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DunedinDragon

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DunedinDragon last won the day on January 14

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About DunedinDragon

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    Dunedin, FL
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    Gear: Helix, Yamaha DXR12, Les Paul Standard, American Strat with Lace Sensor pickups, Gretsch Silver Falcon, Epiphone Sheraton II Pro
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  1. I think you're slowly but surely coming to the grand conclusions most of us that have been involved in this discussion with you have come to over the years. 1. Fletcher Munson is a very real human effect that can't be avoided short of having the sound at a reasonable level where human hearing works efficiently. If you spend the time to examine some of the examples of charts for the Fletcher Munson effect, you'll see that 90 to 95 dbSPL is generally where the effect begins to dissipate. What's important about this is that's typically a bit less than the level people play at on stage so you don't really need to blast your sound at "performance" levels...more like standing next to an idling truck level. 2. Different guitars are, in fact...well...different. Despite all the advances in guitar electronics, a Strat will never sound the same as a Les Paul. Although I sometimes tweak my presets so that I may have two of the same presets, but each tweaked a little bit and optimized for different guitars. But that doesn't mean the results will be the same, just that the preset will be presentable on either a Les Paul or a Strat. Many of the songs I do really will only work well with one type of guitar and so I limit myself to that guitar when performing it. This is especially true with certain music genre's like funk or country. 3. I play a lot with various backing tracks which I create in Ableton using with various instruments, and that's really taken my performances to the next level knowing how to best fit in with different instruments such as keyboards, horns, pads or even pedal steel and strings ensembles. It's as much about developing the right playing style as it is getting the right tone.
  2. I think shopping around for a different producer and sound engineer might be the best thing you can do. There are literally thousands of well produced recordings out there using the same technology you're using. If they can't do it, it's more likely their incompetence than your equipment. However, to be sure you should probably ask them for more in-depth details about what was problematic for them in getting the tracks to sit well in the mix. What did they try? What failed? Have them show you examples and see if your ears agree. There's always the possibility you could correct the issue on the Stomp. But I would be very hesitant to accept their broad statement because it could just as likely be a "confirmation bias" on their part due to them having expectations set based of your equipment.
  3. Yes Line 6 has. Oddly enough it's called the Cosmos Echo in the Delays section of your Helix effects list.
  4. It's been there since Day 1 via the USB connection or 5 pin MIDI Out. Simple enough for most visionaries to master I would think....;)
  5. So instead of being stuck in the 1900's you'd prefer to be stuck in the synth age of the 1980's and 90's. THIS is the way to do formants in 2022. All you need to do is send it the appropriate MIDI and mix it to taste. Get with the current age!!!! Vowels in today's age.
  6. You're going to find out sooner or later, the Helix only provides a rather rudimentary MIDI capability for interacting with other devices. Anything more complicated than simple interactions really falls into the domain of a fully featured MIDI controller. In some cases, such as mine, it may be more advantageous to use an external MIDI controller to control and coordinate actions on everything including the Helix.
  7. In my experience there are two fairly distinctive "Nashville" styles. The older "smooth" style centers around the Gretsch style of pickup and the more modern style around the standard Telecaster style. I suspect the one you're going after is the more modern Tele style for which I use Gen4 Fender noiseless pickups. There are probably other pickups you can get it with, but the authentic sound is very much dependent on that style of pickup. Also, if you're using EQ don't take the normal thin slice out at 4.2 Mhz on your parametric EQ as you'll need that twang. Also the picking technique is a pretty important factor as well, but there are plenty of YouTube videos demonstrating it out there. EDIT: On YouTube or Google search for "chicken pickin"
  8. I think it would be even more interesting if you were to express yourself more clearly using actual english what it is you're wanting to do via MIDI and any specific Chase Bliss effects.
  9. I'm not really using plugins in the same way as you're talking about. I'm using Kontakt sample libraries (which interface in somewhat the same way as a plugin) for things OTHER than guitar such as strings, horns, flutes, pedal steel, harmonica, bluegrass fiddle, grand piano, B2 Hammond organ, Fender Rhodes piano, etc.. I rarely need anything more than what Helix provides as far as guitar tone, and I only really record guitar when I'm putting together a demo of a song the band is trying to learn. As I mentioned before, my tracks are really song specific session tracks for use with different songs we play live in order to add instruments to what the band is playing rather than having a session musician sitting in. And I would disagree that those type of articulation techniques are added after the note, they are actually part of the sample being used. The triggering note is simply a MIDI note which is sometimes triggered with a separate MIDI control note designating a special articulation or performance style, but the sample used for that note comes from a recording of a live person playing that note on that instrument in an acoustically professional recording environment using that specific articulation or performance characteristic. That's why those sample libraries can sometimes be upwards of 60 GB in size in order to manage all those variations of each note being played. In essence they're sampled in much the same way as what most of the more popular drum plugins are done, but on more complex musical instruments. These type of sample libraries are often what you're hearing on a large portion of modern cinematic soundtrack scores you've been hearing over the last 10 to 20 years rather than using a large orchestra or complex instrumentation setups like the following:
