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Everything posted by DunedinDragon

  1. You did a backup for what reason and with what firmware version on the Helix and what version number of HXEdit? I mean we could all have a lottery and guess what you specifically did, but I'm not sure that's the best use of our time.....
  2. If you ran it through the PA at gigging volume, make sure you listened from a distance. PA speakers aren't designed for close up listening and you may end up cutting frequencies that sound harsh but end up making it muffled when listened to at distance. I normally listen to my patches as gigging volume from about 6 feet or more and often off axis and with my back turned to get a real clear idea of how they'll sound to the audience. Also make sure you have a consistent volume between patches and snapshots. Don't expect the sound guy to babysit your levels.
  3. Is he also on an HD500X...or maybe a Helix since you posted on the Helix Forum. Do we just guess???
  4. Put it this way, if you were in a music store and plugged into different amps with the same settings, would they all be the same volume? There's your answer....
  5. DunedinDragon


    There's so much information left out here I guess we'll have to make some assumptions. Are you saying your downloaded the Line 6 Updater and are running the updater from your computer. If so, you have to have your Helix Rack turned on and USB connected to the computer for it to see it. However, I'd suggest you back up and look for the Firmware update for the Helix which will have the steps to follow to do an update. What you should be downloading is the HXEdit utility for the version you want to update. When you download that and run it, it installs the device drivers as well as the Line 6 updater. Then you follow the directions for updating your rack.
  6. I think they're saying the same thing as what cruisinon2 was saying...just in a different way. If it's a line level signal it's not coming from the power amp, it's coming from the preamp where the tone is developed which may also include some tone aspects of the speaker added to it, but it certainly wouldn't be the same signal that would be what is sent to a speaker cabinet which is a fully amplified signal. Someone with more experience with the HXStomp and HXEffects would have to give you what output options are available from the units, but I would imagine it would be user configured as either a Line or Instrument level or possibly Mic level signal. Bottom line, if you can feed the output of that LINE OUT on your amp into your DAW, you should be able to do the same thing with the Stomp or the Effects.
  7. I have my Casio Privia connected as mentioned above, via two 1/4" cables into Helix returns 1/2. From there it's just like any other input and output either through the USB to the DAW or XLR to studio monitors or XLR L/Mono to a FRFR speaker. You do need to check your input block as well, especially if your running it with guitar and want to allocate the piano to a different signal chain than the guitar. Mine isn't that fancy. I have a separate preset for my piano with my XLR outputs from the Helix connected to the studio monitors. Select the preset and play.
  8. The only reason some people use DI boxes is to make sure phantom power doesn't affect their Helix unit. The only reason you would need to turn on phantom power would be if you were to use condenser microphones and phantom power from the board would be necessary to power them. Even then, depending on the mixer's capabilities, you might be able to selectively apply phantom power only to specific input channels and avoid sending it to the Helix. On some cheaper/older mixers phantom power is turned on for all channels. Then you would need a DI box to block the phantom power from reaching your Helix.
  9. Well being a long-time Ry Cooder fan from the 70s to current stuff, I don't know that there's any specific combination of effects that will fit his sound because his "sound" is really 90% technique and the rest changes with each song. This is good news for the Helix because you really only have to get his hybrid picking with tremolo, and slide techniques down then add in the right mixture of effects based on each song. Most of his effects are fairly light except when he goes for a more lush sound with delay and light chorus and vibrato. Some of his more recent stuff can have a bit more dirt than most of his older stuff, but most of his stuff is really based on a very mellow mid-range strat, les paul, or 335. I've always used a Vox predominantly on his stuff but he's mostly moved on to some of the newer boutique amps recently so you could probably use any of those types as well. But the key with him will always be his technique which is very unique and people can immediately identify with that.
