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Everything posted by DunedinDragon

  1. In SashaFranck's defense saying it doesn't usually happen is different than saying it can't happen. It clearly happens if you closely watch video performances of bigger name groups. I would say it tends to be emphasized more often in certain genres such as country and motown. But it can apply to any genre. In rock styles it more about touch dynamics or palm muting to add space. But I know you can easily see it happening video performances from bands like Joe Walsh, Rolling Stones and even Queen.
  2. There's a number of things that occur to me from reading you post. Let me give you a rundown of how I manage things with my rig since I also run my Helix in very much the same way as you're running yours...also using a DXR12 as my stage amp/monitor in an 8 piece band. First, in terms of 1/4 and XLR, in global settings I disconnect my XLR from the Helix master volume knob and set it to mic level. This sends a full volume signal to your mixing board which can then be gain staged by the sound man to match with the rest of the channels and won't be affected by adjusting the Helix volume knob your DXR12 on stage. In order to make this work you have to have a consistent volume level on all your patches and snapshots. The way I do this is by attaching a signal meter to my rig at home when I dial in my patches. I do this by plugging my XLR out into a mixing board channel and my 1/4" into my DXR12, set my DXR12 volume knob to 12 o'clock, set my Helix volume knob to the position I normally have it when I'm on stage, set my gain/trim knob on my mixing board to 12 o'clock, and adjust my volumes in my patch generally using the amp model channel volume (which won't affect the tone) so that the signal meter on my mixing board is just slightly below 0db (with some intermittent peaks above 0db in the yellow zone of the signal meter. When it comes to lead tones I rely more on the change in tone (which gives you a perceived volume boost) either through changes in the amp or a boost/distortion block, or a compressor that I engage than I do a specific increase in db which is the thing that often drive a sound man crazy. I tend to check everything by ear so that the presets and snaps all sound relatively the same and the lead tone stands out but still isn't making much of a difference on the signal meters. One thing that helps in this regard, especially in larger bands, is that everyone needs to support each other when there are leads being played to give them more room. For example, if I have a lead in a certain part of a song the rhythm player backs off a bit, as does the harmonica player, as well as the keyboard player as well as the drummer. Mostly it's not so much volume adjustments as it is simplifying what they're playing or lightening up their touch to give more space. The same is true if the harmonica or keyboard player has a lead, and I'll accommodate them. Since all of us come from doing studio work this is all a very natural thing as that's a pretty typical discipline. This also greatly simplifies the burden on the sound man since he can pretty much gain stage me during sound check and leave me alone after that knowing I'll be consistent in every song. I use a physical mixing board to do this, but there's also other ways to do it. Jason Sadites has a YouTube video on this subject using a similar but different approach that actually deals better with perceived volume.
  3. I've installed it on both of my Helix floor units with no problem. But I very definitely followed the installation instruction sheet line by line. If you don't, you'll likely have some issues.
  4. I can tell you right now it won't work with HX Edit 2.30. The correct HX Edit version is 2.92 just like your firmware version. It sounds like you didn't install things per the instruction sheet. You no longer need to run the Line 6 Updater program. You simply install the correct version of HX Edit and run it. It walks you through the backup and installs everything you need both on the PC and on the Helix.
  5. The first thing to check is to make sure you have the correct HX Edit version for the firmware that's loaded on your Helix. In rare cases it might not run if there's a security issue as far as your user rights. Try using "Run As Administrator" from the drop down when you right click on it and see if that helps. If you're still running 2.30 you can also try downloading and installing the HX Edit version 2.30 to make sure it's correct. Also make sure your Helix is turned on and plugged into a direct USB port and not a hub when you run HX Edit.
  6. The only thing I can think of might be some issue your Helix device driver might be having with another device on your PC like maybe a sound card or something. Go into the Device Manager from the Control Panel. You should have a Line 6 category which contains the Helix Floor device. Make sure that doesn't have any exclamation marks or errors on it. Do the same thing for the Line 6 Helix device that's in the Sound, video and game controllers category of the Device manager.
