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  1. 2 points
    This is a very, very interesting comparison for me. After spending a year with my HX Effects, I'm totally in on the capabilities of the Helix platform. Hey, if the HXFX can breathe new life into my ancient Tech 21 Trademark 60 (TM60), that's a huge win in my book. My TM60 is set clean on channel 1, and my favorite "pedalboard" lately features the Tone Sovereign, and using Snapshots to change Tone Sovereign settings without having to twist any virtual knobs... love it. That said, I've been looking for ways to overcome some of the limitations inherent when using stomps with a clean amp (or an amp's clean channel, as with my TM60). And, after a year with it, I've found I've settled in to using just a few templates overall and, surprisingly, a lot fewer effects than I thought. The "limitations" of the HX Stomp suddenly aren't as, well, limiting. I could definitely see myself moving up from the HXFX to the HX Stomp, with the full amp models with cabinets with mics taking the place of the "pedalboard foundations" I've created for my HXFX. I don't use expression pedals (yet) so that's not a factor, and I don't have other effects pedals to patch in as that was the point of getting the HXFX in the first place. :) I could probably get away with using a 1/4-inch outputs from the HX Stomp into the effects return of the TM60, as the Celestion 70-80 speaker in there is pretty neutral (to my ears, anyway) and it would probably function well enough as a monitor, sort of like Tech 21's Power Engine combos. Additionally, I dabble in playing bass as well, and would play it on anything I choose to record, likely using the Stomp as an interface (just like I used to with my GuitarPort!), so... more points for HX Stomp. Thanks for this informative post. Interesting, indeed.
  2. 2 points
    For me the lesson is not always the obvious. Sometimes you have to set the bigot down in front of "All in the Family" and hope he recognizes how stupid he looks :) What I like about this video and several others that are similar is not "what sounds better than what".... it's the exposure of confirmation bias. NO, I am not looking to ridicule the tube snob for choosing the Helix, or the Squier hater for choosing a Squier CV over a Custom Shop.... it's made ME aware of my own confirmation bias. EG: I never had an open mind toward the stock cabs on the Helix until I became aware of my own bias. NOTE: I'm not saying I like stock cabs because I watched THIS video... I'm saying I opened my mind to the stock cabs after watching videos like this!
  3. 2 points
    If all you're doing is going into the computer and your studio monitors are connected to the Stomp, 6 blocks can get you some nice sounds. If you're going all Pink Floyd ambient craziness, maybe not. If you're using 4cm with an amp and need a second output with an IR to send to FOH, you've already used two blocks before you even start setting up the main sound. If you buy Helix hardware, you get the Native plugin for $99 (vs what, $399?). That means you can record an effected track and a clean track, then add effects or create whole new sounds ITB. Remember, with the hardware you're no longer constrained by latency or samplerate/buffer issues with your old PC, you're just recording. OTOH, a step up to an LT won't be much used (under $1000), and people are getting full on Helix Floor units for <>$1000. Up to 32 blocks, expression/volume pedal.......
  4. 2 points
    I didn't give a $hit enough to start...;)
  5. 2 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.
  6. 1 point
    I've had the Helix Floor a few years. I love it. It's great especially since I may have to play multi -instruments through it during a gig. But I'm struck again by how difficult it is to get an easy, intuitive, Auto-Swell out of the thing. I was reminded when I was playing around with a RP 360 XP I got for my daughter to gig with and how intuitive and quick it was to find and tweak that effect in the RP.
  7. 1 point
    Thanks jnnh73 - that was useful for me too. In case you haven't already seen it, you may also be interested in this thread - particularly the comments from codamedia and JimGordon:
  8. 1 point
    I wouldn't watch it,...it just encourages them.
  9. 1 point
    Here are a few things to consider.... you'll have to weigh their importance to you :) IN FAVOR OF STOMP If needed... the Stomp has the added benefit of being a computer interface. The HX Effects cannot do that. I know you realize the Stomp has amp modeling... but break that down more... These are the individual block options you really gain over an HX Effects Pre-amp models (these can serve as "amp in the box" effects. This provides a lot of overdrive options that won't be available in the HX Effects) Full amp models (can also be used as "amp in the box" effects... but with power amp stage included) Full amp models w/cabinets w/mics (this is what you automatically think of as amp modeling. The full deal) Cab models w/mic modeling (An alternate option to loading IR's... even without an amp model in play) Smaller footprint if you plan on building it into a pedal board. Although that might be negated if you need to add additional footswitches. IN FAVOR OF HX EFFECTS Although it doesn't have amp models, it still has IR blocks. If you ever NEED to go direct... you can add an IR to the end of your preset. At the very least, it would get you through a gig in a pinch... and if you actually took time to setup presets with an... it can sound very "amp like". EG: An EQ along with a KOT or POT overdrive with a Celestion IR will get you into a Marshall territory very quickly. An EQ along with a Timmy and a BlueBell IR can mimic VOX tones quite nicely. An EQ with light compression, reverb and a Jenson IR can mimic a BF Fender, etc... etc... Nothing is stopping you from adding an "amp in the box pedal" in a loop if you really want an amp in the HX Effects. With 9 blocks, you can afford one for a loop. Individual SEND Jacks... if you want to utilize two separate loops you don't have to use a TRS Splitter Individual EXP Jacks... (subsequently individual amp control jacks). The HX Stomp is cumbersome with just a single TRS for these options... possibly requiring splitters to get what you want Unless fixed in recent updates... the HX Effects has a more robust and fully featured "Command Center". You have already mentioned the number of switches... but it shouldn't be taken lightly. More switches contains the unit as an "all in one"... making setups quicker and less error prone.
