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Everything posted by DunedinDragon

  1. DunedinDragon

    IR clarification

    What's probably more important than the speakers is the type of microphones and their placements. If you're familiar with those differences you'll be more likely to get the sound you want.
  2. DunedinDragon

    Headrush FRFR-108 or 112 for first FRFR?

    I play at least once week, sometimes 2, and 90% of the time I use my 12 inch Yamaha DXR. It just seems to better replicate the sound I get out of most FOH PA speakers. The only time I use my QSC CP8 is when I play smaller, more intimate venues in which we aren't using the PA for the instruments or if I'm just jamming with someone, and it's more than adequate for those situations. At home dialing in my presets I always use my DXR12, and it translates just fine to the CP8 if necessary. I always have my DXR12 or my CP8 mounted behind me in the backline and never as a floor monitor. I even dial in my tones with the speakers in a vertical position at home. This is true even though both speakers provide a correction for bass coupling in their DSP contouring options. The reason I do this is that these type of speakers have a very wide sound coverage in the upright vertical position, but a limited horizontal sound coverage if used as a monitor. This makes it much easier for blending with the rest of the band and I don't have to worry about wandering out of coverage or off-axis when I'm on stage.
  3. DunedinDragon

    Anyone tried the Iridium yet?

    It's more likely useful to someone that just wants to plug in and play as there's not a lot of flexibility or adjustability to it. You kind of get what they give you. I'm not sure it's exactly in the same market as the Stomp.
  4. DunedinDragon

    Lost here

    It's called "Line 6 Updater" and is a standalone program that was installed as part of the installation of HX Edit. Your Helix needs to be connected via USB and turned on when you run it.
  5. DunedinDragon

    Volume Fluctuation

    There's really no reason to run 1/4" to FOH and there's lots of reasons not to. As was stated previously, if you're concerned about phantom power then attach a phantom power blocker onto your XLR out and be done with . BTW, the 1/4" output is an unbalanced cable. However the right choice for going to the FOH is generally XLR because that's what all the other inputs are that are going to the board. That's generally because they all send at Mic level and there's less chance for room interference especially over long distances, which is what XLR is perfect for. If you use the XLR out from the Helix to go to the FOH you have the opportunity to disengage the XLR from the Helix big volume knob in your global ins/outs which then allows you to adjust your stage volume using the Helix volume knob without affecting the signal going to the board. In that case you should probably also set the XLR output to Mic level as it will send at full volume and Mic level then won't overwhelm the board when it comes to gain staging. That's why all of those facilities are designed in the the Helix settings so you can do such things and remain consistent with the other inputs coming into the mixing board. Makes you a best friend to all the sound crews you work with .
  6. DunedinDragon

    Volume Fluctuation

    I wouldn't overreact and go jumping into a new rig just before a gig. I've used my Helix to DXR12 combination for well over 3 years with zero problems. But I've never used the XLR output to go to the monitor. I reserve that output for direct to the FOH mixing board which is probably the predominant way most people do it. I can see no advantage in using an XLR output to go to an on stage monitor as that's too short of a run to make any difference and the 1/4" output works fine.
  7. DunedinDragon

    Corrupted preset(s)

    I'm just curious if you tried exporting an empty preset to your computer hard drive, then just restore the empty preset over the one you want to replace. I do that if I want a clean empty preset, but I can't say I've ever done it en masse like what you were doing. Typically it's just one at a time.
  8. DunedinDragon

    Share your patch setup ideas!

    Mine isn't nearly as complicated since I'm really only building my basic preset that I'll use when I play the song live, so no surprises there. The difference is, since I have a full Helix floor, I have separate presets that are designed for the Bass, Keyboard, rhythm guitar, and electronic drums all of which can stay plugged in to the Helix. Then when I'm ready to record the bass track or the keyboard track I simply select the appropriate preset, arm the track and start recording. My studio monitors are attached to the Helix and are used for general playback but I usually use the headsets when actively recording a track. I can control the playback output level from the DAW with the master volume control and the mix with what I'm recording using the headphone control. It all makes for a quick and easy workflow when I'm recording.
  9. DunedinDragon

    LF Noise on Helix LT when reducing guitar volume

    Sounds like electrical noise. Is this always on the same electric wall socket or have you tried it in different places or a different physical house or location? Of course it also could be related to your output setup, or even your guitar and not your Helix. Try it through a different output setup and guitar to isolate where it's coming from.
  10. DunedinDragon

