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Showing content with the highest reputation since 10/14/2019 in Posts

  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
    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.
  5. 4 points
    Nobody has ever brought this subject up before. After this many years, I don't think we should start now.
  6. 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).
  7. 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.
  8. 4 points
    Vision graphic EQ that has a hump or a dip. The Q parameter narrows or widens that hump or dip for that particular frequency range. If that doesn't make sense, checkout this 3 minute video on the Q parameter:
  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. 3 points
    Agreed! Some of the guitar cabs are far better than many bass cabs... for bass use! One important trick for me is to avoid the use of certain mics (57 Dyn cuts lows!). In my experience, a close (1'') 414 Cond or 121 Ribbon give me the best results. If some cab is too dark, then the 47 Cond helps (this is what comes with the SVT by default). Then the 4038 Ribbon boosts lows too much, it is useful sometimes, but I am not sure if there is the need to boost lows when there are so many cabs that work well. Avoiding medium distance "57 Dyn" is what makes MANY guitar cabs usable for me. My favorites bass cabs (Forgive comments in "Spanglish"): Also "No cab" works really well for me. With some EQ to tame and "voice" high frequencies, but totally transparent with lows. It avoids phasing issues. We bass players have enough with our "FRFR" cabs, they are not that "transparent" in the lows, so there is no need to make the problem twice as bad. I have certain theory why some "good" or "professional" or "thoroughly recorded" cab models are not so great with the Helix or any other modeller. Their responses are anything but "tight". 1x18 Woody Blue may sound good with headphones, but I doubt it is good with the full band and using any practical real cab in stage with the full band at high volume. To me it sounds really BAD. I can understand why some bass multi effect users are enthusiastic with their presets tuned with headphones without a band and then in the first rehearsal the band tell them "This is for guitars, your old bass amp sounded way better". ================== About the blend: Some overdrives / distortion have. And this is great because this avoids certain subtle problems that appear when using parallel paths. The problem with parallels paths (besides being very limited in number) has to do with phasing issues, they are different for each amplifier or overdrive. These issues are far worse in bass than in guitar. I know that this topic can be very controversial. Some ODs don't have a blend control, but they work at low / moderate gains "as if" they had a clean parallel path. If you play bass I recommend to try Teemah! for this reason. Teemah! and Obsidian 7000 are my favorite dirts. I have a preset that is simply Teemah! plus an EQ (instead of cab) plus effects, this is one of my favorites with the band. Because it is "rich enough" but "TIGHT". And I need my bass to sound very tight in many songs / band situations. Next in my "OD" list are 3 bass amps (SV Beast and Tuck'n'Go) and then Clawthorn Drive. There are many usable blocks to create OD / Distortion, some are bass amps, some are guitar amps. IME many of them are totally unusable for bass. But there are some surprises, for example the LEGACY heavy distortion (this one requires a parallel path). Or the Tube Screamer emulation is too "treebly", but does not CUT bass, so it admits EQ to restore bass... and does not require a parallel path! (it works better in a band context this way). I really would like to add a blend control in overdrives and distortions. Now I know it is not trivial to add if done properly. Hope it helps.
  15. 2 points
    I suspect most of these complaints come from obsessive over-analyzing of the solo guitar sound...subtle nuances that might be mildly objectionable under a microscope, that will vanish in a mix anyway.
  16. 2 points
    This discussion will never go away...for proof I refer you to the fact that this thread died a year and a half ago, yet here we are. Next week there will be 3 new threads complaining about the same thing. Modelers aren't amps and can't be treated as such, and the solution is a combination things, but mostly it's EQ. However, there will never be one magical EQ curve or IR that will work for everybody. Different guitars, different rigs, different listening environments, and most importantly different definitions of what "good tone" is, make that utterly impossible. So waiting around for L6 (or anybody else for that matter) to provide a universal solution is futile. It's an impossible task that will never happen in a million years. Plenty of players have success. YouTube is awash in example after example of guys getting exceptional tones from one modeler and/or amp sim plug-in after another. It can be done. Period. The fact that you can go online and find similar complaints does not prove otherwise. All it proves is that you've got company...there are others out there who haven't figured it out yet, either. It's equally true that modeling is not everybody's cup of tea. Some just can't wrap their head around it, give it their best shot but still have no success, or simply don't want to put the time in to figure it out... and that's all OK, too. And for what it's worth, the same exact thing happens with analog gear. Some of my favorite players are Boogie guys... and I hate the damn things. Mid-range heavy, nasally, and useless... for me. But that doesn't make them pieces of $hit, incapable of generating a pleasing tone. Just means that they're not my thing. Find what works for you, and use that... whatever it is.