  10. 1 point
    The "T" and a square on the receiver simply indicates that the corresponding transmitter is set to RF1 mode. The absence of that symbol means that it's operating in RF2 mode. I think the introduction of RF2 mode came a bit too late to be properly included in the manual, although there's usually a big sticker with some details on the outside of the bag containing the paperwork. The reason you experienced problems is that you can't mix & match modes - all mics have to be in either RF1 mode (for solid reliability) or RF2 mode (if you need to leave space for a specific WiFi channel). That fact that it was only the two RF2 mics that you experienced problems with is actually quite a good demonstration of the different levels of resilience to interference that the two modes offer.
  11. 1 point
    Had to look that one up :) Neat old toy! I get something close to that "wow wow" with the Tron Up effect. These are my initial settings.... adjust as needed to your taste. Filter > Legacy > Tron UP Freq - 50 Q - 50 Range - Low Type - Bandpass Mix - 25% (IMO... keeping this lower like this is very important for a smoother sound) Level - 0
  12. 1 point
    it's not not only isn't it the most fitting, it is way out in left field
  13. 1 point
    I understand the design motivation for limiting HX Stomp to 6 blocks: Keeping the UI elegant, simple and easy to use Focus on adding a stomp box in an existing pedalboard to compliment an existing setup with HX capabilities Consistency between the number of blocks and DSP capacity Anticipating future blocks that may utilize significantly more DSP resources Limited number of foot switches to control blocks Essentially this means HX Stomp is intended to provide Helix capabilities, with minimum footprint, to existing pedalboard and amp setups, not to be all things Helix in a tiny box. I get that, and these are all good design decisions, although these design decisions also sound appropriate for HX Effects. But let's look at how HX Stomp might be used in a gigging situation by itself to see if 6 blocks is enough. This might be for rehearsal, as a backup to Helix, as a convenient fly rig, or just because something so small is so useful. Consider a typical guitar signal chain that uses front and back of the amp effects (| means or): Input > Wah > Compressor > Drive > Overdrive > UniVibe | Phasor | Flanger | etc. > Amp > Cab | IR > Chorus > Delay > Reverb > Output This it my typical gigging Helix patch. I use 10 Stomp mode and pretty much stick with the same patch all night, using snapshots for open tunings, acoustic, and Leslie. This is 10 blocks, and clearly requires more foot switches than HX Stomp can provide. If you need patches like this or more complicated, you need Helix or Helix LT. Trimming this down to 8 blocks, we get something like: Input > Wah > Compressor > Overdrive > UniVibe | Phasor | Flanger | etc. > Amp+Cab > Chorus > Delay > Reverb > Output If you leave the Drive, Amp+Cab, Delay and Reverb on all the time, and you have a Line6 Mission pedal (if you don't, get one, it makes HX Stomp is a lot more useful), then you need foot switches to control Wah, Overdrive, UniVib, and Chorus. If you configure FS3 in global settings for Stomp, then you have the four foot switches you need. This seems like an ideal setup for HX Stomp by itself and is something I would be happy to gig with. To trim this down to 6 blocks, we get something like: Input > Wah > Drive > Amp+Cab > Chorus > Delay > Reverb > Output This is still pretty good, but looses the front of the amp modulation effect, something I use quite a bit. The work around is to create a patch template that covers the common blocks, then create a different preset for each front of the amp effect you need. That can work since you generally only need one of these at a time. But it means creating and maintaining a lot of patches that differ in only one block, and the potential need to change presets in the middle of a song to get different front of the amp effects. This is probably not practical. So I vote for 8 blocks, full Helix Path 1 capability, and let us users deal with balancing blocks and DSP capacity, just like we do with Helix. Two more blocks is actually a lot of additional flexibility without much additional complexity. This said, I'm pretty happy with HX Stomp just as it is and would highly recommend one as an entry point into the Helix ecosystem, as a Helix backup, or as a stomp box to add Helix blocks to an existing rig.
  14. 1 point
    well Im obviousy a bit different! I start by listening to it. I noodle a bit to get a sense of what sort of sound this is. Is it good for snappy parts?...thick chords? fast runs, big sustain?... Once I feel I have the gist of the amp Ill start teaking the knobs a bit to maximies the potential within the parameters that the amps has suggested. I never pick a model on the basis of having a predetermined sound in my head. I do, obviously go to the general gain range...so if Im looking for a bick overdriven tome I know not to start with the Jazz Rivet!