  7. I'm kind of the opposite from the above in that I use a preset per song so I never have any problems running out of stomp or snapshot buttons on a given preset. So I use a standard 8 button setup with snaps/stomp and obviously use the left hand bank buttons for switching presets. It's pretty boring, but it's worked fine for me for several years now and I haven't seen any need to mess with it. I don't use the looper other than when I'm testing presets so it doesn't affect anything in my globals. The only other real change in the globals from the default is I set my XLR output to Mic and disconnect it from the Helix big volume knob for going to the mixing board so it won't be affected by any volume adjustments I make on my 1/4" outs going to my stage speaker.
  8. LOL...the irony in your response alone speaks for itself....
  9. I'm thinking you may need to upgrade the sound men you work with more than the equipment quite frankly. Just suggest to them that it's now 2020 so they don't need to use the techniques soundmen used in 1990. If I were to take a guess at what happened to you (and this is assuming the PA you were going through was a decently modern one), it wasn't the speaker as much as it was your expectations of the sound you were producing. I've been playing at least once or twice every week for the last 6 or more years using either a HD500X or Helix through a Yamaha DXR12 and going direct into a wide variety of modern PA's, all of which sound very much like what I'm getting on stage. But I'm not trying to dial in a sound that duplicates the sound of a cabinet because a speaker is not a cabinet. It's not designed the same nor is it supposed to sound the same. That's why you don't see guitar cabinets used for PA systems...you see powered speakers like your JBL. The fact is, if you have a guitar cabinet that sounds great to you on stage it's absolutely not going to sound the same way once you mic it and take it into a PA because the mic will change the tone and the position of that mic on the cabinet with change the tone. Most people are used to understanding that the sound you're dialing in with a Helix is not the sound of a traditional amp and a cabinet, it's the sound of a traditional amp and cabinet, mic'd...in other words the sound you would hear through a PA or in the control room of a recording studio. When you dial in the sound, that's the target if you're using a modern powered speaker as your stage speaker, because that's the sound that will be coming out of the FOH speakers. The sound of a traditional amp and cab in the room is not a sound your audience is used to hearing. Every recording they've ever listened to is the studio control room sound and every concert they've attended is the sound of a cabinet being mic'd...neither of which is the sound you hear on stage from the guitar cabinet. You're the only one that hears that. That's not to say you couldn't use a cabinet style FRFR like a powercab rather than a traditional powered speaker, but you wouldn't want to mic that cabinet and send it to the PA as you'll have the same problem you had with the PA sound being different than your on stage sound if you used a typical Helix preset containing and amp and cab/IR. Many people are happy using a traditional cabinet setup, but in that case you wouldn't use any cabs/IRs in your preset. You'd go raw into the cabinet and mic it, or you'd split your signal chain and send a non-cabinet/IR version to your on stage cabinet, and a Helix cab/IR version to the mixing board direct. But again in that case the on stage sound will differ from the PA. In essence, what you had would work just fine as is evidenced by the large number of people being very successful with it, but it would require you to adjust your way of evaluating your tones, and it would likely require you to understand a bit more about how to use a powered speakers so the powered speaker doesn't add any overtones to your sound such as bass coupling if your speaker is on the floor in the monitor position. It's far and away the simplest and most straightforward way of using a Helix. That is until you run into a sound man that doesn't realize it's no longer necessary to mic all the instruments on stage anymore.
  10. I think you may be trying to fit the Helix into an area it's not designed for. That's not saying there aren't people that use the Helix for simple mixing particularly on solo acts. But the Helix main job is something else and it can never hope to compete with the ease of even a simple mixer given that adjusting the mix on a Helix involves making adjustments to the preset as compared to having real faders to dial in a mix.
  11. The only thing that's causing these responses is that you seem to have a LOT more problems than most people at getting the tone you want. Most modern FRFR speakers may have a few slight differences, but by and large they perform just fine. What alarmed me was you saying Jason Sadites presets didn't sound right to you. It could very well simply be something that's causing you to have problems. Maybe you should do a quick review of his latest video might give you some insight into what might be happening to you.