  10. The DXR series has two channels so you could potentially use one for your direct monitor output and setup the other channel for a feed from the desk. But then I'm not sure you're accomplishing anything more than you would if you just fed a custom monitor mix from the desk to the DXR based on a single XLR feed from the Helix. Most powered stage monitors have a "Link Out" also, so you could potentially take the feed from one of the other monitors and feed it into your DXR. As I mentioned before, in our band we use our on stage amps/speakers to work as our stage monitors and reserve the main front monitors for only the vocals and harmonica and it works very well as long as everyone can manage the stage volume. That changes of course on a larger stage and bigger venue. Then we leave the mix up to the sound crew and their monitors. I have a whole process set up for normalizing the signal level of my Patches that I use as part of my prep for gigs. I simply plug my XLR out into a mixer and monitor the signal level as I play through the preset to ensure they all stay in the same range. Usually I make all my volume adjustments in the preset on the channel volume of the amp block as that doesn't affect the tone. When it comes to lead volumes, it may come up very slightly on the meters, but generally the difference in tone is more than enough to set it apart in the mix given that my normal rhythm part is dropping out when I play lead. But you do need to monitor the signal level for the whole patch...all stomps and all snapshots. Generally it's best to rely on both the signal meters and your ears because distorted tones will always be perceived as louder whether they are or not. When Line 6 incorporates their metering system I may change my process depending on how theirs works. For now, mine is rock solid and stable. Here's a pic of how mine is setup at home.
  11. I gig 1 or 2 times per week and have been doing it for years. I implemented a Helix over four years ago. We also use and run our own PA the vast majority of the time. Our PA consists of a QSC TM30 Pro mixer and two stacks of QSC speakers, each stack consisting of a QSC KW 181 sub with two KLA 12 line array speakers. Our band consists of three dedicated singers, one also playing harmonica, 2 guitars, bass and drums. My setup is very similar to emagli in that I use my own dedicated Yamaha DXR12 stage monitor. I have my DXR12 positioned behind me in the backline on a half height speaker pole. I don't use any DSP contour settings to best simulate the sound from the FOH. I have my Helix configured so that the XLR output is disengaged from the Helix volume knob and sends a Mic level signal to the mixing board and I send a Line level signal which can be managed by the Helix volume knob to my DXR12. Generally it's only vocals, harp, and the occasional acoustic guitar that are fed through our stage monitor system consisting of two DXR12's. We use our amps or dedicated monitors for monitoring the instruments on stage. Normally our drummer uses a high end Roland electronic drum kit (except for larger concert level venues) and uses a DXR12 in the same way I do positioned in the backline. Therefore we manage our stage mix of instruments individually and our vocal mix separately, so our stage instrument volume levels are pretty reasonably low in order to get a good mix with the vocal monitors and not have a lot of stage sound bleed into the audience that would interfere with the FOH sound. This is because we have a total of 6 singers out of the seven members in the band with a LOT of harmony work. Because the band has been together for more than 10 years we're pretty adept at getting this type of on stage monitor mix correct so that we can all hear each other. Up until about a year ago we had a dedicated sound person which I had trained. After the last one left I found I could manage it pretty well without a sound guy so we never replaced him. Because the TM30 mixer has the capability of using a tablet over WiFi to control the mixer, I do have one on stage with me, but we position our mixer out in front and I can normally get the mix setup correctly with a good sound check before we play and seldom need to make any adjustments during the performance. The real key to doing this is to have a consistent signal feed to the mixer. Because my Helix feed will always be the same regardless of the setting of my Helix volume knob I am meticulous in the setup of my presets to get them to the same volume and signal level and measure them at home using the TM30 mixer. The other guitar amp, bass amp, and drums signals are more affected by their master volume settings on their amps so we generally first get our stage balance where we want it, then gain stage the incoming signal levels at the board so they're all equal, then finally adjust the individual channel mixes through the faders for both FOH and stage monitor mixes. Although that sounds complex it really doesn't change much from gig to gig as we all know where our stage settings should be on our amps and such, so it only really takes about 5 to 10 minutes for gain staging. We then sound check going through a couple of songs with myself and the other guitar player out in front using our wireless setups to get the final mix correct. Things get a bit more complex when we play concert level gigs using acoustic drums, but we always have a dedicated sound man for those situations.
  12. Just to make sure you understand. The common way of using a Helix with a traditional guitar amplifier is to go from the output of the Helix into the Effects or Loop return of the amp. That way you're bypassing the guitar amplifier pre amp and only using the power portion of the amp. There are more complex ways of doing this such as the 4 cable method, but the essentials revolve around only using the guitar amplifier's power amp and letting Helix do the rest. As mentioned previously you probably won't want to use a Helix cab or IR in that type of setup as you'll be going through real cabinet. The simplest way to do that is don't select Amp+Cab, but rather just Amp or Preamp. Just to clarify, there are always going to be certain limitations when using a traditional guitar amp. That's the reason most people prefer to either use a simple power amp and a real cabinet, or a FRFR powered speaker in order to avoid all the limitations.
