Jump to content

Leaderboard

Popular Content

Showing content with the highest reputation on 11/14/2020 in all areas

  1. @roscoe5 has been very gracious is sharing some IR's he has created over the past few days. I figure this might be a good time to jump on that trend and share one that's been asked about a few times on this forum. I created these IR's from a Rockman X100 in order to capture that Tom Sholtz "Boston" EQ curve that is so hard to duplicate. This ZIP contains the four settings found on the X100.... Clean, Clean 2, Edge and Distortion. For best results... apply the clean IR's to a clean tone, and edge or distortion to an overdriven amp tone. In theory these IR's would replace the cabinet model so you should load an amp model without the cab... Any amp works fine, but for Boston style tones.... try loading a Plexi style amp To hear a comparison, load a 412 Greenback Cab after the amp... then toggle between that cab and the IR. The difference should be obvious. Clean 2 on a Rockman X100 does not include any cab simulation, but it is very enhanced in the high end. This may work good for acoustic instruments, and/or electrics with a direct sound. The attached ZIP file has been updated to include a louder (updated) version of CLN2 that has been discussed in this thread. (The zip also contains a readme file with suggestions for those that aren't sure how to get started with these) Rockman_IRs_Updated.zip
    2 points
  2. Well the COVID distancing and isolation has me tinkering around with Helix and gear again. Also, it's late and I can't sound like a 80db+ space ship beaming livestock up, messing around creating cab IR's. So here are some IR's that I don't think exist anywhere else. These are IR's made from my Mesa Cab Clone analog cab sim and Fryette PS-2 reactive load/amplifier. They are from the 3 switch positions on the Mesa Cab Clone; Closed Back, Open Back, and Vintage Cabinet (see MesCC_Info.pdf in the Dropbox folder). https://www.dropbox.com/sh/svamsbh5j3xs6tu/AAB6IzpibfXWKYmzWY0HjPXRa?dl=0 R5_MesCC_Closed_Flat.wav R5_MesCC_Closed_Enh.wav R5_MesCC_Closed_Xtr.wav R5_MesCC_Open_Flat.wav R5_MesCC_Open_Enh.wav R5_MesCC_Open_Xtr.wav R5_MesCC_Vintage_Flat.wav R5_MesCC_Vintage_Enh.wav R5_MesCC_Vintage_Xtr.wav Why did I do this? Bored. It's late. Never seen anyone else do it. Because I can :) Backstory The Mesa Cab Clone got REALLY bad reviews I think due to it's built in resistive load. By itself, it sounds thin and stale. I almost returned it myself when I bought it. It has sat in the drawer for a couple of years. Mesa recently made a couple of CAB Clone + IR boxes with reactive loads. Honestly, I think they should have made an analog Cab Clone again with reactive load too, but oh well. BUT if you read the Mesa Cab Clone instructions, Mesa refers to using the speaker thru jack with a reactive load/speaker... The added top end a reactive load (speaker) may impart on the sound is nicely balanced by the fatter, tuned response... Using a live speaker imparts a more reactive, dynamically transient response and may often be brighter as well, depending on the speaker’s inherent EQ and sensitivity characteristics. With the Fryette PS-2, we are getting the most neutral tube amp I have had experience with along with the tube + reactive load impedance curve. So armed with that info, I performed a wedding ceremony with my Mesa Cab Clone and my Fryette PS-2 reactive load/amplifier and made some IR babies. The 3 "Flat" IR's should have a tube-like feel with almost no tube amp coloration. The 3 Enhanced (Enh) versions of each are me tweaking the Fryette PS-2 switches and knobs to my personal taste. The 3 Extreme (Xtr) versions I think simulate mic'ing right up on the grille near the center of the dust cap. More highs and more thump. I think they all mix and match in parallel together well too. Two MCC IR's in parallel are a trip. Digging it. I tossed a preset out there on Dropbox. You will have to adjust your IR slots of course. MCC IR Parallel.hlx One thing I am digging about these is that they don't have quite the coloration a microphone imparts on an IR. I know many are always asking about neutral IR's of just a speaker, no mic. I think these have that vibe and and leave room for amp model controls, guitar tone knob, distortion models, and EQ (kind of a prerequisite for me these days on IR's). I think a live sound guy would like these. But in the studio on your DAW, traditional mic'd cab IR's may be preferable. Anyway, enjoy and stay safe, distant, masked, and healthy!
