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DunedinDragon last won the day on August 8

DunedinDragon had the most liked content!

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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. DunedinDragon

    Can I emulate an amp and cab without a microphone?

    Just to be perfectly clear...If you're going into the amp and using your physical amp and cab, then you won't use the Helix amp, cab, and mic then you would only use the Helix for Effects. If you were going into the effects return portion of your 4CM, you would be only using the pure power amp part of your [physical amp, so you could use the effects and amp models in the Helix, but not the cabs or mic's as you'd be using the physical one. In both cases you would likely want to mic your physical cabinet.
  2. DunedinDragon

    Tube amps Gone?

    The Helix Owner's Manual tells you everything you need to know about how to do it. https://line6.com/data/6/0a06439c975d5787c3e351aa0/application/pdf/Helix 2.0 Owners Manual - Rev D - English .pdf
  3. DunedinDragon

    Mono to FOH, Stereo to IEM

    Actually, that's what the Aviom system overcomes. Everybody has their own small mixer that's fed from the main mixer and they can mix their own personalized mix to their IEMs however they want.
  4. DunedinDragon

    Mono to FOH, Stereo to IEM

    You could possibly use a headphone mixer and a couple of 1/4" TRS cables to get what you want. Personally I think you might be better off putting more focus on how your efforts are mixing with everyone else in the band than concerning yourself so much with something that doesn't really matter to the audience, the rest of the band, or anyone other than you.
  5. DunedinDragon

    Eliminating muddy low end (over-saturated) - new guy here!

    A lot of what you're experiencing is going to be affected by your output device. That being said if you're following the general template that Jason Sadites tends to follow you may want to consider different mic's on the cabinets. Jason tends to have a preference for ribbon mics, which I also prefer and work well in my particular setup with a Yamaha DXR12. But your setup may respond better to one of the dynamic mics such as the 409 or 421 or even the condenser mics, either of which will be a bit crisper on your low end frequencies. Possibly even a blend of a 421 and a ribbon might work well.
  6. DunedinDragon

    I’m A Helix and FrFr Noob! Help with setup please

    In the first case of using a DI to connect to both the DXR and the mixer, that would work fine and many people do it that way. In that case you wouldn't make any changes to the global ins/outs but you would lose the ability to isolate your Helix output to the mixer from changes you make to the Helix master volume. In the second case, if I understand you correctly, you would be using both Helix XLR outputs, one to service the DXR and one to service the mixing board. However unless specifically included blocks in every preset to ensure the output was in mono, you would be sending a stereo signal with the left side of the stereo going to the mixer and right side going to your monitor.
  7. DunedinDragon

