Jump to content

DunedinDragon

Members
  • Content Count

    2,151
  • Joined

  • Last visited

  • Days Won

    37

DunedinDragon last won the day on April 17

DunedinDragon had the most liked content!

Community Reputation

621 Good

About DunedinDragon

  • Rank
    Power User

Contact Methods

  • Website URL
    https://www.facebook.com/SalvationSaloonPosseBand/

Profile Information

  • Gender
    Not Telling
  • Location
    Dunedin, FL
  • Interests
    Gear: Helix, Yamaha DXR12, Les Paul Standard, American Strat with Lace Sensor pickups, Gretsch Silver Falcon, Epiphone Sheraton II Pro
  • Registered Products
    3

Recent Profile Visitors

839 profile views
  1. DunedinDragon

    Delay settings

    Early on I got into setting the Tempo on all my patches for several reasons, delays being one of them. My patches are all song specific so it's easy to set it up that way. Aside from being able to use it for effects, it's also quite handy so the drummer can use my flashing light to set bring us into the song. The good thing about having a consistent BPM for each song is that we can very precisely manage our time. This is very handy when we're playing in a multi-band performance scenario with each band held to a specific length of time. There's nothing more aggravating to me than a band that's supposed to play for 40 minutes playing for and hour and 15 minutes. That's SOOOO inconsiderate to the other bands and so unprofessional.
  2. DunedinDragon

    Delay settings

    The key parameters you need to deal with will be Time, Feedback, and Mix. These are the ones that will dial in the basic sound which can then be refined with the other parameters. For myself I prefer to deal with Time based on note values rather than milliseconds. In order to do this you need to set the tempo for your patch by touching (not pressing) the Tap button and dialing in the Beats Per Second (BPS) of the song you'll be playing. I then personally prefer a 1/8 not or dotted 1/8 note so the echo is synchronized with the song I'm playing. Feedback is the number of repeats. Generally 10% is one repeat, 20% is two repeats and so on. The Mix parameter is how prominent the delays will be. I normally set this between maybe 15 to 20%, but you can go higher if you want a really wet delay. But you have to be careful because if you're playing a busy rhythm part it can become muddy very quickly with too much delay in the mix. In my opinion it's very easy to dial in too much delay which might sound great by itself, and very noisy and distracting when played in a band setting, so a lighter touch always works best. The key to delay is to not make it prominent until you mute the guitar, and for most of the time it's just there in the background.
  3. DunedinDragon

    How many people would like to see a medium size Helix?

    Agreed. More importantly each different variation requires a certain threshold number of buyers to make it worthwhile investing in the development of the product. I'm not sure something like an LT without a pedal would garner enough market potential to make it profitable given the likely negligible price difference with the LT. It just doesn't make good business sense to my eye.
  4. DunedinDragon

    Helix vs Helix LT

    Well, you haven't given us much to go on. You just listed equipment (whether active or not) which doesn't factor into this decision. They'll work the same on both. What's your envisioned usage? That's far more likely to shine a light on which unit would serve you best. If you gig a lot and are pretty active as far as effects and pedal usage on stage, the higher build quality might be worth considering. If you plan on using it for recording then there's a real benefit to having the extra I/O to simplify your workflow in the studio. Those are the type of things that determine which is best for you.
  5. DunedinDragon

    Little River Band: Both Guitarists Use Helix Floors, No Silly Amps

    I've always greatly admired LRB and their musicianship. I rank them right up there with people like Toto, Steely Dan, Atlanta Rhythm Section and many of the other great "session bands" of the late 70's and 80's. That's why it doesn't surprise me at all given the range of their musical styles they'd adopt the Helix to simplify their stage act. Their kind of music is a clear example of where the Helix can shine.
  6. DunedinDragon

