 3 Lenovo’s at eye height when I play standing up. The webcam is also not necessary, strictly speaking but I owned it and it has obvious uses. And this setup is quite capable of podcasting at a pro level as well. Using Hydrogen as a drum program, says drums, bass, guitar, and vocals, all taken care of. $8000 even. And it could stop there. But lets go for the brass ring! (You’ll see what I did there in a minute) Picked up an LTD EC-10 for $200. Why? Because it’s Gibson (24.5”) scale, same as the Variax, but has 24 frets, for those times you want the high notes. Plus I use it for Rocksmith 2014 on an old x-box 360. Great little learning tool. I then (literally) bolted a $300 Floyd Rose FRX surface mount floating tremolo and lock nut system. (As an aside, I may yet switch to locking tuners, Jury still out.) $8,500 and I now have a backup guitar that does the only two things the Variax can’t. I don’t particularly care about electronics as this guitar is for a different purpose. I also picked up a Schecter bass with bowed neck for $50. Got a luthier going to replace the rod for (quoted $400) at some point because it’s a 32” scale and a 24 fret neck. Exactly the same as the Kubicki. Even the profiles the same. No laminate neck though. :( And I will be setting it up for BEAD tuning. By using Jam Origin’s Midi Guitar 2 Synthesiser software (and Midi Bass 1.2 Synthesiser software) for $150, I can use ANY of my instruments through the Fast Track interface for a dry guitar or bass signal to the synthesiser as either a standalone program (I do it this way to spread out the processing power being used) or if you run less cores it can be installed as a plugin to your DAW. It can also be used in conjunction with the Helix to take advantage of the Helix effects chain. Your guitar or bass is now… well, anything really. Drums, Piano, Keyboard, Synths, Horns (Cause you can’t have a brass ring without a brass section! See!) even further guitar and amp/effect modelling including alternate tunings. $8,700 and into the home stretch. To take advantage of the synth abilities in a live situation, there’s a iOS version, which costs $50USD I think? And can be run with old iPhone direct to the helix. There’s 3 or 4 youtube videos where a guy walks you through it live. See https://www.youtube.com/watch?v=X4K_Kuqdwtw So allow $300 for the software, cables and decent old iPhone. Or maybe just a $300 laptop to run the desktop version $9000 and I believe you have the ability to write, record, mix and master any instrument at a professional level. The desk is a $50 gumtree corner desk I cut down to suit. The entire ’Studio’ is exactly 2 meters square (20 square feet). They’re my monitor stands for the moment… Don’t you judge me!!! $9,000 is a fair chunk of change. But as an apples to apples comparison that’s about the same money as a serious entry level piano. A single cello at this level sells for between $15,000 to $30,000 in Sydney (googling it as I type this). And as mentioned throughout, a lot of alternatives (PC, instrument quality) could bring the overall price down considerably. It’s not cheap. Its just ridiculously inexpensive in the bang for buck department. For a system that, as far as I can tell, do just about anything. It may not be everyones perfect setup… but she’ll do me. I’m attaching pics of the Rig itself and an (I believe) complete flowchart of my connections and workflow. I just turned 50. So hopefully this lasts me as long as my ME-5 has. Hope this helps people. Happy to answer questions.
  15. 2 points
    Oh, yeah, I'm sure they're going to risk their IP to leverage <>3% of the PC user base. Uh-huh. The rest of your post is the same sort of mis-direction that you accuse cruisinon2 of. The reason so few people use Linux is not JUST that modern PC users don't know, and don't WANT to know, what to do with a command line. It's that there are so few applications that work across all distros without the NEED for command line intervention. And the reason for THAT is that THERE'S NO MONEY IN OPEN SOURCE DEVELOPMENT! Sure, there's a few success stories. But Linux is still a geek's hobby horse. Until they fix that and settle on some standards, it always will be. The ultimate irony would be if Microsoft's current interest in Linux leads to the solution.......
  16. 2 points
    The "Noise Gate" in the dynamics FX section is more of a suppressor than an actual gate, similar the Boss NS-2. If you're battling noisy environments or for high-gain staccato use, the input gate with a hard gate a little later in the chain (my preference is after any dirt/compressors and before any amp models).
  17. 2 points
    The information you found about having the volume all the way up on the Helix is a valid recommendation for a typical setup which would be the Helix going direct to the FOH, but going through a mic'd up Marshall and not using speaker emulation isn't a typical setup. It might be fine for someone not using a modeler, but you lose a lot of the benefit of the Helix in doing so. But apparently the sound crew on the gig is either lazy or still living in 1999. There's absolutely no reason you couldn't go direct to FOH if your sound crew wasn't retarded. I have my Helix volume knob disengaged for my XLR outputs and I have my XLR outputs set to Mic level signal strength rather than Line level (the default) which makes it the same as all other inputs going into the mixing board (voices, drums, etc). Having the ooutput on the Helix set this way allows the amp model volume settings to be more consistent with a real amp model and their volumes can be managed using the channel volume on the amp model which won't affect your tone, only your volume. There is no real consistency in the way different amp manufacturers set up their FX Loop returns, but you might try lowering the output signal level on your 1/4" out that goes into the Marshall to either Instrument level or Mic level to see it that helps with your overall volume level on the Marshall.