    I’m A Helix and FrFr Noob! Help with setup please

    Well there are a TON of variations about different preferences on how to do this, so I can only tell you how I've approached this and why so you can decide for yourself what best fits. I have a very similar setup to yours in that I also use a DXR12 as my stage speaker. I go out of my L/Mono output on the Helix into the channel 2 line input of the DXR12 with the Level knob on the DXR12 set to 12 o'clock or 0 on the dial. This represents the point of unity on the amp in the speaker in which the amp is running at it's normal full state with the incoming signal neither boosted or attenuated. You could also run XLR L/Mono out to the channel 1, but there's really no advantage to it since it's going to be a very short run to the speaker from the Helix. I also have a set of DXR12's I use for stage monitors and in that case I use the XLR inputs as those can often be fairly long runs of cable. The main thing to consider is how you want to use the DSP contouring options and that depends on how the speaker is positioned on stage. In my case I have my speaker positioned behind me on a half height pole. This gives me the widest projection of sound so the rest of the band can hear me and is the best way to project into the audience if we're not running our instruments through a PA. In my case I have the D-contour setting to OFF and the High Pass Filter (HPF) set to 100 Hz. The HPF is just another way of saying Low Cut and helps get rid of frequencies not typical used by guitar. If you decide to place it behind you in a floor monitor configuration you may want to select the Monitor configuration on the D-Contour as that will mitigate what's known as bass biasing when monitors are placed on the floor. That's an artifact in which lower frequencies tend to build up with speakers in contact with the floor and the Monitor selection will correct for that. When it comes to running to the mixing board I'd STRONGLY recommend you send that signal via an XLR L/Mono out. The reason for this is that XLR signals aren't as likely to deteriorate or get noisy over long runs like 1/4" can. More importantly, not all mixing boards (at least reasonably modern ones) can accommodate a 1/4" input, but they can ALL work with an XLR input. One of the things that you have to be careful about with XLR outputs in this situation is what's called phantom power. That's a feature on mixing boards that provides power to certain types of microphones such as condenser mic's. If phantom power is sent on your line to the Helix, the Helix won't like it and will get noisy and sound weird. In my case I bought a phantom power blocker from Amazon for just a few bucks which I plug into my XLR out, and then plug the XLR cable into that to run to the mixing board. There are other ways to protect from phantom power. One being to run into a DI box and then to the board. But that's generally going to require using the 1/4" output which I already have in use for my on stage speaker, so I choose to go the route I go for other reasons as well which I'll also explain. I know you may not want to get too technical, but this is rather an important decision about how to use your Helix in a situation where you're going to a mixing board. In the global ins/outs of your Helix you can configure the signal levels to be sent out of both the 1/4" outs and the XLR outs. In my case I leave my 1/4" out set to LINE level output as that's what powered monitors normally work with when attached to a mixing board. You'll notice the XLR input of the Channel 1 on your DXR12 can be configured to use either Line or Mic level. The Mic level is what's normally expected if you plug a standard dynamic microphone into that XLR input on the DXR12. Otherwise it's set to Line level when used as a monitor from the mixing board. You'll notice in the Helix configuration you can also set the 1/4" output to Instrument level which would be appropriate if you were going into a standard guitar amp, which is not the case you're using. The important aspect of all of this is in the configuration of the XLR out when used with a mixing board. I set the global option on the Helix to send that signal as a Mic level signal to the mixing board as that's what most of the inputs on a mixing board are configured for. Additionally there is another option in the global Ins/Outs of the Helix called 'Volume Knob Controls' which defaults to "1/4 + XLR". This means the level you set on your Helix master volume knob controls the signal level on both the XLR and the 1/4" outputs. I change that setting to be "1/4" so that my volume knob only controls the signal level going to my on stage DXR12. In this configuration (along with the configuration of the XLR as a Mic level output) the Helix will send a full non-attenuated signal to the mixing board at Mic level. This allows me to adjust my stage volume via the Helix master volume knob without affecting the signal going to the mixing board and allows the sound man to gain stage the signal on his end independently from my on stage volume. This is important because once the mixing board is gain staged at the beginning of sound checks you don't want that signal level to fluctuate as it could cause clipping at the board. As far as getting XLR cables, I carry a reasonably long cable with me. What the venue provides can vary, but at least I have something in case they don't. Most often they will provide you with an XLR cable that's connected to one of the channels on the mixing board, but you can't always depend on that. As far as the L6 Link, that would come into play were you to be using a Line 6 monitor speaker as it's proprietary to Line 6 and isn't an industry standard such as an XLR or 1/4" out. I realize that's a lot of information to digest, but it should get you started. But that kind of complexity is part and parcel of having a system that's flexible enough to be used in a lot of different ways. And that's why there's no single best solution for how to set things up. I mostly have mine setup the way I do because aside from being a guitar player I've also had several decades of being a live sound engineer so I've tried to take both regimens into consideration in the way I configure my setup.
  8. DunedinDragon

    Looking for tips to create good Mic tone for recording.

    Are you using a Helix Floor or LT? I think what I'm getting is you can't seem to get a good mix between your backing tracks that are playing back and the vocal track you're recording. If so, that's one HUGE differentiator with the Helix Floor that you have a headphone volume which allows you to get control the mix of the vocal over the backing track. Otherwise you have to control that mix with the master playback volume output from the DAW. It's not as convenient but it will still work.
  9. DunedinDragon

    Helix Edit glitch?

    Have you checked to make sure you're on the appropriate version level on the HX Edit? I'm not sure what Freman recommends for version levels, but you may need to check with them. Scrolling should work fine.
  10. DunedinDragon

    Replacing Amp with FRFR for live (never using FOH)

    Chances are your audience isn't going to notice the difference whether you play in stereo or not. But if you have the speakers on the floor behind you I'm not sure you'll even be able to hear the stereo effect as well as you would were the two speakers mounted vertically on poles behind you and turned at slight angles. I personally don't play in stereo because very few people in a live environment benefit from it given they aren't positioned optimally to hear the separation, and the acoustics of the venue typically jumbles up the stereo effect within just a few feet given the reflections of sound in the room. I have run my vocals through the Helix, but the biggest issue for me was in sending my vocals and my guitar to the mixing board as separate lines so they could be managed individually. If you aren't sending your guitar to the mixing board it would be easier. But it would limit your guitar to using a single DSP on one signal chain so your other signal chain could be dedicated to the vocals. Whether the drummer hears you is based the same as it is with a traditional amp. It depends on the positioning. This is one of the reasons I placed my DXR12 on a half height pole behind me and turned it slightly toward the drummer and the rest of the group so I could take advantage of the wider dispersion pattern. The primary issue with placing any FRFR speaker on the floor is you're prone to bass coupling which accentuates bass frequencies. On many higher end speakers you have specific DSP contouring options to correct for this. There is a single contour button on the Headrush that simply states it "corrects for excessive bass on some stages". I'm not sure if that refers to bass coupling as it's not really a factor of the stage as much as it is how the speaker is positioned on the stage.
  11. DunedinDragon