    2 points
  3. Sorry, it’s was ruled heretical by the Modeling Pope back in 2014...
    2 points
  4. Hello Helix friends I hope everyone is doing well in the pandemic and political climate. But to take a break from our real problems and have a little fun... I have been obsessed with 412 cabs with Greenback speakers lately. Funny because I was a hardcore Vintage 30 guy. I'm not one that likes huge libraries of IR packs, so I just made a couple that work well (according to my ear and taste) with most Helix amp models, as well as my real amps into a reactive load box. I think they are neutral enough to leave a lot of the tone control to the amp controls, pedals, and guitar tone knob as well. Anyway, though I would share with you all. Enjoy :) https://www.dropbox.com/sh/69ckvcunxirllw9/AADDwXE0w8mKG6jk6_MTT6wJa?dl=0 R5_412_GB_Edgy.wav R5_412_GB_Smedgy.wav R5_412_GB_Smooth.wav R5_412_V30_Edgy.wav R5_412_V30_Smedgy.wav R5_412_V30_Smooth.wav
    1 point
  5. I think it sounds pretty good but is it technically appropriate to run an IR into an amp? Thanks
    1 point
  6. I'm probably out of my league gear knowledge wise and especially Rockman/Boston tone in comparison to this... ...But didn Def Leppard use Rockman's as well on the Hysteria album a lot? Could these IR's help get you in the ball park of those tones? I know several have asked about those over the years too....In my head they are different EQ curves for sure as you mentioned...however similar/same amp maybe? Maybe one of these help make amp adjustments for that type of tone.... again, just going off of some things i've read and probably crossing them up
    1 point
  7. I get EQ for the sake of a specific song, but it sounds like those are your defaults just to get them to sound good. Thus my entirely logical question. I'm not attacking you. It's a serious question. It goes to why so many people (outside of metal) dislike them.
    1 point
  8. Very cool @codamedia I'll give them a try next time I am back at the command center. Never even heard of a Rockman X100, so will definitely be cool to learn a little tech history. See if I can get more than a feeling out of them :)
    1 point
  9. If it sounds good to you then there is not right or wrong in this regards
    1 point
  10. EUREKA!!!! Thank you for the advice and recommendations. It turned out you are both 100% correct. Even though I knew it could possibly be a gain issue I never realized the vital step I was missing until I broke it down. What I did was I connected a 1/4" "Y" adapter from my guitar to input 1 on Pro Tools and the other to the left input on my HX Stomp. In Pro Tools had the Helix Native input set to "O" as well as the output. The HX Stomp had no effects whatsoever, just a direct in and out with the input and output set to zero as well. I had both outputs of the Stomp and Pro Tools coming into my mixer (Mackie DL1608) on channel 1 and 2 (respectively) panned left and right. When I record enabled Pro Tools right away I saw the pro tools level was more than double the output level of The Stomp coming into channel 1 left. So I backed off the input gain on my pro tools interface until the Pro Tools output level (channel 2 right) were identical. (Now keep in mind, my input into pro tools is around 50%. Normally I would make it hotter for recording, but that's for later) After re-recording the guitar (without raising the input gain on my interface) , I imported the Stevie Ray Preset Patch again and tweaked it to match Stevie's actual recording of Cold shot (which I got VERY VERY close.) I exported the patch to my Stomp via HX Edit. And it sounds exactly like my patch in HX Native. As for the recording level being lower, if you want (for quality and to get the most out your converters) you can certainly raise the gain input on your pro tools interface you just need to remember to back off (quite a bit) on the input level going into HX Native. I am now in the process of doing the same thing with all my Taylor Acoustic patches for my cover gig and so far everything is working like clockwork and I'm getting exactly the sound I had envisioned from the very beginning. Thank you for reminding me of something I just should have known. I just never thought the difference would be soooo dramatic. In case you wanna hear it, here is the Cold Shot patch (i kept it a little cleaner) If you have a strat, just crank you rhythm pickup. Thanks again. Gerry C Cold Shot 11-14.hlx
    1 point
  11. Ha, it was fun, and I REALLY believed the Cab Clone could sound good if used as Mesa intended with a reactive load or speaker cab connected to the speaker thru jack, which bypasses the built-in resistive load. That built-in resistive load is great and convenient for some quick setup and jamming, but it certainly does not enable the Cab Clone's best potential sound. I went ahead and made 3 "Enh" versions of each are me tweaking the Fryette PS-2 switches and knobs to my personal taste. R5_MesCC_Closed_Enh.wav R5_MesCC_Open_Enh.wav R5_MesCC_Vintage_Enh.wav
    1 point
  12. Ah, I love the smell of speculation-based decision making in the morning... smells like a waste of time. ;)
    1 point
  13. Interesting ... I moved away from using the EQ-block cuts at the end of the chain to using cuts in the IR block. My thought was that because the cutoff indeed is less steep I can get rid of the unwanted frequencies, yet can use the amp to dial in the "cut" to how I like it/ need it. My starting points are 100 Hz low and 5 kHz high cut on the IR-block. At lower volumes this sounds a bit dull, but it usually works pretty well at gig levels. For the EQ block cuts this would more or less be close to a low cut at 80-100 (difficult to hear) and for the high cut it would be around 10 kHz. I guess there is no wrong or right .... BTW, I like the idea of re-IR-ing; I have done it in Helix (Native) to capture combinations of the stock-cabs + EQ's, but indeed it will work for existing IRs in exactly the same way. I use Ableton and the M4L IR Measurement Device. Easy and very fast.
