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Showing content with the highest reputation on 04/06/2019 in all areas

  1. 2 points
    Hi Guys Tonight's video is about bass guitar and how I use it to help shape my mixes and guitar tones. Think of it as a piece of a puzzle. I use a gnarly, heavy bass tone to compliment my guitars and it has a lot to do with how my mixes and over guitar tone work and sound. I try to explain my philosophy on bass guitar in heavy tracks and what should be occupying what sonic space. Drop some comments if you guys need more explanation or help with any other topic and like always, thanks for the support and positive feedback. Chain: Solar Guitars A1.6 Artist - Line 6 Helix Rack - Ownhammer Impulses - Universal Audio Apollo Twin Studio One 4.0 nickhillmakesmusic@gmail.com https://www.facebook.com/nickhillmakesmusic https://www.twitter.com/nhillmakesmusic https://www.instagram.com/nickhillmakesmusic/ My Band | The Partisan Component https://thepartisancomponent.bandcamp.com/
  2. 1 point
    Hi, I recently bought patches from three of the established vendors in this field: 1. Fremen - Starter Pack and free Marshal amp pack 2. MBritt - Patches 1 (32 patches, only current offering for Helix) 3. Glenn Delaune - Boutique amps volumes 1 and 2 Figured it might be useful to share a few observations. Couple of caveats: 1. I know a few people are skeptical about the value or even wisdom of paying someone else to write your presets/patches but, for me, it makes sense. I'd had the Helix for a few weeks and was struggling to get really good tones out of it. The factory presets were (to my mind) terrible. The Fender twin one is okay but most drive sounds were 'distant', mushy or washed out. I realise the Helix is not meant to create the sound of a well mic'd amp rather than an 'amp in the room' tone but even with this, I was disappointed. I was certainly spending a lot more time tweaking tones than actually playing guitar. I only have a small amount of time to play each day so, as a result, the Helix was not being used. I'd even started to look at a used Kemper to replace it! Sad times :( 2. In my previous efforts, I'd downloaded an ownhammer IR pack and found this improved things a bit but I still wasn't happy. I'd also watched and followed a lot of online tutorials about creating patches and, while I'd enjoyed tweaking, I still wasn't playing. 3. Gear. I should add that I usually use the pedal with headphones. I use either Beyerdynamic DT770s or Superlux 681s. Both are, to my mind, very good sounding cans. I've also used the 'full range' input on my Vox adio amp. It yielded very similar results to the headphones tone wise. For guitar's, I've tried instruments with humbuckers, single coils and P90s. 4. I was impressed by patches from all three vendors, what follows are just a few observations of my own, many of which will be based around personal preference. In isolation, each patches pack had some standout strengths. Glenn, Michael and Fremen clearly know what they are doing. Anyway, on to the actual review: Fremen Starter Pack and freebie Marshal amp pack: These were the first packs I tried (based on other positive reviews). I was immediately impressed with the drive tones and surprised to find the acoustic simulator in there too. Fremen's use of Snapshots is also very thorough so you get immediately useable presets (plus a nice example on how they can/should be used generally). Amp tones are based mainly around the amp models you might expect (fender for fender, marshal for marshal etc) along with careful use of drive pedals and carefully matched IRs to finish the tone off. Appropriate effects are also included and some interesting signal path routing is used too (opened my eyes as to what is possible). Blanket statement is that the tones are far more up front than the factory presets but still tend towards really well ic'd amp than 'amp in the room'. The drive tones are quite bright (strong mid/high focus) but not harsh and the higher the drive, generally the better the tone he has achieved. For me, the 'crunch' tones have a little less impact though and the clean tones are 'too clean'. Fremen's own comment is that he likes his cleans 'super clean' and he uses a few tricks to achieve this (careful use of compressors). In the starter pack at least this meant there were great drive tones and really clean cleans but a bit of a gap in between. I also found the clean tones to be a bit 'mid heavy' without any of the shine and shimmer that you get from a nice fender clean tone for example. This is personal preference thought, other people might really like this type of sound. Perhaps there are better cleans and bluesy tones in the 'big pack' but I decided to try other vendors first. Michael Britt, Helix preset pack 1: King of the Kemper, Michael Britt. Again, initial impression of these patches was really good. Similar to Fremen, the patches are based around candidate amp models with driver pedals and carefully chosen/custom(?) IRs used to get you MBritt's signature 'amp in the room' tone. Indeed, of the three sets of patches I tried, MBritts's are definitely the most 'present' and immediate which translates (especially with headphones) into a more realistic 'amp in the room' feel. In terms of organisation, the pack makes less use of snapshots and each preset seems to have a slightly different structure. This is fine, but perhaps less intuitive than Fremen's approach. A neat trick