  15. 1 point
    Hi all. Finally bit the bullet on a Helix LT. Only had it for a day and I'm trying to figure something out. I will use it over L6 Link to the DT25 so I will use pre-amp blocks rather than amp or amp and cab. Can I somehow split my output so I can set it up like this: Path one - Helix pre amp - DT25 via L6 Link. Path two - the signal from path one sent to Helix cab or IR to XLR out, FX send or 1/4" out to take a signal to a PA mixer. Ideally I would want to do this so I hear my signal through the DT25 (using the DT25 power amp and cab) but my audience hear the signal with a cab or IR modelled in through the PA. I think this works with the path one output set to multi and then taking 1/4" out into 'return 1' using a patch cable and setting up path 2 to take 'return1', add the cab /IR and go out to send 2 and taking that send 2 to the PA mixer input. But it's there a simpler way? I could just use the DI out on the back of the DT25 to go to the PA mixer but it would be nice to use IRs or cab and mic modelling of I could. Any thoughts my esteemed friends?
  16. 1 point
    That would be cool to have a DT subgroup of amp models. Not that there’s a huge group of us.
  17. 1 point
    Hello guys, I just got a brand new Helix yesterday. The firmware version is 2.30.0. Can i update straight from 2.30.0 to 2.81 after installing HX Edit 2.81 ? The Helix is new (from the box), only have factory presets, do i have to backup anything before updating my Helix ? Thanks
  18. 1 point
    If you have the Powercab set to Speaker Mode, its XLR out will include the PC speaker model and mic model (on the PC+, you can choose which mic). If you have it set to Flat mode, the XLR out passes the signal it receives from the modeler. If you have it set to IR Mode (PC+ only), the XLR out will include the IR file you selected for the preset.
  19. 1 point
    I have to mostly disagree with you on that one. Glitz - describing the bloom etc. made technical sense to me. Ganymede - It adds modulation to the reverb. OK, that makes sense to me with "producing extremely good-feeling reverberation." being what you described. Double tank - It's a plate reverb with no early reflections. Plateau - Adds tones to the signal and describes what some of the knobs do. The "maximum radiance and beauty" was a bit much. But "laid-back and subtle to full-blown majestic splendor." was admittedly a bit over the top but it made sense to me. Searchlights - Well ya got me there. I could glean not one technical thought from that one. Overall, I found the descriptions very...well...descriptive, for lack of a better term, with one exception. The adjectives were a bit over the top but overall, they helped me.
  20. 1 point
    Glitz = Strymon Big Sky Bloom In the ‘90s, more diffusion blocks were added to reverbs to ‘smooth out’ the sound. A side effect of this was the tendency of the reverbs to have a slowly building envelope that ‘bloomed’, resulting in big ambient reverbs that sit nicely with the dry signal even at high Mix levels. The Bloom reverb features a ‘bloom generating’ section that feeds into a traditional reverb ‘tank’, and adds a unique Feedback parameter that expands the possibilities exponentially. Ganymede = BOSS RV6 Modulate This reverb adds modulation to hall reverb, producing extremely good-feeling reverberation. Searchlights = Strymon Big Sky Cloud A gorgeously big, ambient reverb that draws from techniques developed in the late ’70s. Using processing power not dreamed of in those days, the Cloud reverb machine obscures the distinction between reality and fantasy. Double Tank = Strymon Big Sky Plate The Plate machine is a rich, fast-building reverb that creates depth without early reflection cues to a specific environment. The Tone knob and Low End parameter are simple but powerful frequency shaping tools. Plateaux = Strymon Big Sky Shimmer Two tunable voices add pitch-shifted tones to the reverberated signal, for resplendent, unearthly ambience. The voices are carefully created from the reverberated signal itself to generate maximum radiance and beauty. The Amount and Mode parameters allow for a range of shimmer effects from laid-back and subtle to full-blown majestic splendor.
  21. 1 point
    So with Helix doing the "auto Calibration", theres really no way to zero out the controllers. It is what Helix says it is. For instance and IIRC, my SP1-L6 at heel down is at 11%. Moot point- Not that it messes with anything tone wise, but I would prefer to set/reset these settings myself, along with the % that it would engage the Wah, via a software menu in the editor. As expressed in the past, others here don't feel the need for that kind of control, but Id love to see it happen at some point (if it involves the tone of the FX/patch). MORE OPTIONS- Always...
  22. 1 point
    I can confirm that the marshall DSL-1C amp switching works, and I guess that that the Marshall DSL-1H will work with amp switching. This have only the channel switching classic gain - ultra gain , so using only a instrument cable here (no TRS)
  23. 1 point
    You can add the Marshall AFD100 to your list also. Can't change between afd/#34 mode of turn on/off FX-loop
  24. 1 point
    In the Helix manual (p38) : "connect ext amp 1/2 only to amplifiers that utilize "short to sleeve" footswitch input ... ( but what is a 'short to sleeve' input ???)
  25. 1 point
    Can't figure this out. Tried again last night, and it sounded absolutely awful. Guitar was in perfect tune (standard). Tried going 1/2 down and...... ugh, horrible.
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