    1 point
  14. Hey, thanks for these! A friend of mine has a Cab Clone and I was going to borrow it to create some IR's... you just saved me some time - LOL! I agree completely with your assessment, these will provide an option that doesn't impart "mic coloration"... more just the raw speaker tone. i can't wait to give these a try!
    1 point
  15. What sort of input are you using on your interface? Is it a high Z input? Basically, you’re using two different inputs, each with their own analog circuitry, and they’re affecting the way your Strat sounds in their own ways. If you want Native and the Stomp to sound identical, they need to have the same input/dry track. The easiest way to ensure that is using the dry track from the Stomp as the source for the track(s) in Native.
    1 point
  16. It does and thanks for directing toward that. I'll comment back this weekend on my findings.
    1 point
  17. This is a possible example of how you could do it. The top line has two input blocks, one for Variax (acoustic tone), and another for Variax Magnetics (amp tone). I have a modulation effect on the accoustic, and a wah pedal and a distortion block before the amp and cab. After mixing, they both go through a compressor, delay, then reverb, then out the XLR jacks. Notice I have highlighted the Merge Mixer, you can set your snapshots to set the A Level and B Level to pick your instrument, and therefor you won't need the volume blocks to do this. You can even use the Merge Mixer controls to setup a stereo mix of the two. Hope this helps!
    1 point
  18. It sounds like you are using two different physical pedals to control the two VOL blocks. You could optimize your current setup by assigning both VOL blocks to the same physical pedal and configuring their Min/Max values oppositely. When one is at 100% the other is at 0%. That way you achieve a blend of the two inputs, with the pedal at heel position being 100% one input and at toe position being 100% the other. The blend can provide an interesting option that you might want to explore. Or, you could try assigning the Variax Vol knob in the Input block of each path to the Snapshot controller and set it at 10 or 0 as the snapshot requires. Another method might be to assign the Output block (or use Gain blocks?) Level parameter in each path to the snapshot controller. Assign the Level to minus or plus whatever dB as required in each snapshot to suppress the desired path outputs. There may be other methods too. These are just the ones that come immediately to mind.