    In a setlist some preset's positions bug

    What you didn't tell us is what version of HxEdit you're running and whether you're talking about renaming presets from the Helix or from HxEdit, so we're still in the dark understanding what you're doing. When you did the update of the 2.82 how did you do it? The process SHOULD have been: -do a full backup of your system with HXEdit using the backup function in the HxEdit menus (not a setlist export) -download and RUN the 2.82 HxEdit program -run the appropriate version of Line 6 Updater that was installed by the HxEdit installation and install the 2.82 version of the firmware. -after the firmware installation is redone the Helix will reboot and reformat all of your presets on the Helix. -restore at least your global settings from your full backup using HxEdit. Make sure you've done each and every step outlined in the upgrade instructions and have done them precisely as outlined. If not, you're going to have problems exactly like you've just described. This may or may not fix the problem you're having if you didn't follow the directions step by step in the past as you may have corrupted some presets.
  11. DunedinDragon

    In a setlist some preset's positions bug

    It's not clear if you're talking about trying to make changes from HX Edit or directly on the unit. There are one of two likely problems. You may have a mismatch on the versions of HX Edit and the Helix firmware, or your Helix didn't do a rebuild of your presets when you upgraded the firmware. Given you haven't mentioned what version of firmware you're using it's pretty hard to tell what you're dealing with from your description of he problem.
  12. DunedinDragon

    Helix Floor Volume Knob Usage

    The information you found about having the volume all the way up on the Helix is a valid recommendation for a typical setup which would be the Helix going direct to the FOH, but going through a mic'd up Marshall and not using speaker emulation isn't a typical setup. It might be fine for someone not using a modeler, but you lose a lot of the benefit of the Helix in doing so. But apparently the sound crew on the gig is either lazy or still living in 1999. There's absolutely no reason you couldn't go direct to FOH if your sound crew wasn't retarded. I have my Helix volume knob disengaged for my XLR outputs and I have my XLR outputs set to Mic level signal strength rather than Line level (the default) which makes it the same as all other inputs going into the mixing board (voices, drums, etc). Having the ooutput on the Helix set this way allows the amp model volume settings to be more consistent with a real amp model and their volumes can be managed using the channel volume on the amp model which won't affect your tone, only your volume. There is no real consistency in the way different amp manufacturers set up their FX Loop returns, but you might try lowering the output signal level on your 1/4" out that goes into the Marshall to either Instrument level or Mic level to see it that helps with your overall volume level on the Marshall.
  13. DunedinDragon

    Different methods to obtain lead tone

    A lot of the mellowness factor in a lead tone depends on the guitar and pickups and also sometimes strings, and you don't really say much about the other guitar in the band and his setup. But that aside I also tend to favor the Timmy and Minotaur along with the Tube Screamer or Kinky Boost, but it all depends on the amp and cab/ir I'm using and what comes across best for the tone I'm looking for. I personally prefer to use both pickups on my guitar rather than switch to the bridge pickup for leads which keeps my tone pretty mellow and not so harsh or biting. I also tend to find that too much distortion can make the lead sound less musical therefore less mellow. Generally my EQ settings are consistent for the whole patch and I don't have to do any real fiddling with EQ when it comes to the lead tone other than what's provided by the pedal. My experience has been less is more when it comes to tinkering with these sorts of things. The more complexity you add the less authentic it starts to sound and soon you find yourself diving into a rabbit hole and can't find your way out. My advice is to make small adjustments either at the guitar or in the settings of the pedals and see if you can get it where you want it. You may be simply overthinking the problem.
  14. DunedinDragon

    Harmonizer Help

    When it comes to harmony leads I always depend on the Twin Harmony which can support up to three guitar harmonies, which I've used for some of Brian May's Queen leads for example, but mostly i tend to use it for dual harmonies on stuff like Joe Walsh or Allman Bros. It's sometimes tricky to get right, but easier if you're familiar with the keys, scales and modes you'll be using. For more complex harmonies like those from Hotel California, you may need to use snapshots to adjust the parameters to fit with the chord being played. I've found it to also be handy in situations where there are just brief passages that contain a guitar harmony by using it in momentary mode. I've always placed it right after the amp and cab/IR, but I've heard some people say they get good results between the amp and cab/IR. When I've tried placing it earlier in the chain (before the distortion pedal) I've gotten too many artifacts and a lack of definition on the harmony lines.
  15. DunedinDragon