  13. It really has nothing to do with IR versus stock cabs. It has to do with someone that has experience mic'ing cabs and capturing it in an IR. If you have the same level of expertise as the person that captured the IR you could do it with Helix stock cabinets. It just takes a little more time to set it up.
  14. What you're dealing with are two very different designs even though many people would characterize both as FRFR. But they are designed to do very different jobs and work very differently from each other. The FRFR-112 is, in essence, a powered PA speaker which is designed for projecting sound over a long distance and covering a very wide area. It will generally be the best match and representation of what your audience will be hearing through the PA. The Laney is still a full range and flat response system, but as a cabinet it's not designed the same way as a PA speaker. The sound won't disperse as widely or as far or as efficiently as the FRFR-112 and the cabinet will influence the tone somewhat and give you more of an amp in the room sound rather than a studio or concert sound, so this means you have to make some choices. You can use the tones you set up for the FRFR-112 and tolerate the difference in sound on stage, or you can accommodate two different output tones. One for the on stage Laney, and one to feed to the FOH based on your tone from the FRFR-112. What it comes down to for you is whether appearance is more important than simplicity and effectiveness ...and that's a choice only you can make. I personally have no problem with having my Yamaha DXR-12 on the backline on a half height speaker pole. But I'm more of a "substance over flash" kind of guy. If someone is going to judge my performance based on what my stage setup looks I'm not sure I really care since I might as well be playing though the cheapest amp available since they don't appear to know anything about the tone, so they probably don't know anything about music either. My biggest advantage in my setup is in the case in which we only put vocals through the PA and use our stage sound to fill the venue for the instruments in some smaller venues. With my setup it stays the same but I get better results as my DXR-12 will give me comparable performance as would any decent PA system.
  15. I'm assuming regardless of what you use on stage you'll be also be sending your guitar signal direct to the mixing board for including your guitar in the main speakers. If that's the case I'd personally go with a small powered speaker such as the QSC CP8 for your on stage sound as it will be more representative of the sound the rest of the congregation will be hearing through the main speakers. I own one and have used it as a my stage speaker occasionally at smaller venues and it's more than adequate volume wise and WAY more accurate in representing the output of the Helix than an acoustic amp. It's about the same weight and price of the Fishman mini with a LOT more power and accuracy.
  16. Each Evox 8 stack rates at 128 db SPL which should be more than enough with two stacks if I'm reading their specs correctly. The concern would be with the mixer which only really has 4 standard inputs and two stereo lines. Channels 5/6 could be used for one 1/4" mono input, but channels 7/8 is a low level (-10db) stereo line using RCA unbalanced inputs which I think you'd find to be problematic for instrument or vocal inputs. That only gives you 5 inputs and one is a limited input for 1/4" only. You might want to look into that.
  17. If you can swing it I'd really suggest getting a digital mixing board. You could save some money by getting an analog mixer, but there's so much more functionality built into the new digital boards for doing things like capturing a multitrack recording of your performances, parametric EQ for each channel, and often automatic feedback filtering and so forth that it bears looking at. The number of Aux outputs you need for monitors really depends on how many different monitor mixes you need. If you're still using on stage gear for the instruments, you might not need much more than a single monitor mix for voices only. In any case what you DON'T want is a mixer with an amplifier in it with passive speakers. They're cheap, both money-wise and performance-wise. In short...they're just junk. As far as the columnar arrays, I had a Bose system for a while when i was doing a single. They sound great but they may be too limited in the number of individual inputs you might need. It would probably work better with an electronic drum kit than an acoustic kit. A common decent small gig system might consist of a good quality mixer (analog or digital) with a sub, two front powered speakers and two or possibly 3 stage monitors (if your drummer needs one). The number of monitors has no bearing on the number of Aux outputs you need as they can daisy chain off of one Aux output. Fronts speakers should probably be 12" speakers and you could probably get by just fine with some of the middle of the pack speakers like the EV ZLX-12P or Yamaha DBR-12, or QSC CP 12. Not the top of the line, but more than powerful and decent enough to give you good, clear performances at a good price. The reason you need a sub is to isolate the super low frequencies from interfering with the vocals and guitars as the sub will take the main board signal and apply a high pass filter to isolate frequencies below 125 Hz to the sub and send frequencies above that to the mains. Also, they just add some beef and bulk to your sound. As far as monitors, that's a judgement call depending on how much you want to rely on them. I've seen bands save some money by going to 10's or 8's and be happy with them. But we have LOTS of singers in our band with lots of harmonies as well as a harmonica and sometimes a separate acoustic guitar, so we use 12's as monitors to better keep up and compete with the other instruments on stage. If you tend to have a pretty loud stage sound, it's probably worth it to not try and save money on your stage monitors. I realize that may seem like a lot of equipment and cost, but ultimately your band will be judged by the audience based on how good your PA is, so its pretty much worth it.