    1 point
  19. This is fantastic. Line 6 should give you job!
    1 point
  20. To expound a bit on what's been said, guitar amps are special purpose devices whereas FRFR speakers are general precision devices. The fact is most people have never heard an amp in the room because the amp has been mic'd either for recording purposes or live performance purposes. Regardless of what wall of amps one might see in a concert, that's not what the audience hears. They hear the mic'd version of those amps that been processed through a mixer and fed to them via FRFR speakers...not the amp in the room sound. Which is actually a good thing. If they were listening to the amp in the room with no mic'ing the sound would vary based on where they were relative to the speaker cabinet. If they're right in front of the amp and centered on the cap the sound will be pretty harsh. If they're 40 degrees off center from the cap of the speaker, the sound will be darker and more muffled. That's the natural behavior of simple cabinets which FRFR, through engineering, overcomes. Most FRFR speakers will sound the same across an axis of around 140 degrees or more in their vertical/upright position because that's what they're designed to do in order to give a wide audience the same sound. This is why you see the cabinets/IRs/Mic and mic positions as a significant aspect of the modeling signal chain. Although some cuts are sometimes necessary because of the full flat range, generally in most cases of live performance and studio work the engineers have spent a lot of time figuring out what type of mics, combinations of mics and placements of mics are necessary to produce a good and even approximation of the sound you get from an amp, without the limitations of an amp cabinet. Helix provides these same facilities so you can accomplish the same things that are done in studios and live concert performances in order to achieve the same results. The benefit being that, with a good FRFR system positioned correctly on stage, or using IEMs you will hear very nearly the exact thing your audience is hearing. In my experience this makes it easier to achieve a good stage blend with the band as well as an equally good or better blend for the FOH. In short from my experience the benefit of FRFR is simply being able to achieve a studio quality sound in a live performance, which is something I've wanted to be able to do economically for 50 years. The value being the precision, clarity and articulation you hear through a good stereo system when you play a professionally produced recording even in a live environment. It's not just the modeling that's allowed us to achieve these things, it's the advances in live performance DSP enabled speakers over the last 15 years or so in a price range that's achievable for the average guy. It's not quite the plug in and play scenario of the traditional amp, but in my opinion it's worth the effort to be able to achieve the performance quality required nowadays in almost all big concert level performances, even if you're playing at the local neighborhood bar. Not so much for my benefit, but for the benefit of the audience.
    1 point
  21. When you play through an amp, you are playing through a device designed to take the output of an electric guitar and make it sound good. When you play through FRFR, you are playing through a system that is designed to deliver a full audio spectrum. A guitar amp and a speaker designed for guitar is a very different thing. Guitars sound good where most of the frequencies are limited to say (depending on the particular amp) 100Hz to say 5KHx. The FRFR system is probably trying to deliver say 40Hz to 20kHz. Not only that but the FRFR system is trying to be as flat as possible over that range, the guitar amp will have a tendency to be mid heavy. As you can see, this is because a limited frequently range with a mid bump makes guitars sound good. Even what we describe as a glassy Strat sound has little need for anything above 5.5K. Traditional recorded guitar is a mic (also with noticeable bass roll off and limited high end) on a guitar amp. Not slightly FRFR. So why bother with FRFR? Well if you want to reproduce as accurately as possible different guitar amps, pedals etc, you need a system that itself is not colouring the sound. What a lot of people struggle with is that in order to get a great guitar sound, they will need to throw away a lot of the potential frequency range available. Distortion that sounds musical does no have any high frequency. Guitar amps sort that because they have limited frequently response, FRFR systems require you to make that sort of decision. Every time you hear someone complain that the Helix distortion is harsh, you can pretty much guarantee they need to EQ their total range to get back that guitar amp limitation. Hope that helps.
    1 point
  22. I saw your post while trying to fix a similar problem. This worked for me: After I installed all the latest upgrades to the drivers and the editor, I restarted the system then followed these steps. 1. Open System Preferences in OS X Catalina 2. Select "Security and Privacy" 3. Select the "General" tab 4. Look at the bottom for an alert about system software prevented from loading 5. Select to allow software from Line 6 6. Open POD HD500 Editor 7. Connect the POD to the USB Done! I hope this helps!
    1 point