  10. It's really interesting to me that a fair number of active members on this forum have such similar backgrounds. Mostly I think because many of us grew up in roughly the same generation. As much as I was a "Beatle Baby" being someone that really became aware of pop music with their invasion of the US when I was 10 years old but my first interest in guitar started prior to that with my Dad's love of Chet Atkins records. I wasn't living in a place where you could easily find a "qualified" teacher on guitar, especially in those days. So I was stuck just trying to learn things on my own in a time where the only place you could seek much information on the subject might be a library or possibly a music store whenever I visited a larger city. And of course effects other than reverb and tremolo were still a decade away. However, I was fortunate enough to come from a very musical family (Grandfather played fiddle, Grandmother and Father played piano) so I was exposed very early starting at 6 years old to instruments other than guitar such as piano, trombone and violin and formal techniques like dynamics and articulations were always a part of it. I just didn't know what they were on the guitar and how you accessed them until after I left home and went to college on a music scholarship. What a difference THAT made in my approach to guitar and how it should REALLY be played in the context of a band. To be honest I'm so out of touch with K-12 education nowadays I don't even know if any of that stuff is even still available. I do think YouTube plays a fairly big part in music education, but that's limited to what you want to know, and many people these days don't know what they don't know. Which is exactly what I discovered when I finally went to college. But I do agree that from all appearances the level of private instruction appears to be pretty accessible. I just don't know if they stress that much in the finer techniques associated with articulations and dynamics that enable you to blend well and contribute effectively with a larger set of instruments.
  11. I'm glad to hear I'm not the only one noticing this. I was particularly interested in some of the things PierM was saying about being more "old school|" in his approach which I think applies to many of us that started playing before the glut of pedals and tools came out and diverted people's attention. And Sascha Frank's experience most closely resembles mine as far as finding the basic setups I need and not veering far from it. I do think there are some other factors that feed into this, one of which is the makeup of bands nowadays. It's relatively rare to see bands with LOTS of different instruments simply because of the pay scale used for paying most bands simply doesn't allow it. One of the things that began bringing this aspect of technique more to my attention was that addition of using "session instrument tracks" with my band. These aren't exactly backing tracks but rather individual instrument tracks which play along with the band on different songs. Once I began using these I noticed how much I need to change my approach to my playing in many if not most of the songs simply because there wasn't room for me to fill as much and I would be competing with the other instruments if I overplayed, so it more or less forced me to fall back to the techniques I used back when bands consisted of more than three or four instruments in order to blend and fill within that context. I think there are a lot of players that started playing in this newer age of limited band size and probably depend on many of these effects and such to help fill the space in an otherwise sparse instrument environment. It makes me think of one of the internet groups I tend to pay a lot of attention to which is Scary Pockets. It's not a whole lot of instruments, but each instrument contributes only what's necessary for the song to sound complete and professional..but all done live in someone's living room, for example. In their case it's all technique and very little in the way of effects and flashy stuff. Interesting approach to say the least.
  12. An interesting thought occurred to me the other day. I do a lot of recording work using sample libraries. One of the big differentiators in the quality of sample libraries tends to be the ability to apply various manual articulations to the notes. It really doesn't matter what type of instrument be it strings, horns, flute, pedal steel, bluegrass fiddle, harmonica, etc. They all provide various methods for controlling attack, vibrato, swell and so forth usually quite different for different instruments. It's fairly uncommon in modeling forums to hear much discussion about various articulation methods unique to the guitar, which leads me to question whether or not the Helix can sometimes become an impediment to newer guitar players developing these types of skills on the guitar such as palm muting, hybrid picking, neck versus bridge attack, pick technique and so fort. In other words there's so much emphasis and interest in the use of different amps or effects, there's not much left for learning how to enhance the mix of their guitar with the rest of the band or the tracks of a recording through the use of various articulation techniques. What's your take on this?
  13. DunedinDragon

    Amp-a-palooza

    The one problem you might have with you approach is that the recommendation from Line 6 for equalizing volume on the amp models has always been to use the amp's channel volume, not the master volume as the the channel volume is guaranteed not to affect the tone of the amp. Master volume on the other hand can and does affect the overall tone in terms of overdrive characteristics. To give you an example, the WhoWatt is a very nice clean amp with the master volume at 2 but begins to get a bit of a crunch to it at a master volume of 5. In theory I like your approach, but it could get in the way of selecting the right amp for a given preset as a master volume of 5 may not give you the best indication of how a specific amp will sound. Again looking at the WhoWatt that particular amp was designed specifically for being very good at working with external overdrive pedals for adding crunch and overdrive while retaining it's underlying tone and that underlying tone changes significantly when you adjust the master volume.
  14. It's really not something Line 6 is in charge of. HX Edit (like most installable programs) depends on a lot of underlying runtime components in the operating system that must be installed and installing those components is a matter of having administrator rights to the computer on both a PC or a Mac. It's all part and parcel of the security system of the computer which you can't bypass...for very good reasons.
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