    XLR Port

    I have two Helix floor units and XLR's are perfect on both.
  7. DunedinDragon

    Speaker for my Helix LT

    I haven't used any experience with any of the factory presets, but if you can give me an idea of a style of song that might be reflective of what you do I might have a personal preset that works for me with my Yamaha DXR12 I could attach to a response so you could try it out. It would also be helpful to know what guitar you use as my presets are designed for specific guitars which are: Acoustic, Les Paul, Stratocaster, Telecaster, and Gretsch Hollow body. I play a pretty wide range of genres so I'm sure i could find something that might be close to what you're looking for.
  8. DunedinDragon

    Speaker for my Helix LT

    The general approach by most people that use a traditional amp as an on stage playback system but send a direct signal to the mixing board is to branch off from the preset right after the amp model but before the cabinet block and output that signal to 1/4" out to the amp because the amp is providing the cabinet. The rest of the preset continues on with the cabinet or IR block and goes to the XLR output to the mixing board. I'm not sure if that would work with the keyboard amp because it's a little bit different animal. I can understand why the keyboard amp is not responding like a normal FRFR would respond because it's not a PA speaker, but I'm not completely sure it's going to respond like a traditional amp either since it's kind of a hybrid.
  9. DunedinDragon

    Preset Viewer

    And therein lies the problem. HXEdit doesn't need to know anything about all the possible configurations, nor does it need to keep track of DSP usage for adding blocks or managing splits and merges, and so forth and so on. That's because it's written in a function/response format (similar to HTML) and relies entirely upon the Helix unit for the enforcement of logic. If that logic changes, HXEdit isn't affected because it doesn't know or keep track of anything. It simply reflects the results of the action to the user. The only real logic HXEdit is responsible for are interactions with storage such as exports or backups, etc. Of course it's possible to do what you're talking about, but that means the logic rules in the Helix unit have to be duplicated within HXEdit, which is a time bomb waiting to happen should they get out of sync, and architecturally speaking a very bad design. Fortunately HXEdit does have the ability to identify when the logic of a preset doesn't match up with the rules of the Helix. It's called a "bad preset" error...and those are lots of fun to try and track down and correct. Ask anyone whose had one.
  10. DunedinDragon

    Helix Output Volume/Gain Structure

    This has been an ongoing, and sometimes passionate, area of discussion sometimes. I can only relate what I've discovered in my search for consistency over the last 4 years. The Helix manual recommends setting your Helix master volume at maximum, although most of us don't want to give up the convenience of having a way of globally having some control over our volume across all patches and snapshots, particularly as it pertains to our stage volume. However, the Helix volume setting does have an effect on the behaviors of your amp models as far as where you end up setting them to get an adequate level for your patches. I originally settled on setting my Helix volume at 11 o'clock, but that ended up forcing me to use unusually high channel volumes on many of the amp models which is really the ideal way of getting consistent volume levels without affecting tone. Exacerbating the problem is that I send my 1/4" outputs at line level to my stage monitor (Yamaha DXR12), and I send my XLR outputs to the mixing board at mic level. In order to not affect my mixer signal if I adjust my stage level, I disconnect my XLR outputs from the Helix master volume, which then sends that signal to the board as if I had the Helix volume level set on full. That's not really a problem as it can be gain staged at the mixer, but it bothered me that my gain staging at the mixing board had to be so severe due to the way I had my amp model channel volumes set. So in order to bring all of this back in line and have more consistency I changed my default Helix volume setting for dialing in my presets to the 3 o'clock position which then allowed me to bring my amp model channel volumes back in line with what I'd been used to on most physical amps I've ever played through, and brought my XLR output more in line with the levels for other channels on the mixing board. The added benefit which I hadn't counted on was in the effect this had on many of my post amp effects such as compressors, reverbs, and delays which began to behave in a much more manageable and predictable way due to the lowered input signal from the amp. I'm not saying this is right for anyone else, but I can say this has made me MUCH more comfortable with managing both my stage volume signal as well as my mixer signal independently and getting overall better results across all my patches and snapshots. This may be something you might want to examine for yourself though.
  11. DunedinDragon