  12. It wouldn't do any good with a different IR as I'm trying to hear what he's hearing.
  13. This is what gives me concern. As I first mentioned I was concerned about the speaker situation because none of Jason's stuff ever sounds terrible and thin on my gear which is a Yamaha DXR12 for my live system and Yamaha HS7's in my studio. So I can't help but think there's something going on in your output situation. If your Alto's are up off the ground that's one fix, but now I'm concerned with what kind of signal you might be sending to the Alto as well as exactly how old the Alto is. Normally you would feed a monitor speaker with a 1/4" output at line level which I'd check first. It would be nice to know what the exact model is on the Alto. There are some much older models that use simple crossovers and have tone knobs rather than using DSP with no tone knobs for setting the response of the speaker. Also bear in mind with powered live speakers you want to make sure you give yourself some physical space between you and the speaker as well as listen to them from different off-axis positions. I have my DXR 12 at about chest height and normally give myself about 6 feet of distance and listen off-axis as well as with my back turned to make sure the sound is consistent before making adjustments to my patch. Those are basically PA speakers and no one in their right mind stands right in front of a PA speaker expecting it to sound great.
  14. I only had the opportunity to download the Arch test 1.hlx, but it's kind of impossible to diagnose the problem since you're using a stock cab and an IR (which I don't have), or at least don't have in the same slot. Because of that I can't really tell what your mic'ing is doing which is fundamental to the tone you're getting. Although there's nothing wrong with doing that it is a pretty unusual setup. Most people will use either an IR or stock cab setup. Chances are you could simplify the setup by just using a dual cab and get most, if not all of the benefit you would typically get from an IR. As far as the things I see that could be problematic, I saw where you're using a SM57 mic on the stock cabinet. A lot of folks do this because they're familiar with SM57's but quite honestly that's a pretty limited mic as far as frequency range and tone capture. I don't know if you've watched much of Jason Sadites YouTube videos but he commonly uses a combination of MD421 dynamic and a ribbon mic like an R121 as do I. The advantage is that combination provides a very nice and natural capture of most cabinets with very good clarity and articulation as well as smoothness and beef in the tone and eliminates a lot of harshness. He demonstrates the use of this in almost all of his amp dialing in videos. I myself prefer to use just a single IR that combines those two mics as it's less labor intensive than building a dual cab setup. I'd encourage you to start there and see if that doesn't get you more in the ballpark of the tone you're looking for as a good foundation. One of the other best practices that Jason Sadites demonstrates is using a final parametric EQ on many of his presets. Not only does that provide a steeper slope on the high cuts and low cuts than does the high and low cut EQ, but it also allows you a way to to make any final adjustments in specific frequency ranges for the preset as a whole as a final "polishing" of the sound. Generally these two things work in conjunction with each other. If you find yourself trying to tweak too much in the EQ that's a good indication you have the wrong cabinet and mic setup. If you get that right you typically won't need to make too many adjustments in the final EQ.
  15. Less cork sniffing and more playing I say.....
  16. Chances are your boomy bottom end is coming from the Altos either because you have them placed on the floor as floor monitors and are getting bass coupling, and/or you have the contour button engaged which is further boosting the bottom end. What you have to remember is that Alto's primary market is the recorded music disco/karaoke crowd. You can somewhat fix this situation by making sure you don't have the contour button on and placing them vertically on stands. This is also why it's not always wise to let low price be the driving factor in your buying decision on speakers...especially with a premium modeler.
  17. Says the man that didn't have to endure the upgrade from FW 1.12 to FW 2.0.......otherwise referred to as the Normandy Beach Invasion Release....
  18. After having just finished upgrading to 2.92 and having been through all the angst of doing upgrades over the last 4 1/2 years before the release of 2.90, I say the new FW updating feature beats them all other features ever added to the Helix!!! I'll also say I'll now have very little patience for anyone having trouble with upgrades after all the hell us old-timers have gone through in previous years....
  19. Quite honestly looking at your picture I'm not sure the HS7's would even project that nicely into the room itself. What you have to remember about studio monitors, they're not really designed for filling a room exactly. They're for precision listening in a studio control room environment. But your application is a bit different in that it's more like a small, intimate club environment. A powercab would probably work but I'm afraid it might be crammed into that small space and you wouldn't really be able to hear it as it's meant to be heard from behind you. The other option might be a couple of small live powered speakers like the QSC CP8, but again space it a real problem there. It's just a very tiny space and not much room.
