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DunedinDragon last won the day on July 7

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. Pssst...my dirty little secret is I pre-record my pedal steel and keyboard parts and use Ableton Live to provide them as tracks rather than cart that stuff to gigs.
  2. Well, it's not a function of whether it's a hard thing to implement or not. It's a function of how many people would want the functionality and how it might drive influence or sales of units. One look through Ideascale and you'll see all sorts of things in there with very high approval numbers. That's your competition for getting the feature you want implemented. If your needs are somewhat particular or specialized to your situation you may not find a lot of people that crave to have a feature like that on their Helix. Even though I'm a multi-instrumentalist (electric gtr, acoustic, banjo, mandolin, resonator) I've never found this to be a problem. I simply move my wireless transmitter which just unplugs and plugs in if I need to tune something else and I tune everything before before the gig and seldom need to do much afterwards, so it's not a feature I'd be needing so much.
  3. I came down to this decision when I decided to get a second Helix unit as a backup to my Floor as well as being a dedicated studio unit. I almost went for the LT, but the lack of variety and number of inputs/outputs along with a dedicated headphone volume control swayed it to get a second Floor unit. And boy am I glad I did. There's simply no comparison as far as versatility for integrating different things with the Floor or Rack's additional I/O and I can't count the number of times I needed it.
  4. Logically it seems like it might work, however the issue with DSP limits is all about latency and you'd still be accumulating DSP latency plus communications latency even across two Helix units that were daisy chained. But who knows? I don't think I'd want to invest in, nor cart around two Helix units plus a MIDI controller to manage the two of them just to find out if it works. I'd just opt for more efficient use of my presets.
  5. To me the key ingredient in that tone is the mellow mid-range which comes down to the guitar being used. Highly doubtful that's from a single coil, but my guess would be it's more likely something along the lines of the 335 with humbuckers. It's not as clean as one might think as it has a bit of a breakup when the guitar player digs in. With the right type of guitar I think the sound is very achievable with a number of amp, cab and mic configurations. I'd probably start with the HiWatt and definitely a R121 ribbon mic in the mix and maybe a mix with a dynamic mic of some sort. I'd have to experiment with speakers to find the right sound. Then the effects to top it off, but that's the easy part if you get all the other elements right.
  6. Unless you have ears like a bat I doubt you or anyone else could seriously tell the difference between the two as far as tone or even loudness. However, coverage might be a different matter. I was using a QSC CP8 for a while and went to a K.10 as my monitor and there was a big difference as far as the overall presence or "size" of the sound at the same volume level. That made a big difference in how well I heard it on stage. I will say the K10.2 that I use now is maybe the best stage monitor I've ever used, and I'm comparing that to Yamaha DXR12's that everyone else in the band uses as their stage monitors. But that's really due to the difference in how QSC tends to be more "in your face" with it's tones than does the Yamaha which is a bit more musical. In my case my K10 is a dedicated floor monitor. in the case of the Yamaha DXR12, those are shared monitors. For that reason alone based on my experience I might recommend the K12.2 if you're talking about shared monitors.
  7. That might be something useful if you're just a bedroom player, but to me it spells disaster if you intend to play live. It seems like it would deceive you into believing you have a good tone which would dissipate into a nasty mess once you put it through a PA. If you look at a Fletcher Munson curve you can also easily see it's not a static transformation. It changes incrementally as the volume goes up. In order to do that correctly you would have to be able to monitor the actual volume in the room to make those corrections which is outside the scope of what Helix or any modeler is designed to do.
  8. DunedinDragon