    Speaker for my Helix LT

    Cabinets, by design, project sound in a wide radius both vertically and horizontally and the sound changes as you move your position relative to that speaker (i.e. stand off to the side). Powered PA speakers, by design in a vertical position, have a wide sound radius and a limited vertical radius. This accomplishes two things. It maintains the tonal characteristics of the sound across that wide horizontal spectrum, and it conserves what would otherwise be wasted sound energy that gets lost in the ceiling and floor so that the sound energy is used more efficiently and projects further. This is why PA speakers can sound very harsh close up, but that harshness blends away pretty rapidly as you put space between yourself and the speaker.
  12. DunedinDragon

    Stumped by usb

    Just to clarify. Assuming Windows 10, when you have the laptop hooked up to the Helix USB and the Helix is turned on, when you hover for a moment over the speaker icon on the bottom right side of the laptop screen, what's the name of the driver that pops up?
  13. DunedinDragon

    A way to run 3 IRs?

    Generally you don't gain a lot with combining IR's like you do with stock cabinets. Because of the way stock cabinets are designed, the most common use of additional cabinets is to be able to mix different mic's and placements as a given cabinet can only have one mic. That's not the case with IRs. The number and mix of mic's can be quite large within a single IR depending on how it was captured. In many cases it's not unusual for IRs to be captured with different combinations of speakers as well, so combining them in Helix is somewhat redundant and not very efficient.
  14. DunedinDragon

    Speaker for my Helix LT

    Although there's some truth to the difference in PA's in theory, in practice they're generally pretty equivalent nowadays as long as they're of a more modern design. FRFR isn't a "standard" so to speak and no speaker manufacturer other than Headrush actually uses the nomenclature FRFR. So there isn't really any "true" FRFR as you referred to it. And you actually wouldn't want a completely flat response on any speaker because that would sound horrible to the human ear. Each manufacturer voices their speakers slightly different based on their target market. Although I normally use the Yamaha DXR series, I also own and have used the EV ZLX series as well as the QSC CP series with very similar results. Primarily because those manufactures all address live music performance as their primary target markets and voice their speakers accordingly. FRFR is just a term that generally refers to a certain type of speaker architecture. By and large that architecture (at least at club level applications) consists of powered speakers using a bi-amp design with DSP processing for allocation of the frequencies across the high and low end drivers, sometimes with tone contouring adjustments for various placements and special applications. Most relatively modern PA speakers within the last 10 years or so would fall into this category. The ones with significant problems are typically older/cheaper style PA's with powered boards and analog crossover systems. However at large scale concert events the architecture is different but still consistent with the small scale design goals of what's generally referred to as FRFR. Given that you're not playing into one of those cheaper/older type of systems, these modern type of speakers will give you a pretty consistent playback not only tonally but behavior-wise since these speakers are architected quite differently from a cabinet and for an entirely different purpose. Look at it this way, how many PA's have you ever seen using full range stage cabinets such as the Behringer as their FOH speaker of choice? I'm not saying whether or not your choice of the keyboard cabinet is bad or not. That's up to you. But it doesn't accomplish the same thing as what's referred to as a FRFR speaker as far as projection and consistency of tone across a wide sound radius. This is one of the reasons why even keyboard players are opting away from cabinets and toward these type of speakers in order to get a more consistent feel for what the FOH sound will be. So it's not "hype", as you put it. There are real engineering advantages designed into these speakers that have caused them to become the default tool of choice in live PA music performances from smaller club level speakers to larger events using line arrays. There's a real reason for that.
  15. DunedinDragon

    Speaker for my Helix LT

    The only really important question here is, how are you going to dial in your patches to ensure you get the sound you want through the FOH. Clearly as you saw there is a difference between the sound of the EV and the KXD using the same patch. So your audience is going to hear the EV sound regardless of what you use on stage if you go XLR out to the FOH. So dialing in your patches on the KXD is not going to be an accurate representation of what your audience will be hearing live.
×