  18. 2 points
    Good luck. Opinions and subjective assessments of amorphous concepts like guitar tone cannot be "proven" one way or the other. There is absolutely no objective truth here, and there never will be... there's only what you like and what you don't like. No one will ever be "right". Ford/Chevy, tastes great/less filling arguments will be with us until the end of time...
  19. 2 points
    Exactly... Here is something you can try. It is all stuff you would do if you were trying to capture a guitar amp in the studio. Insert the AMP and cab blocks separately For the CAB block, choose the dual cab option. I always set both cabs the same because I am after the different mics, not different cabs. On one cab put a dynamic. and leave it 1 - 2" off the grill. For this my favorites are the 20, 421 and 409 On the other cabinet place a ribbon or condenser (FWIW my fav is the 121), pull it back to at least 6" or even much further, then add some early reflections to capture a bit of room. Here is a gotcha! The Helix does not allow you to move the mic from the CENTER to the EDGE of the speaker. You can simulate this by inserting the TILT EQ after the cab block. Leave it with default settings and just roll back the TILT. Don't be afraid to get aggressive. I find DARK 50 is very similar to moving the mic halfway toward the edge of the speaker. DARK 100 would be like moving it to the very edge or even beyond... Insert a MONO version to blend the two cabs.... or a stereo version if you want to retain the "left/right" split of a dual cab If you only want to process the dynamic mic with the title eq, then you need to insert two mono cabs and run a parallel split... placing the title EQ only on the path with the appropriate cab. For an added studio touch... insert the LA Studio Comp near the end of the chain (after the amp/cabs). This is similar to adding an LA2A to the guitar in a studio.... pure magic! Studio monitors, PA cabinets, Stage Monitors, In Ears, etc... etc... They are all FULL RANGE with HFD's. FRFR is just a marketing term... it's just a powered monitor with varying degrees of features. There are certainly low end models of everything that will sound terrible no matter what, but to suggest FRFR cabs (as a whole) can't handle overdrive and distortion makes no sense at all.
  20. 2 points
    The real issue is the vast majority of guitar players have never heard their beloved rig with a microphone (often a '57) jammed into the cone of a speaker and "monitored" solely through a stage monitor. If they actually did this, they would realize that the Helix (and the Kemper, and the Fractal) actually catch every imperfection that really exists in those rigs... including squirrels and fizz. It's not an inherent problem with modelers, it's that many guitar players have never heard their guitar tone delivered through anything other than their cabinet.
  21. 2 points
    Make date is early 2019. And more than likely with the Macassar ebony. And they are still in production. Finished and passed factory January 2019 (W1901xxxx), arrival Yamaha Australia would be that September date of this year, 2019. "Is it possible it was not made in Jan this year as you suggest? "--- No,... I'm the guy at Line 6 HQ that does service and repair on these. My supervisor and I track this stuff for QA.
  22. 2 points
    Hey Guys, Today I go over the lead tone I use with my Line 6 Helix. The tone uses the Line 6 Badonk amp model paired with Owhammer Impulse Responses. I go over the settings as well as demonstrate it in a mix. Thanks so much for all the support.
  23. 2 points
    I was messing with this one last night, and I still love it. The whole host of drives in the Helix is perfect in my opinion. Is there a vital one missing? I can't think of it. Occasionally I read people say they're disappointed with the Helix's drives and I have a serious WTF moment. Then I go eat a sammy and down a Coke to forget about how crazy life is.
  24. 2 points
    I don't disagree with you at all... but there is another side to the discussion. This is an interesting conundrum, and really is the difference of approach and mindset between "amp in the room" and "FRFR". Not right, not wrong.... different. In the end you are right... it is "personal preference". For those that play live and are miced up through a system, the crowd doesn't get to hear that 4x12 sound. You can dial in the tone all you want for yourself... but the crowd will get tone of a mic (often a '57) jammed into a tiny 2" square section of a single speaker.... producing a tone that will pale in comparison to the full cab sound you hear on stage. A live tech does not have the benefit that a studio tech does with using multiple mic's and placements to capture that full tone as much as possible. My approach is to use cab blocks or IR's with multiple mic placements to try and convey the fullest tone possible to the FOH. I look at it this way... if I send a great tone to the FOH, then it will also be a great tone in my monitor, FRFR or in ears.
  25. 2 points
    The actual effects/amps cannot be renamed. I've been waiting for the ability to save 'custom' settings for effects, and if that was the case you could save that setting as whatever you like. The Fractal/Boss units I had...had that ability and it was nice. I could save a "Rhythm Tubescreamer", "Lead Tubescreamer" as well as a "Gritty JCM800" and "80's JCM 800" without having to copy/paste from a different preset....after I remember what preset had the settings I wanted.
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