  17. 2 points
    There's a global setting (as of v2.8 I believe) that allows you to specify that rotating the joystick knob will let you navigate left/right along the signal chain and select the adjacent block rather than changing the model selection of the current block.
  18. 2 points
    The only real differences, other than the form factor, are that the rack has a 1/4" analog dry pass thru jack on back and the Word Clock in.
  19. 2 points
    Hi everybody, a little late, but I want to give you a feedback about your suggestions. I replaced the tubes and now everything works fine. Thank you very much for your help!
  20. 2 points
    Hey, just one guy's experience here: I switched to a (full) Helix and Variax back in April. Gigged a bunch on it in everything from 500 person clubs to 15k at a 4th of July show. Before I switched my guitar rig was 5 guitars, medium-big analog pedal board, tube head, attenuator, and cab. Now it's a Variax and the Helix going into my IEMs. Folks ask me all the time if the Helix/Variax is "as good" as my analog rigs, and I don't know that I have a simple answer. I've swapped out the pickups in the Variax and had it plek'd, and spent hours and hours with the Helix (just like I would with an amp and pedals) and it's fine. BUT I'm sitting in the studio this morning playing a Suhr into analog pedals and a hand-wired Vox, and I have no desire at all to get out the Helix. That said, I play keys as well, and for live gigs the Helix/Variax cut 140 lbs and ~20 minutes off my setup. When it's 2:00 AM and I'm loading out, or when I have 15 minutes of changeover time on a big stage, I have no desire at all to get out the analog rig. I mean, between the keys rig and the analog guitar stuff, I was carrying more gear than the drummer. So I guess here's where I come down on it: Playing with the Helix is different. The amp is part of the instrument, and so of course it's different, just like moving from an upright piano to a Yamaha C7 is different. When I was considering making the move I had to ask myself what I was trying to get out of it and weigh the pros and cons. If what you're after is an "amp in the room" thing, then you should probably ask yourself what you'd be getting out of moving away from an actual amp in the room. It sounds like what you'd be getting out of a Helix and FRFR is additional flexibility in amp/cab choices. If that's important, it's probably worth the time and money. If you're happy with the rig as it is now, and you don't need the additional flexibility, then the Helix is probably just a shiny object that you don't need and you may as well save the money for a new Fender Custom Shop or something. Hope that helps, Dean
  21. 2 points
    The DSP bit wasn't L6's idea, as I recall... the old chip that ran the 500's was no longer available, so they were forced into an "upgrade". Why they chose to replace the footswitches is anybody's guess. Regardless, I wouldn't expect any changes to the Helix hardware anytime soon unless their hand is forced again. Once production is tooled-up, changing the recipe costs money. Without a compelling reason to do so, it really isn't in their be$t intere$t... and I seriously doubt that an incrementally "better" chip that wouldn't make a noticeable difference for the vast majority of users would qualify as a good enough reason. If the current "brain" becomes unavailable again, OK... otherwise, it's a waste.
  22. 2 points
    Another, perhaps more flexible approach would be to allow patches to “link” to other patches and inherit their configuration with the ability to override settings. Any changes to the linked to (or target) patch that are not overridden in the linking (or source) patch could be automatically inherited by all the linking patches. This makes whole patches reusable, not just blocks. And it would be very easy to implement as it is a common software pattern.
  23. 2 points
    My guess is that you're experiencing a ground loop - electrical interference between your laptop computer and your HX Stomp. Try unplugging your laptop and running it on battery. If the noise disappears then this is the problem. There are solutions available but we don't need to go there until/unless you confirm the issue with the above test.
  24. 2 points
    There are no shortcuts, no. Listen and adjust accordingly. Stand by to be told that you need six different varieties of dB meters, a live chicken, and a Ouija board to level patch volumes properly. Pay no attention. The two things you need, you already have: 1) Ears. 2) The channel volume parameter, and/ or the output block volume.
  25. 2 points
    Further to my post... If you search for the following on fleabay you should get a hit on the DC converter.... "Step Down Power Module DC-DC 3A 9V/12V/24V to 5V USB 2A Precise Vehicle Charger" I un-soldered the USB connector on the DC converter so that I could hardwire the 5VDC to the G10 receiver. The DC Converter's 5VDC output is wired in parallel with the 100uF capacitor on the G10 Receiver... (Since this is a SMD cap, there is not much of a pad to solder to, so, you need to be careful and check to ensure there are no shorts before you power up.) For the 2.1mm jack I drilled a 5/16" hole below the existing USB port. The Negative Wire from the converter goes to the center pin of the DC jack. The DC converter is attached to the inside of the receiver with 3M double-sided tape. This is not a sanctioned mod and will void your G10 warranty... I can't be responsible for any damage :( seeya Joe
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