  18. For myself I pretty much use the same mic's combinations (R121 ribbon and MD421 dynamic) and generally just play with placements around mid-point between cap and cone on different speakers. That pretty much limits the ones I'll choose to use. Some vendors such as Ownhammer have some pre-configured starter setups that makes selections a lot easier. The best thing is to do some research on the different mic's and the effect of placements and that will help limit your range of possibilities.
  19. To be quite candid, I'm not sure you would solve anything by having a band meeting. Having run live sound since the 70's it doesn't sound to me like there's anyone in the group that has enough expertise to authoratatively resolve this kind of technical issue anyway. In most decent PA situations this type of situation is resolved by isolating very low frequencies on the bass and drums to the subwoofer. In most modern situations the main mixer outputs first go to the subwoofer which then sends the signal to the main front speakers using a high pass filter (generally 120 Hz), meaning that the bass and low frequency drums still go through the mains, but their very low frequencies are isolated to the subwoofer so they don't interfere with the higher frequencies in the mains. I personally go a step further and put high pass filters on everything other than the bass and drums. It has nothing to do with the Helix. I do it the same way with a bass amp which is NEVER mic'd and only uses a direct line outputt into the mixer. Those are the technical details from a live sound reinforcement perspective. What this means is there's no reason you (and the drums) shouldn't go direct to the FOH as long as the FOH has a setup similar to what I described. It also means that your best and simplest approach would be to get a bass amp or FRFR. If the PA has an appropriate setup such as I described you can send the XLR output from your Helix to the board and send your 1/4" output to the bass amp or FRFR. If the PA doesn't have an appropriate setup, you can simply rely on the bass amp or speaker to fill the room.
  20. Personally if it's a small club and especially if it's an older PA and loudspeaker setup, I'll ONLY put vocals through the PA. Typically stage gear is more than enough to fill the room so the PA is irrelevant. However, that also means everyone needs to be disciplined with their volume or it will be a disaster. This is also one of the reasons I always have my Helix hooked up on stage to a FRFR speaker in the backline so there's no problem supplementing a PA like that.
  21. I doubt that seriously. I'm not sure it's using HX models or else it would have the "Helix" tag on it. Sounds more like a rework of the POD stuff, so I doubt it will be compatible with Helix presets, but who knows? The biggest limitation I see is the connections on the back...no XLR outputs.
  22. Hmmmm... I think someone already beat you to it a couple of years ago...without all the fuss. https://helixhelp.com/
  23. THIS may be the key to why I've never run into any of these weird problems. The only time I use HXEdit is just for file type operations (import, export, backup, restore, etc.) Otherwise I totally depend on the Helix editing interface. In the beginning I reasoned that if I might need to do something on my presets and didn't have HXEdit available at the time, I'd better know how to do it with just the Helix interface, and that's why my preset editing have always seemed to be bulletproof....well that and constantly saving my presets during any kind of editing.
  24. Car Buyer: Does this car have cruise control. Car Salesman: No it doesn't. But there are other cars here that do. They're a bit more expensive Car Buyer: No I want THIS car at this price Car Salesman: Well, okay...if you're sure. [Several months later] Car Buyer: I think this car really needs cruise control. Car Salesman: The other higher priced cars with cruise control are still available. Car Buyer: No, I want you to install it on this car for free!!!!! Does this sound familiar??? There is a fix for such things. It's called "due diligence" when making a buying decision.
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