  20. First...leave global EQ alone. There's nothing you can do in global EQ that you can't do within the patch. But global eq will affect all patches, which may not be correct for other patches. I listened to your sound clip which sounded pretty decent to my ears (and I listened through my HS7's). I would suggest when you listen to your patches you listen as if you're listening to a mastered recording sound rather than a live on stage sound, because that's what the Helix is producing. The only thing that was a bit off to my ear was how drenched the sound was with reverb. But that may be what you want. One thing to remember with the HS7's is they have a rear bass reflex port so the sound you get will depend a lot on their placement. I have mine placed about 3 feet from a rear reflecting wall with both facing inward about 45 degrees so they make an equilateral triangle with me in the center. I also have an American Elite Strat which I normally play in the middle position (position 3). I commonly use a mix of two mics. A dynamic which is normally an MD421 and a ribbon which is typically a R121 set up very similar to the way Jason Sadites sets up his dual cabinet mics in his videos when I use the stock cabinets. More often than not I will use IRs rather than the stock cabs as it's just easier with less manipulation to deal with to use them. I rarely make high cuts lower than 8 khz, but that's using a final parametric EQ in the same fashion as Jason Sadites does. Chances are the harshness or twanginess that's bothering you is in the 4200 to 4500 hz range which is typical of those type of pickups. You can smooth this out in a couple of ways. I will sometimes slice that level out a bit on my final parametric EQ, or simply roll off a bit on the tone knob of the guitar. The delay block problem may be related to overdriving the delay, which generally relates to the gain staging of your preset. The general guideline used by most people for gain staging is to make sure the volume of the preset is close to the same volume with the block engaged or not engaged. If you do that consistently on all blocks there's less likelihood you'll be adding gain on each of the blocks that ultimately could result in clipping on some effects blocks. Also some effects blocks also have a headroom adjustment which will allow you to give the block more headroom before clipping occurs. If gain staged appropriately you can always adjust the overall volume of a preset by adjusting the channel volume of the amp block without affecting the tone. You're dead-on accurate in saying that a warm, smooth, thick, rich clean tone isn't typically associated with single coil guitars. For that type of tone I'll use my Gretsch hollow body or sometimes my Les Paul. Even using a split coil won't do much to fix that situation. It's just physics. I reserve my Strat for more bluesy or blues rock tones, or more "in your face" tones like punk and such. It also works pretty well for Motown R&B and some styles of country. If you do any of the modern P&W, Strats tend to be the guitar of choice there.
  21. Everyone is different but for me size isn't the key factor in live performance as much as number of possible failure points. That's what would bother me in doing 3 stomps. I'm sure you could find a workaround if one failed, but who wants to spend their break time or setup time messing around with trying to rig up a workaround? It's much easier and faster just to swap in a backup setup.
  22. I'm beginning to think your problem has nothing to do with the volume knob and more to do with your preset and snapshot volumes not being normalized to the same level. I set my volume knob when I turn on my Helix to where I keep it by default and never touch it again. The volume knob on my my Yamaha DXR12 never moves from the 12 o'clock unity position. I can play an entire show and never touch any of my volumes. That's because I spend a lot of time ensuring that every preset and snapshot is at the same level by adjusting the volume in the preset. If you're not doing that a mixing board won't help you and no soundman you ever work with will ever want to work with you a second time.
  23. That's not funny at all and it's really not mysterious at all. It's a misunderstanding of how all of this stuff works. I'd HIGHLY suggest you watch the following video from Jason Sadites on all of the external things that affect the sound of your presets in different situations.
  24. Actually the way he's turning them down (through the mixing board) is the most common way those type of speakers are used. All he's doing is using a mixing board the same way it would be used in a PA setup feeding stage monitors. You don't necessarily turn the speakers down. You leave them set on unity (12 o'clock) and control them either through the Aux fader on the mixing board if it's a monitor or the channel fader if it's going to the FOH speakers. It makes perfect sense if you want complete mixing control over the guitar as well as other inputs such as a backing track you're jamming with so you can control the mix independently on both from a single point. That's what mixing boards are made for.
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