Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


Everything posted by DunedinDragon

  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


    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.
  15. What you want is to cram everything into one preset as if you're dealing with a traditional pedalboard. But you have 1,024 presets all perfectly capable of adapting to different, unique configurations but you only have 8 snapshots and a limited amount of DSP available in that snapshot. Maybe taking a look at the Helix as a different paradigm from the traditional pedalboard might open up a wider range of possibilities.
  16. Or maybe just a switching setup for speakers. Honestly I think you're overanalyzing this. What you're wanting is the best in all categories, but it doesn't really exist because you have two very diverse categories. One is a consumer category and one is a professional category. Consumers could care less about the tedious intricacies of dialing in a modeling environment, they just want a sweet sounding setup to play their recordings. But a professional endeavor demands control over those kind of intricacies if you want the best in accuracy. I don't think this is as much of a "which product will fit the situation" as it is "what do I want to accomplish" for each of the divergent activities. If I were planning on dialing in my Helix for use in a live gig or a flawless recording, the last thing I would want to work with would be a consumer stereo product. However, I'm perfectly happy with my studio speakers being the main way I listen to music on the Internet when I'm at my desk. In my bedroom I'm happy with my Bose bluetooth speaker, for listening to tv, music or audio books. But I only answer to my needs.
  17. High end HI-FI speakers are generally "sweetened" a bit for more casual listening so in that regard they might not be as accurate in their representation of modeled cabinets within the Helix. However, it may not matter as much in a casual listening environment if you're just casually playing the Helix in that environment. Larger studio monitors might give you more of what you want in a casual listening environment, but you're exactly right that listener positioning as well as speaker positioning is much more critical with most higher end studio speakers. In professional studio environments they typically have both near field and far field monitors used together in the mixing board area to help fill the space as that's where they often listen to the mix with the musicians to evaluate a mix which might also be an option for you. The thing is that consumer HIFI is meant for general consumers which is an entirely different audience than professional studio gear so a lot of latitude is taken to make it more appropriate in a situation where people aren't in a generally fixed location or in a non prime listening position so it might not work for both in your application if, for example, you want to use that same system for critically evaluating a preset you're trying to dial in. Also, it's not that a live PA speaker would "bring the house down", more that it's designed specifically to fill a large space evenly both horizontally and over a longer distance. If you've ever been to a concert or a club and stood near a PA speaker you've already experienced how bright and harsh it can sound. That's because PA speakers are designed to have a consistent sound across a very wide horizontal radius (sometimes as much as 180 degrees) in order for the sound to be consistent for listeners at the far left or far right. They are also designed to limit the vertical sound radius so they conserve sound energy from being lost in the ceiling or floor to reduce sound pressure loss across longer distances. All of that combined with the way the high and low frequencies are handled between the main speaker and the high frequency driver can make them quire harsh up close. In my application in my rehearsal space I generally give my DXR12 about 6 feet of clearance in order to get an accurate feel for how it will sound in live applications. The bottom line here is that there are always engineering tradeoffs in order to be "best" at doing something. That's why you can't buy a car that has both the top of the line performance as well as the most economical mileage. As a consumer you have to make a choice.
  18. I think what Datacommando was referring to was probably powered studio monitors such as Yamaha HS7 speakers which would work fine on both the stereo as well as with the Helix as they're made for studio use. DXR10 and similar speakers are made for live PA use and would probably be overwhelming in the setting you're talking about. The Powercab, studio monitors or live PA speakers are all viable and accurate for model and cabinet simulations. It's just that they're all made specifically for different usage situations. Powercab is ideal for something like a rehearsal space or as a live traditional style stage amp, but is a full range flat response (FRFR) system that can provide the accuracy needed in modeling. Studio monitors like the HS7 or similar are again FRFR style speakers but meant for critical listening in controlled environment. Live performance powered speakers like the DXR10 are designed specifically to fill large spaces evenly and in close up applications would sound pretty harsh. I actually have both. I have HS7's in my studio for both recording purposes as well as general music listening on YouTube and such. I also have a DXR12 but that's in a rehearsal space with my mixing board where I prepare and dial in my presets for live performances. Hopefully that puts things in perspective for you.
  19. Here's a PDF document that came from Redwirez you might find useful: DialingInYourTone.pdf
  20. If you want Line 6 to consider this you need to post it to Ideascale since no one from Line 6 monitors or typically responds to this forum. There it can be viewed and voted on by other users and considered for inclusion in future product updates. You might want to specify these things as a global option as changing them permanently would likely break a TON of things people have already integrated with via MIDI and there are a lot of things in the MIDI and DMX worlds that work with zero based numerical systems more than one's based numerical systems.