    Helix FRFR options

    I honestly wish we'd never coined the term FRFR, which was in common use LONG before it was commercialized by Headrush. It's been so misleading and confusing for people. But I do think this generation of powered speaker brings a lot to the table depending on how it's being used. For me it's not about range or flatness as much as it is about clarity and definition when it comes to the guitar. In some cases and in some genres particularly those using high gain sound that may not be as important as it is in styles like jazz, funk, country or even certain finger picked styles. Regardless of whether you use it on stage to monitor your sound, you can be assured speakers of this nature will be what is heard by your audience on most modern PA systems, so you might as well get used to adapting to it if you're going to be using a modeler.
  16. DunedinDragon

    Helix FRFR options

    I can pretty confidently say I've found no reason over the last 4 years across a pretty wide range of FOH setups and venues to adjust anything globally at the Helix. First, it would affect every preset and each preset is different both in style and in use of the various guitars that the preset was designed for. Whatever you might adjust in terms of high or low cuts or any other EQ for that matter can just as easily be done on a preset basis and not interfere across other presets with different sound requirements. As far as the FOH, whatever they may need to adjust for the room it applies equally to all instruments and voices due to the acoustics of the room. I have no problem with them doing that, but my attempts to adjust for acoustics of the room would only compete with or impede whatever RTA process they're using with their sound system. Other than that there are a few of the more modern digital systems that do incorporate preset assignements for different types of speaker systems. Again that's a global adjustment that affects all inputs but in my experience it really doesn't change the basic nature of the signal I'm sending nor the way it mixes with the band. It just tends to refine the overall characteristics of the PA in a fairly moderate manner. I can't say I've been surprised at all by any of the various PA systems making my sound different than what I expect when I go out and listen to the mix during sound checks. The only time I've ever run into any problems is with much older PA systems that use older analog centralized amps and passive speakers due to the the mid range dropoff that happens with non DSP driven crossovers. But we really don't play in situations that use those type of systems anymore. As far as what I listen to on stage as our stage mix will have some slight differences from the FOH, but I wouldn't say I listen to my guitar louder than other instruments. There's really no reason to IMO. Getting an accurate stage mix is the first step in getting a decent FOH mix and I'll leave it up to the PA to do the heavy lifting when it comes to volume. But everyone is different in that regard. My job is to blend with the music and not stand out other than for leads or color fills and most of the time that requires no interaction from the FOH mixing board because I've already adjusted for that in my preset. I only mentioned the contour options as a way to adjust for differences between a floor monitor and a raised vertical monitor. I don't use mine that way as I mentioned I always place mine vertically and therefore only use the contour setting for live sound, so I'm getting the same response characteristics as if it were it being used as a FOH speaker.
  17. DunedinDragon

    Guys who have gone from all tube amp to all digital. Opinions?

    I had over 50 years of playing with tube amps and personally going all digital has given me all the things I could never accomplish effectively with my tube amps. But that's probably due in large part to playing a very wide range of styles from blues, to rock, to jazz, to rockabilly, to funk...etc. So for me, bringing a polished studio sound into the live environment was what I always strove for and was never able to achieve effectively with tube setups, especially when it came to mic'ing the amps to achieve that finished studio sound. For me, this was a one stop shop for getting what I've always wanted.
  18. DunedinDragon

    Helix FRFR options

    One thing that hasn't been mentioned here that might be of value to you. The higher end speakers most commonly come with some contouring options for how the speaker will be voiced. Generally if used appropriately you shouldn't need to correct for things like bass coupling if placed on the floor in a monitor position because the speaker will correct for such things if the "Monitor" contour is selected. I have a range of FRFR speakers I use depending on the situation from an Electrovoice ZLX-12P, to a QSC CP8, to my most common one which is a Yamaha DXR12. I personally place my FRFR behind me in the backline on a half height speaker stand. The reason for this is to avoid the bass coupling issues when used as a monitor. But more importantly it provides a better stage mix with the other instruments on stage in that these speakers are all designed in such a way that (in a vertical position) they have a very wide horizontal sound cone and a very narrow vertical sound cone. When placed vertically as I do it all the instruments can hear it and mix with it on stage much better than if it's used as a monitor. It also has the additional advantage if you're playing in a smaller venue and not sending instruments through the PA, it can pretty easily fill a room since it's, in effect, a PA speaker. In all cases I never make any corrections to my global EQ for any of my speakers as the signal I send to them is the same as what I send to the FOH so I have some confidence that what I'm hearing is what the audience is hearing.
  19. DunedinDragon

