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Everything posted by steelstringer

  1. Ok. This one’s a long shot on the Helix forum, but here it goes. I would like to connect my electronic drum kit (w/midi capability) to the PS4 so my daughter can play Rock Band. This would replace the really basic drum set that comes with the game. Typically, this connection is made with this midi adapter: https://www.amazon.com/PlayStation-Rock-Band-MIDI-PRO-3/dp/B0042B3EOM Unfortunately, this adapter is nearly impossible to find anywhere. I do, however, have a Helix LT. I have never explored the midi functions of the Helix, so I have no idea if it could function in a similar way to this adapter. My kiddo loves rock/classic rock music, and I think this game might really get her interested in learning the drums. Help out a dad trying to keep rock music alive for at least one more generation! Thanks in advance to anyone with some insight.
  2. I actually just use a 1x12 tube combo (Marshall DSL), and it cuts in a way that works great with a drummer. It’s also small enough to not encourage volume wars with other guitarists. Very little tweaking needed on the patch. No mic needed since I’m sending a completely modeled sound to the mixer via xlr. I get what you are saying though about keeping it simple and staying with an all modeling/frfr solution. I do that exact thing most of the time. But since the Helix provides such flexibility, I think it’s a good idea to check out other options. I mean, it’s always fun to buy more gear, right?
  3. I’m just going to throw in another approach, which works because the Helix is such a flexible device. Create a hybrid patch that sends a path from 1/4 inch to the effects return of a real amp and a separate path to the xlr to the PA system. Of course, this is only an option if you have a guitar amp. In in my current band, everyone uses modeling devices and the drummer uses an electronic kit, so Helix to frfr works great. No real amp needed. But if I were competing with a tube amp and drummer, I would use the hybrid approach mentioned above. Again, this is just another point of view. The other users here have also provided helpful tips that might work for you with your current gear.
  4. Definitely. I had to bring the drive on the Timmy down around 2, and the Legendary to about 3-4. This pedal has A LOT of gain.
  5. I agree. I also agree with you that it works really well running straight into a cab or IR. I couldn't dial it in very well, even into a clean amp, but when I placed the Timmy before it (to cut some lows) and an EQ after it (to boost mids), it really sounded nice running into a dual cab. An unexpected bonus of 2.9 for me.
  6. That is a really great amp. I’m not sure if you already tried them, but the Placater clean and dirty models are based on Friedman amps. They’ve been my “go-to” models for a while. They both sound awesome with the Timmy OD, as well. You can cover a lot of ground in a cover band setting with them. Good luck with your tone search.
  7. Thanks for the insight. I tried your suggestion of the OCD-Minotaur-Timmy, and it is a great pedal stack.
  8. No offense taken here, and thanks for your reply and insight. When I was gigging often, I totally shared your perspective - if it sounds good, it really doesn’t matter how I got the tone. Now, due to work, grad school, flaky bandmates, etc, I find myself dialing in tones at home just for fun. So, I guess I’m getting wrapped up in the how and why of tone creation as a means of entertainment for myself. Like you mentioned, the Helix provides many avenues toward the same result. I’m focusing (maybe too much) on the subtle differences between a traditional high gain model and a clean amp with pedals.
  9. Also, just to clarify, I know that I haven’t discovered anything new here, it’s just a different approach for me. I guess I just wondered about different perspectives of getting a high gain tone this way versus selecting a high gain amp model.
  10. Hello all. I recently created a high gain patch in a way that changed my thoughts on Helix overdrive tones. I had an existing clean patch (Archon clean), and I added the Tone Sovereign in front. It got pretty crunchy. Then, I boosted that pedal with the Minotaur. The resulting tone is on par with many of my “go to” high gain models (Badonk, Placater, Archon). In fact, the note articulation seems to be an improvement overall. Does anyone one else use this approach for high gain tones on the Helix? Is it a viable alternative to just picking a high gain model? Why or why not?