he uses on his clean tones is to use combinations of amps. For example his Fender tones use an obvious candidate Fender amp model for 'glassy tone' but then a less obvious clean amp is added in parallel to give a bit more body and focus. His ability to choose candidates for these combo presets is a big part of the value for me. All told, a really nice collection of presets. Cleans are more to my taste than Fremen's and I learned a lot from seeing how he sets up his signal paths. If you have the Fremen patches and are happy with his cleans though, maybe you could pass on this set. Glenn Delaune Boutique amps: I'll be up front, on balance these are possibly my favourite. Nice use of snapshots and well organised. Good selection of drive tones and the Volume 2 'clean pack' is just incredible for bluesy, low drive tones. Overall, a really nicely balanced tone (not too bright) and probably somewhere between MBritt and Fremen for 'room presence'. The way he constructs his patches is also quite different to t the other guys. Glenn generally uses the Amp and Cab models from the Helix (the other guys do not use the Helix cabs) and then adds an IR after that to 'tone match' to the amp he is attempting to match. He has loads of youtube videos showing the success of this approach. To my ears, it works really well. The 'feel' and response to pick attack also seems to be particularly realistic. The only downside is that the IRs are very specific to the patch and probably don't work too well elsewhere. And, aside from adjusting the amp settings (tone, gain etc) the patches are probably less use for tweaking. That said, I'm very happy with this approach. I get a well set up tone which I can play with within the limitations of a normal amp. That works for me as it gets me actually playing guitar quicker. An interesting side effect (I guess) of his approach is that he ends up using amp models that you might not expect. For example IIRC he uses the Roland Jazz model (super clean) and a drive pedal to create the Blackface amp. Disable the IR and it sounds pretty poor. With IR, fantastic. Forgive me if I have miss-remembered the specific preset here. So, all told, any of these packs would probably be helpful if you want realistic tones in a hurry. The first two might be best as 'tutorials' and MBritt really brings the amp into the room. Fremen's cleans are super clean and his higher drive tones are great fun. As I've said though, I really like Glenn's preset packs. For whatever reason, they just seem to grab me and keep me playing and his selection of clean/light drive tones are just epic. Having said that, there are presets from all packs that have made it into my 'shortlist' preset list and I'll probably get good use from all three vendors. If I had just one set, it'd be the clean pack (volume 2) from Glenn. After that, I reckon I'd be perfectly happy with any of the other packs to provide higher drive tones. So, no definitive 'best vendor' but hopefully I've highlighted a few characteristics that might help people decide if they are looking at buying. Cheers, ip
  3. 1 point
    It is generally assumed that Helix users have some experience of a variety of Valve (tube) amps and a wide range of conventional pedals. As the Helix does a pretty good job of simulating these devices, and the IRs do a very good job of simulating cabs, that you just plug together modules based on that experience and you pretty much get what you'd expect. However, it's a digital age, and as you read this forum, it becomes very clear that there are a lot of younger players out there for which the above doesn't apply. This gets a bit more confusing because Line 6 avoids copyright problems by calling them something slightly different. A lot of what you want is here - https://helixhelp.com/ But the broader question - what does every knob do - including the intention - so gain might just increase volume, but it might also be a distortion control for example - no one has tried to do that. With the above link, you could do a lot of that for yourself - once you know what that amp is actually modelling, you could google the manufacturer and possibly download a manual. You can also look a YouTube videos of the real devices to get a better idea of how they should sound and what the controls do. The Helix often gives you controls the amp does not though - like Sag - this lets you get under the hood in a way that only really good amp techs once did. Again you could google it. So it's not all in one place - and it would be a huge job if it was - but there is the 'how to' you might be looking for.
  4. 1 point
    I don't own a nux Cerberus so I'd be just kind of guessing. What have you done with the nux Cerberus in the past?
  5. 1 point
    @soundog, @datacom Apologies, I didn't see these questions. This is a brand new machine and I have never hooked the hardware Helix up to it. I think maybe I had used hardware Helix when recording the song and saved the settings in the LPX file. That is maybe why it was available as a choice. I wish I would have taken a screenshot before changing the setting as it was no longer a choice once I changed it. No hardware helix attached when setting preferences. I'll watch this thread if you have anymore questions. thanks,
  6. 1 point
    This is why so many beginners playing heavy stuff aren’t happy with their guitar tones. They think stuff like Meshuggah or Periphery is all guitar tone and half of what they’re hearing is bass.