    HX Stomp FRFR

    Here's the bottom line difference between choosing a FRFR style powered speaker or something like a powercab. For most people the powercab provides a more traditional on stage amp experience whereas any FRFR style powered speaker provides more of an audience experience through the PA. Those are really the bottom line differences so it really depends on what your needs are. In my case 90% of my usage is on a live stage and it's important to me to hear what my audience will be hearing when I'm dialing in presets because my entire band all goes direct to the PA without any on stage amps so I don't even own any real amps or cabinets. I only own FRFR style powered speakers other than the studio monitors I use in my studio. I will tell you that getting a good representation of how your presets will sound in a live environment will be just as expensive as the powercab. There's a very good reason why the Headrush 108 is cheaper...it's missing some importnant stuff that you'll find in the more premium level speakers like EV, JBL, Yamaha and QSC. That may not be important to you, but if it's an accurate representation it will be more expensive because, like anything in life, you get what you pay for.
  9. That's very true and that's why I go to such great lengths to measure my output signal levels on every patch so that on a typical mixing board it will almost always read at just below unity at mic level and full volume on my Helix volume knob, and I never adjust that for different boards. That ensures a consistent analog signal level at the board on all my presets, and they can adjust that however they want to from there. But the one thing I won't do is adjust my internal patch levels or global levels on the Helix....that's where problems can undoubtedly begin to bite you.
  10. I'm not sure we're talking the same thing. The measurement being used at the input level on all digital consoles is always analog when receiving a signal through an XLR or 1/4" input, and that's what you're adjusting when you turn the trim/gain knob on any channel. Both the QSC and Soundcraft systems as well as probably several others provide a digital signal level adjustment inside the workings of the console that can be used to further adjust the signal post analog to digital conversion, but in all cases it always peaks out at the same analog signal measurement which tells me they limit how high the digital signal level is allowed to go for exactly the reasons you're talking about as far as digital signal limits. Just like the Helix, there's an upper limit allowed on the digital signal level, but that doesn't stop you from increasing your analog output post D/A conversion using the Helix volume knob beyond what a receiving A/D would be able to safely convert. So somewhere they have to place a limit. I'm sure that's the same logic being used on powered speakers which implement a limiter in their circuitry between the incoming analog signal you adjust on the speaker's gain knob and the internal digital signal being used by the bi-amps and DSP processors.
  11. I think there's a problem in the realities of modern digital mixers in some of your assumptions. I know for an absolute fact because I've seen it now on QSC Touchmix and Soundcraft UI digital mixers that an arbitrary built in limiter comes into play on any channel where the signal hits around 8 or 10 db above unity. I assume that's to avoid the possible damaging effects of digital overmodulation, but it's there nonetheless. I can't attest to it on all digital mixers, but those particular two I have direct experience with. So in the case of someone gain staging a signal above unity, they won't be getting 6db of boost depending on where the signal is trimmed to. There's no problem on these consoles with a 6db boost or even peaks as long as it's intermittent and the main signal level is at or below unity.
  12. There really isn't much you can do about how each soundman gain stages your signal. That's why I'm pretty conservative about how much I boost my signal level when it comes to leads. As long as I'm sending a consistent signal level on every song and that signal level boosts slightly (maybe +2 or +3db) on leads, I've done all I can do. Like you, we generally tend to run our own PA most of the time, and I try to gain stage all the signals on every channel at a consistent level just below unity and let the faders do the work of where that instrument or voice needs to sit in the mix. Once I've done that I never have to touch a fader at all during any performance. But the truth is, once you're on someone else's board all bets are off and you just have to trust them with the FOH mix. As long as I'm getting a good stage mix through my stage monitor (which I do have input on), I've just come to terms with any soundman that wants to gain stage my signal differently is just going to have to drink his own poison. If that means he has to ride the fader all night then so be it.
  13. Personally I think guitar players have gotten too used to using pedals/footswitches to do a lot of things that could easily be accomplished with changes in playing technique or using the controls on the guitar which is why soundmen get frustrated trying to keep them where they need to be in the mix. It also accounts for why people keep running out of DSP on their Helix patches.
  14. I think part of the problem you're having is caused from having too much stage sound which confuses things when you're dealing with a mixer. The truth is you don't need a lot of stage sound with the tools we have nowadays. Once you go ampless on stage and simply use good floor monitors or in ears you'd be surprised how easy it is to manage the stage volume and mix separate from the FOH volume which results in MUCH better management of your personal mix on stage while allowing the soundman to better craft the FOH mix. My leads are maybe boosted 2 or 3 db and work fine both on stage as well as for the audience. My floor monitor is mixed with my guitar level boosted slightly over what is sent to the audience and works fine live with no interaction from the board.
  15. I have two Helix floor units. One is in my studio and that's attached to a fairly powerful desktop unit with a 23" screen primarily for working with Ableton Live, Kontakt and some other screen hog programs. I also use that system for designing drum tracks for the Beat Buddy which is used with my live performance Helix. In my live setup area where I do most of my dialing in of patches, practice and rehearsal I use a 10 year old high end gaming laptop with a 17" screen which I previously used for video editing. Neither has a touchscreen as I prefer using a mouse. The reality is I only rarely use HX Edit on either computer on the Helix. I generally prefer to dial in my tones using the hardware interface rather than HX Edit since that's what I'd have to use were I to need to make modifications to any patches at a live event. in the studio I do use the Helix as my primary sound card and audio interface on in my live rehearsal area I typically use the laptop for configuring my Morningstar MC8 MIDI controller setup and managing backups, imports, exports and firmware updates on the Helix but it's typically connected to my mixer through the XLR output directly from my Helix. I also have the two computers networked together so I can easily share files and printers between the two computers. Both computers also have Ableton Live and Kontakt loaded and used on them.
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