  23. I also upgraded to Catalina last week on my MacBook Pro. Sadly I forgot about the disappearance of support for Line 6 32-bit software with the new OS, so I lost the ability to use Line 6 Monkey, as well as Line 6 Edit / Gearbox (with my Pod XT Live) and Workbench (with my Variax 500). Dang!!! I did look into ways of reverting to the previous Mac OS but it was a major exercise, so decided to swallow the pill and fall-back to using my old Win10 laptop & old MacBook to run the software which is no longer supported in Catalina. From a Pod HD500 perspective, I've had a brand new boxed unit sat in my attic since Line 6 had their fire sale when they introduced the 500X (around 2013-14), so decided to unwrap it to see if it would play nicely with Catalina. My excitement was immediately extinguished, as the unused unit wouldn't even get past the notorious "Update Flash" screen when powering up, so I had to use my old Win10 laptop to try to resolve by updating the flash memory. It was a long night but here are the steps that I tried .... Updated all of the Audio/USB drivers (V7.68) , USB firmware (V1.04) and Flash memory (V2.62) via L6 Monkey .... Not fixed! Tried pressing left rocker switch to factory reset ... Not fixed! Tried pressing right rocker switch to access test screen ... Not fixed! Tried reverting to older Flash memory firmware ... Not fixed! Repeated steps 1-4 using different USB cables and via different USB ports with different power settings ... Not fixed! Repeated steps 1-5 on an old MacBook ... Not fixed! Was about to give up at 1am this morning, assuming a bricked unit, but tried hitting the ENTER button at power-up .... miraculously the HD500 booted up with preset 1 displayed!! I have no idea why this method worked and I could not see any mention of it on the Line 6 forum pages. Maybe this will help other users? Once I had confirmed that the unit was working with a guitar & headphones I rebooted into the test screen and ran through the Pedal Calibration, Button checks, etc. All OK. After this the unit would consistently power-up without having to hit ENTER. All buttons and expression pedal functions seemed OK so I was confident to try to get the unit hooked up to the POD HD500 Edit software. Win10 Laptop: Installed POD HD500 Edit (V2.27) and opened the program. Plugged in HD500 running USB firmware (V1.04) and Flash memory (V2.62). HD500 hardware was detected and presets automatically loaded to Editor program. Able to load/edit/save & control preset patches via the editor or via the HD500. Catalina Macbook Pro: Installed POD HD500 Edit (V2.27) and opened the program. Catalina did not flag the software as 'unsupported' (signified by a white 'no entry' overlay on the app icon, then a pop-up message when opening the app) so I'm assuming that it must be a native 64-bit app. Plugged in the USB connection from the newly checked & calibrated HD500 running USB firmware (V1.04) and Flash memory (V2.62). HD500 hardware was not detected, hence presets did not load. Software reverted to 'offline' mode. Closed the program. Downloaded and installed the latest Line 6 Audio/USB drivers (V7.68) - Line 6 Audio-Midi Driver 7.6.8.dmg Rebooted the MacBook as per install instructions. Opened POD HD500 Edit program then plugged in the HD500 USB cable. HD500 hardware was detected and presets automatically loaded to Editor program. Able to load/edit/save & control preset patches via the editor or via the HD500. Screenshot (attached) shows preset patch 01B loaded. I guess the key step for me to get my HD500 hardware working with the HD500 Edit app on Catalina was to install the latest drivers and reboot. I'm assuming that the same approach should/might work for either HD500/500X hardware. Hope this helps folks. Cheers, Steve
    1 point
  24. Hello, i get an old used FM4 Stompbox, but it didn't came with the useful stickers (with parameters list). Didn't manage to find them on the web yet, is it possible to get some pictures, so i could print them... Thanks, Pierlau
    1 point
  25. The market for acoustic IRs appears to be limited at the moment, and there may be a good reason - pickup variability. How the acoustic IRs are created is essentially by creating an impulse response of a guitar body by tapping the body and capturing the pickup response and the body response with a mic, at exactly the same time (so they are phase aligned). Then an algorithm is used to essentially "subtract" the piezo response from the body response and save that as the resulting IR. Then when you play your acoustic guitar through the IR, you get only the body response, not the contribution from the pickup. Under the saddle piezo pickups do sound quite a bit alike, but they aren't the same. So a different pickup in a different guitar won't exactly match what the IR is expecting and the resulting tone will be different than the intended body tone. In addition, the pickups may be phased differently and might make the guitar sound worse rather than better. Magnetic pickups don't sound at all like piezo pickups, so the same acoustic body IRs don't generally work well for both. Fishman and Mama Bear have taken different approaches for dealing with this variability. You can send your guitar to Fishman and they'll create a custom IR for your guitar you can load into your Aura. They also sell built in acoustic guitar preamps that have the compensation for that pickup and guitar in the preamp. This is a great choice, but not something we can put in Helix. The Aura body images are a proprietary format in order to protect Fishman's Intellectual Property (IP). Mama Bear provides an input voicing control that can compensate for different pickups. If you know what guitar you're going to use, and have access to a Fishman Aura or DTar Mama Bear, you can find the input setting and body image that works best for you, then use Logic Pro X's Impulse Response Utility to capture an IR for Helix that will reproduce that tone. However, I'm not sure about the moral/legal implications of doing this. Fishman and Mama Bear have put a lot of effort into creating those models and hardware devices. Creating IRs from them and giving them out, or much worse, selling them, would seem to be a somewhat questionable practice. That's why I've been reluctant to post any of the IRs I created from my Fishman Aura. I have no problem using them in my own Helix since I did buy the Aura. But giving them out, not sure about that. Maybe it's OK, but maybe not.
    1 point
This leaderboard is set to Indiana - Indianapolis/GMT-04:00
×
×
  • Create New...