  7. 1 point
    they will issue a license if you open a support ticket and have the item registered to you. it will be added to your account. how do I know? you ask. because I bought a used ux2 and they licensed me cubase le 9.5 and pod farm 2. Very generous of them, and that is why I will remain a vocal supporter of line 6.
  8. 1 point
    Hey Guys, Today I have a playthrough of my newest instrumental track, Beautiful Burden. This song was recorded using my Solar Guitars A 1.6 Artist LTD. All guitar and bass were tracked with the Line 6 Helix Rack using Ownhammer Impulses I’m really proud of how this track turned out. The gutters cut through and sound aggressive and heavy. That bass is low and gnarly and the overall mix may be one of my best. I'm thinking about releasing this as a single on all digital platforms. Let me know what you guys think and again, thanks so much for all the love and support. nickhillmakesmusic@gmail.com
  9. 1 point
    Somebody else is freaking out about the REVV amp model.
  10. 1 point
    If you sell your hardware in less than 180 days, a group of men show up at your door and smash your computer with sledge hammers. It happened to my neighbor.
  11. 1 point
    Agreed x10. $99 bucks and you're golden.
  12. 1 point
    If it's just one speaker and only on a certain note, you probably have a loose screw holding either the control plate or a driver in place and it just so happens that that particular note matches the resonance of the cabinet enough to cause it to rattle. I can't imagine how in this instance it would be with the Helix/mixer/cables. If they're under warranty get someone to look at it. If not just tighten every visible screw and if it doesn't go away open it up and tighten all the screws/check for damaged anchors inside. We recently had to do this with an older Behringer Eurolive powered speaker at our rehearsal spot. Making the weirdest rattle/buzz with anything below the A string. Opened up the control panel and the XLR pass-through output jack had vibrated the solder off the board (direct-mounted to the board) and the pins were vibrating back and forth on the broken solder.
  13. 1 point
    Well, now I know that amp stacking works so well I can't wait to try out more options. I reckon the C15/JTM4 5 stack might be a total winner. The signal path described in my first post though continues to delight me. It's the first time I've managed to get a really good low gain Fender Deluxe/Blues Jnr type tone out of the Helix. Really nails that shimmery high end without the over blown low frequency distortion that you get by just cranking the gain on the fender models. I also tried the Placater Clean model after a Plexi Brt model and got some fantastic tones from that. Cheers, ip
  14. 1 point
    1) 2/19/2020 @ 3:11 pm, GMT 2) Around the office they're calling it the "safe space update"...100% personalized. A brand new 24/7 hotline will address any and every ridiculous/fleeting complaint. By lunch the following day you'll be downloading your very own 3.ME! update. For an extra $50 you'll get your very own "Gripes", the official L6 plush Firmware Bear... machine washable. Nothing worse than a teddy bear with grown-man tear stains on it. ;)
  15. 1 point
    As far as I can tell, there is not really a way to avoid W/D/W unless you daisy chain everything and send it through the guitar input like a standard peddle board setup. I think this would activiate all the speakers but the signal would have to mono because you would have to eventually get to the mono guitar input of the amp. And if you try the 4CM or in this case 5CM because of the stereo inputs, you are going to get all the speakers active but the stereo coaxial speakers for the effects and get the center and horn for the dry guitar send from the modeler output. I am picking up one of the new Helix HX Stomp processors and I am waiting for a definitive reply from Line 6 on this very question. It seems that on the forums, the L6 guys have skirted around the answer but didn't come right out and say that this is the "best" way to do it, choosing to say that there are many ways to make the connection and that the best way would be in the hands of the particular user to find themselves. I truly wish that they would just come out with a set of diagrams specific to the Firehawk and say: "if you hook an external modeler up this way, you get this from the speakers. If you hook, it up this way, you get this... and so on." On you listening Line 6?
  16. 0 points
    Actually I already have it. Shhhhhhh, don't tell anyone. ;)
  17. 0 points
    Hi all, I'm trying to check if my newly acquired TT is up to date - but when I run the "Line6 Updater" utility, all I get is a blank screen after signing in? PC OS is W10 ....Using Firefox 63.0.3 browser ( not that it should matter for a stand alone pgm) I've tried plugging the TT in ...switching pwr on/off ...holding down the Tone & Tap buttons, but nada...zip. So I'm outta' ideas. Any help would be welcomed - thanks!
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