  11. I find that the resonance/depth controls thickens the overall tone, but doesn’t add mud or flub. It’s too bad that only a few of the models have this control. I also used to dial back low frequencies for leads, but then I felt that the tone was too thin. It’s always a balancing act...Good luck with your tone search.
  12. I’m going to throw in a really simple approach that works well. 1. Find an amp model with a depth/resonance control (archetype clean or lead, badonk, etc). 2. Set your rhythm tone. 3. Using snapshots, set a lead tone that only bumps up the gain, master volume, and depth/resonance. Leave all other eq settings alone. This results in a fat, sustained lead tone, in my experience. It’s very simple, but give it a try.
  13. It becomes problematic to me when I’m reaching across the switch and my forearm touches it. I have my LT on a stand, and I often sit and edit patches that way. I have the “touch” control set to “off” in the global settings, as well, but that switch still responds to touch.
  14. Just a quick tip that works for me. Try an amp model that has a “fat” or “thick” control. Set up a snapshot to turn it on when you want your lead tone. The Placater Dirty and Texas Cali CH 2 are good examples. This approach works well if you are happy with your rhythm tones, but feel like the lead tones are a bit thin. It works nicely in conjunction with a master volume boost.
  15. Is his comment around the 2 min, 8 second mark a hint that the update is already on his Helix. A Beta, I suppose?
  16. I often hear that kind of fuzz/fizz on cleaner tones when I use the bridge pickup, which means, in my case anyway, that it is too hot. I tamed the issue by switching to the middle position (Les Paul style guitar) for clean/edge of breakup tones. That, in combination with low/hi cuts recommended by others on this forum, fixed the issue for me.
  17. I tend to lower the gain, bump up the master (around 6-7) and add a Minotaur (gain between 1-2) when I dial in the higher gain amps on the Helix. This approach tightens up the low end, in my experience.
  18. https://www.thegearpage.net/board/index.php?threads/helix-2-8.2004443/
  19. One other benefit that comes to mind is stage volume. It is so much easier to keep volumes at a comfortable level with modeling tech, especially if both guitarists and the bassist are using it. This benefit is even more noticeable to guitarists who sing, since they often get used to singing over loud amplifiers. I wonder if this figured into MK’s decision.
  20. This is cool, and it got me thinking...why would he go this route? I know why I did it with the Helix — it simplified my set up/tear down. I cannot go back now; I’m converted forever. But a world class musician doesn’t really deal with that issue, I would assume. So, why are some big time artists going this route when they have techs who can and will run complicated analog rigs?
  21. Post an image of your patch. There are folks on this board who can give more advice if they can see your workflow. In my case as a new Helix user, digital fizz always came from clipping somewhere, like hot pickups that cause issues at the beginning of the chain or the output level being too hot and clipping the mixer or recording device.
  22. I used to have up to 3 eq blocks on my patches (two simple, one parametric) that I would automatically tweak in similar ways on most patches. I mostly did this as a response to reading forums and watching YouTube tutorials. Honestly, though, I was overdoing it. In some cases I was sucking all of the life and dynamics out of otherwise awesome tones. Now, I just use one eq as a lead boost (to bump some mids), and that works for me. Sometimes I tweak tones based on what I have read, instead of just using my ears, but I’m trying to change this habit. There is just so much information out there to read!
  23. Do you have access to a powered speaker (frfr) that you can use at the next rehearsal? It’s a difficult scenario when one guitarist is using a traditional cab and the other is using modeling tech through the mixer. The sound dispersion is all over the place. If you are each using one speaker, you might be able to get a better sound as a band or at least get a better feel for your tone. If you do not have access to one frfr, You could also ask the other guitarist to turn down, and then mic his amp. Then, you are both in the mix together. I’m lucky to be in a group where we all use modeling direct to the mixer (even the drummer!), but I remember being the first one to take the digital plunge. It takes time to find your sonic space.
  24. Also check out the Helix Channel (Scott) and Richie Castellano on YouTube. Between these two and Jason Sadites, I have learned so much about building patches.
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