    Another stupid snapshot question

    Exactly...!! People have to remember the reason for snapshots in the first place is to avoid the overhead that comes with unloading and re-loading blocks when switching presets which takes a moment to complete. So the idea is to be able to only endure that loading process once and be able to have a variety of configurations within that preset with no overhead delay. Once you begin modifying that model and start allowing loading and unloading of blocks within a preset you're right back to introducing the delays involved with switching presets which makes nobody happy.
  12. DunedinDragon

    Another stupid snapshot question

    I think you may be confused about what snapshots actually are given your questions. Snapshots are not a replacement for presets, or some form of "super" preset. It's simply a way of managing a preset so you can easily get different views or pictures of that preset. The preset is still there as the foundation and all the rules for presets still apply. If you can't change a block from one thing to another thing in a preset without editing it, you can't do it in a snapshot either.
  13. DunedinDragon

    Helix Models “Based On” Full Listing PDF as of FW 2.60

    Here's the one that's been around quite a while now and generally gets updated after each FW update: https://helixhelp.com/
  14. DunedinDragon

    Replacing Amp with FRFR for live (never using FOH)

    I appreciate the detailed post because it makes it much easier to respond to you. You have no idea how rare that is around here... I exclusively use a FRFR setup using a Yamaha DXR12 as my speaker. I'm in an 8 piece band and we have a similar setup to yours in terms of a normal backline situation. Although we commonly go direct into the mixing board with our instruments, there are several cases in which we only send the vocals, harmonica, and congas through the PA and depend on the backline stage sound for everything else in smaller venues. My setup is the same either way in that I have my DXR12 on a half height speaker pole positioned behind me. There's a lot of good reasons for doing it this way. First, these monitors are designed to have a wide horizontal spread of sound and a much more limited vertical spread of sound. If positioned in a wedge position either in front of you or behind you, your bandmates far to your left or right won't get much of the benefit due to what would normally be the limited vertical spread. However, positioned upright on a pole it has exactly the same effect as a normal PA speaker as that what it is. So in a smaller venue it simply augments the FOH speakers in that it has the same kind of long distance throw as a normal FOH speaker. It makes for the best of all worlds for both you, the audience, and your bandmates. As far as going with a full FRFR setup, you'll likely need to make some adjustments to what you're used to with a conventional cabinet. I've been doing this type of setup for so long (about 6 years now) that I get a bit frustrated when I use a cabinet because I'm so used to the clarity and definition of the FRFR speaker cabinets seem muffled to me. I'm a bit concerned about your choice of speaker quite frankly though. In the powered speaker market you pretty much get what you pay for, and the Headrush is more or less the lower end of the market. You may be fine with it, and many people do use it, but it all depends on the style of music you play and how critical you are about exacting tones that you dial in. We play a very wide range of genres including rock, blues, jazz, rockabilly, R&B/Funk, and I use a variety of guitars, so I'm pretty much OCD when it comes to getting the tone right for a given song. If your band is more specific in genre it may not be that big a deal to you. The best way I found to adapt to doing FRFR live is to think of it like I'm dialing in my sound for a studio session and what I'm trying to achieve is a studio sound live. If you think of it that way you won't be thrown off by the whole "amp in the room" thing that bothers a lot of people, because there is no "amp in the room" sound in studio recordings. This also means you'll need to be much more attentive to the things that are relevant to studio production such as compression, cabinets/IRs, mic usage, mic positioning, and EQ to get the finished, polished sound you would normally want in a studio. You'll hear a lot about using high and low cuts due to the expanded responsiveness of a FRFR speaker, which is true to a certain degree, but not always a given depending on the amp, the cabinet, mic and mic positioning. In effect you need to develop your ability to hear what frequencies are problematic and the different ways you can go about correcting them. The biggest transition is in dialing in your tone. It's important to be as near as you can to performance volume levels in order to not be fooled by the Fletcher-Munson effect. And you definitely want to dial in your tones through the FRFR. The main thing to remember is FRFR speakers are specifically designed for long projection of sound and will be much more harsh close up to the speaker. This is the reason you don't seat people right in front of a PA speaker, because it takes a certain amount of distance to resolve the mix between the horn and speaker. I normally stand 6 feet or more away from the speaker and often off axis to check my tone when I'm dialing it in. My biggest issue is often getting too aggressive with high cuts. What sometimes sounds right in isolation is far too muffled when combined with the rest of the band. Hopefully that helps you or gives you some ideas about how to approach this.
  15. DunedinDragon

    Is the USB output Balanced?

    As you noted you're new to the Helix modeling AND new to recording, both of which take a while to get past the learning curve. What most people are telling you here is get past the learning curve of the Helix first before taking on recording. Spend some time watching some of Jason Sadites Helix Videos on YouTube. That will get you comfortable with getting professional sounds out of the Helix. Then you can tackle recording.