  21. I'll have to get back to you on that as I've got everything packed up right now for a rehearsal, but I'll check when I get it set up.
  22. I've had my K10.2 for about a year and a half and use it every single week in live performances and have yet to have this failure. In researching this fault it's clear that the fault is typically caused by a direct signal that's consistently too hot so the fault is triggered until a test is run on the speaker through the speaker's built in interface to determine if there's actual damage and to clear the fault. I'm relatively certain that the reason I've never seen this fault is because I meticulously gain stage my signal levels on all my presets and snapshots coming out of the Helix through my QSC TM-30 mixer and that mixer is where my K10.2 is connected. The Helix volume knob works as an attenuator for adjusting the analog output signal from the Helix after it's been converted from the digital signal chain used internally in the Helix. I've occasionally gone direct to the K10.2 from my Helix with no problems, but again I'm constantly checking both my internal digital signal levels using the internal Helix signal meter that gets displayed when you select the output block, as well as the analogy signal level coming out of the Helix. In my case I set my Helix XLR outputs to Mic signal level because it's going to a mixing board, but you can use Line level as long as you specify that adjustment on the K10.2 menu. Mic signal level is considerably lower than a Line signal level. By selecting a Line signal level on the K10.2 it makes the appropriate adjustments on the speaker for the hotter incoming signal. You control the signal level coming out of the Helix !/4" and XLR outputs via the global ins/out settings. You should carefully read the instructions in your user manual on pages 10 - 12 to better understand these settings. You should be setting these signals in such a way that you get no yellow signal lights when playing. All that being said, there's one area other than a mismatch between signal level being sent and signal level being expected on the 10.2 that could potentially cause problems and that's the digital levels used within the Helix signal chain and can be monitored via the built-in signal meter on the Helix by selecting the output block and is controlled on a preset by preset basis generally by adjusting the channel volume parameter of the Amp model within the preset. In my case I never exceed about 60 to 65% on the internal Helix signal meter.
  23. Great job at describing a lot of the details involved in taming and integrating pieces using MIDI. I've been doing much the same with my Helix Floor, Beat Buddy and Ableton Live over the last year. The biggest evolutionary change came when I decided to move away from the Helix as the center of control to a dedicated MIDI controller which may be the path you eventually end up at as well. It's very enticing to think of using the Helix to control everything, but unfortunately the MIDI capabilities of the Helix can be very limiting when compared to dedicated controllers such as a Morningstar MC8 or other various models they, and other manufactures have. Helix can handle very simple interactions but I quickly discovered it can be quite limiting when you need to coordinate multiple MIDI interactions amongst a set of other devices. Ableton Live is perfectly capable of sending multiple simultaneous MIDI commands, but has a fairly tedious implementation to work with. By inserting a MIDI controller such as a Morningstar MC8 I have a very robust MIDI "traffic cop" that can be triggered by a single MIDI command from Ableton and can initiate multiple simultaneous interactions between all sorts of MIDI and even non-MIDI devices. I suspect you may end up finding yourself in the same situation eventually. For example, I normally have a different preset for each song. When I change songs I need to change the preset on the Helix, select the matching drum song on the Beat Buddy and prepare my setup so when I initiate the playback of the song the correct track (scene) plays on Ableton and it will trigger all subsequent interactions that need to be accomplished during the course of the song such as changing snapshots on the Helix as well as initiating a drum fill or song ending on the Beat Buddy. The way I handle this is when I change banks on the MC8 it sets the correct preset on the Helix, selects the appropriate drum track and the new bank on the MC8 has all the footswitches defined with all of the subsequent commands that will be needed to be triggered during the course of that song. I trigger the playback of the Ableton scene from the MC8 and from that point on during the song when something needs to change Ableton send a single command to the appropriate MC8 footswitch which will trigger any and all MIDI commands that might be needed at that point in the song. In effect, once I start a song there's no more toe dancing until the song ends and I need to select the next song, and the next song is a single footswitch. This model can be easily expanded to incorporate any number of other interactions with external effects or even stage lighting or running overheads or videos.
  24. In my experience the Retro Reel is one of those effects you use very delicately...a little bit goes a long way. I would assume that's even moreso on Plexi style amps that are already fairly dark. I tend to get the best results for my ear when I place it at the very end of the signal chain when using something like a HiWatt amp that's being boosted a bit with a Teemah with a Fane cabinet using a R121 mic. Wow/Flutter at 1.5, Saturation at 4.5 and Texture at 4.0. When I use it more toward the start of the signal chain those parameters are considerably lower. On some setups I actually prefer the 15 ips over the 30 ips, but that's really dependent on the type of sound I'm going for.
  • Create New...