    Bad sound to FOH (Somewhat off topic)

    Honestly that kind of supports my initial impression that he likely didn't bother gain staging your incoming signal separately from the previous band. Although both you and the previous band were sending mic level signals, that doesn't mean they were the same signal level, and you were likely a much stronger signal than was the raw microphone signal, especially if you had your XLR disconnected from the Helix master volume knob. I still can't explain why the ART would cause a problem though. My bet is he made some changes in your channel he didn't tell you about like dialing down the gain/trim on your channel when you were changing the ART...but who knows.
  20. DunedinDragon

    Bad sound to FOH (Somewhat off topic)

    It's really hard to diagnose what was causing the issue without asking a lot of questions about what the sound-guy was doing at the board and how you were sending the signal to the board (1/4" or XLR). The ART DTI is simply a hum eliminator which shouldn't have any effect on the tone, just on transient noise. But then when you say the FOH sounds "awful" that's not very specific. My only guess is, based on you thinking the signal was too hot, that the sound guy wasn't gain staging your signal correctly on your channel and the signal was either clipping or engaging a limiter...but there's not enough information here to say one way or another.
  21. DunedinDragon

    Tips/Advice for Setting Up Patches

    I'm probably at the far end of the OCD scale from you in that every one of my patches sounds pretty different and unique in most ways from the others. But that's by design because I don't generally play within the same genre with each song. Even when I do, there will be differences. For example if I play classic rock, Joe Walsh's sound is nothing at all like Brian May's sound. Or in blues BB King's sound is different than Eric Clapton's sound. And of course there's always the completely unique sound of some artists such as Mark Knopfler or Chet Atkins. That doesn't bother me at all because I appreciate the differences and try to pay homage to those differences when I play. It doesn't bother me any more than when I hear two songs from different artists on the radio and they sound different....because the sound is part of what makes each song unique. And to me, that's what the Helix is best at. However, I do understand when someone generally plays within the same genre such as metal or punk, there's often not as much variety in sounds and in that case I can see one or two presets for dealing with those circumstances. I have a few like that such as a strummed acoustic patch or a slide resonator patch or a clean jazz patch. I think it's really all based on what kind of things you play as to what will work best for you.
  22. DunedinDragon

    Tilt Stand for Yamaha DXR10 (3D print)

    Excellent idea and execution!!! Chances are this design would work for most powered speakers. You might spend some time getting a patent then licensing the idea to one of the many manufacturers of stage gear. That might be worth your time.
  23. DunedinDragon

    Momentary switch issues

    It probably was in the wrong state when you last saved the preset.
  24. DunedinDragon

    HX stomp update 2.8 erased all preset file names

    Sorry to burden you with so much reading, but unfortunately that's the best way for one to gain KNOWLEDGE in this world.
  25. DunedinDragon

    What Is Your Method For Dialling In An Amp On Helix

    Generally I'm emulating a reference tone from a recording, so I use that to give me a first impression of what amp and which guitar will be the best starting point for this preset. I select the amp and IR and compression (if needed). Then using the default values I get the volume set consistently with the rest of my presets adjusting the channel volume and the signal meter on my mixing board and any necessary compression characteristics. I keep the signal meter on through the whole process to make sure I keep the volume level stays consistent as I add things. I then dial in the tone and gain levels I'm looking for on the amp for the basic tone and audition other IRs to get things closer to the reference tone. I add a final parametric EQ to make adjustments at the end of the signal chain for high and low cuts. From that point I make a decision about what other blocks will be necessary and whether I'll need to use snapshots or just some simple stomps to accommodate the tonal changes in the song. Then it's a simple matter of adding whatever blocks and signal chain adjustments the song calls for. I'll then come back to the preset several times over the next few days to listen with fresh ears and make adjustments.