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DunedinDragon

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Everything posted by DunedinDragon

  1. I'm with Codamedia on this one. What I think is you're completely out of touch with the frustrations a lot of us have endured for many decades (in my case 5 decades) using analog gear in live performances. But I'll play your game with you. Those that claim they can never get rid of their analog gear have: 1) Never been on a year long tour going to cities all over this country and others and tried to get an amp (or worse yet a Leslie) repaired before a show that starts in 4 hours when you don't even know where there's a music store or an electronics repair shop. 2) Have never played an entire show thinking they had a great sound only to find out due to any number of possible reasons it sounded like a cheap Montgomery Wards amp to the audience through the PA. 3) Because of stage setups you're forced to stand far off-axis from your amp and it sounds like you're playing under water. And when you try and correct the tone on stage, it then sounds like a buzz saw to the audience. 4) Had a wonderful sound only to go out 50 feet into the audience and realize no one can hear it because all they're hearing is the mic'd version through the PA. 5) Tried to have a nice Black Sabbath sound on one song, a Doobie Bros sound on another song, and a Earth, Wind and Fire sound on another song through a single amp and setup. 6) Have to lug all your gear up a tight circular stairway to get to the venue you're playing at. 7) Frantically tried to troubleshoot a wiring problem with your floor effects board before you have to start playing in 5 minutes. The bottom line, I think what you're going to find in reality is that the vast majority of us that are firmly committed to this technology have come from many more years of playing all sorts of different analog equipment and amps than you have, and that's why we choose the modeler. Because it fixes all the problems we've endured with analogue setups over the years.
  2. DunedinDragon

    Helex IRs

    That's the length of the IR. In effect, greater length, more detail, higher DSP usage.
  3. I can't imagine what value there would be in going through a mixer just for the Helix. I always use a mixer at home when I'm dialing in my presets just to gain stage my presets, but other than that it's hard for me to dream up a purpose. What problem are you trying to address? That's where you start at for deciding on such things.
  4. Yeah...I guess I could have just looked, huh? But I was in the middle of installing the fix when it occurred to me.
  5. I don't mess with Sag a lot, but from the times I've used it, it feels somewhat like a limiter or compressor in a way. When I'm dialing in the Helix I'm constantly watching the signal meter on my mixing board, and what I see is it levels out the initial sound of you hitting a power chord for example. Normally there would be something of an instantaneous peak when you first strike a chord, but with Sag turned up it takes that away for a moment, but then it can come back before it begins to fade. The end result is what some might be thinking of as "spongy" in that it compresses then bounces back like a sponge. To the ear it's not unlike a moderate compressor, at least for me. I find it useful in conjunction with Bias to reduce the sound of the pick attack and smooth that out a bit.
  6. Ya know, it just occurred to me if all my defaults and favorites are going to be wiped out and if so where are they saved in the backup??
  7. I guess it all comes down to expectations and usage. I just put together a preset for a Christmas show I'm doing that has the song "Welcome To Our World". It's finger picked on acoustic guitar and transitions from the key of E to the key of F on the last verse/chorus. I used the Poly Capo so I could continue to use the open strings when it transitioned and set the Auto EQ to 0 and the Tracking to Stable rather than x-Stable. That and keeping the guitar tuning accurate within reason seemed to get rid of most if not all the artifacts. So I suspect if you're using the Poly pitch effects you might not want to opt for too much complexity in the preset as a key ingredient.
  8. I can understand why Line 6 spent the effort on the polyphonic stuff because it's been an ongoing thread of discussion since almost day 1 of the release of the Helix, so there is clearly a significant audience for it. As much as I'm liking the Princeton model, I can't say I have a huge driving need for a bunch of other amps as I can get the range of sounds I need out of the ones that are there now. So when it comes to individual wants, especially amps, the requests are all over the place. As pointed out by Datacommando, Ideascale is the only place Line 6 will go to determine how prominent a request is...and that's how polyphonic effects got there. It was VOTED on...with LOTS of votes. Personally I can see where I might use one or two of them in a simple preset. But I know I will use favorites and default settings a LOT as well as a fair amount of use probably for the Horizon distortion effect, poly capo, 12 string emulation and probably the Princeton amp. So at least there's something for almost everyone in this release I think. Given that it was free, I think the price was well worth the upgrade.
  9. Maybe it's the difference in the algorithm used for PolyCapo versus PolyPitch. I haven't used PP myself. That Keb' Mo' song I referenced above uses a Fmaj7 quite a bit and I had no problems with it sounding natural. But again that was finger picked, and I did have to make an adjustment to the AutoEQ parameter and turn it all the way off for it to sound natural.
  10. Agreed. Although now that I've had a bit more time with it I have found out the default settings are not necessarily the best for clean electric guitars. Especially the Auto EQ parameter. That was what was initially affecting my opinion of it sounding artificial. But like you I'm not moving the capo by a huge amount. The one I'm most likely to use it on right now is the Keb 'Mo "Hand It Over" song which he recorded it in D on a downtuned acoustic guitar, but he clearly plays it in E on his videos which is just at the very top of my range. Because it uses some different types of inversion on open strings I've always downtuned a guitar for it. Now I won't have to.
  11. I'm not sure what you might be referring to as not being decent. Granted, I've only tested it (Poly Capo) briefly but I did do some Chet Atkins, Keb 'Mo and James Taylor style finger and hybrid style picking and it seemed to track just fine in spite of the chord colorations and somewhat odd chord inversions. What specific things did you run into problems with? I was playing those on a Gretsch Silver Eagle hollow body not a piezo acoustic or resonator style guitar.
  12. I just got the chance to monkey around with the Poly Capo for the first time last night for a while. Although it can sound a little bit artificial, it seems to me to be generally acceptable certainly for a live performance. I didn't hear any acoustic artifacts from the strings or any other issues like that. I was playing my Les Paul through the Princeton amp model using both pick action and finger picking style through my DXR12 speaker at stage monitor volume with the Poly Capo before the amp in the signal chain. I could easily get by with it in a pinch, at least on clean tones. I wouldn't expect there would be any problems with a crunchier style.
  13. Here you go: When in doubt go to Jason Sadites videos. He's the man with all the answers.
  14. What's interesting to me more than anything is that the folks that insist they want a traditional amp/cab setup are willing to sacrifice so much to keep it. Just the physical setup alone would discourage me not to mention the routing acrobatics both in cabling and in the antics that must be in included in each and every preset would seem to me to be discouraging. Especially when you consider the simplicity of a direct to FOH mixer setup using stage monitors or in ears. It literally adds steps and complexity to every aspect of their workload and workflow. The one thing you have to admit about them is they truly must be dedicated to their physical guitar cabinets to go though all that.
  15. Assuming we're talking about a Windows machine, the Helix isn't doing anything other than announcing it's USB presence as a sound device and Windows is selecting it for a default output is my guess. Regardless of what Cubase is doing, the active sound device is ultimately controlled by the operating system. You should be able to select and control the active/default output device by right clicking on the speaker icon on the lower right hand corner of your PC screen.
  16. I pretty much exclusively use IRs, but not because I can't do what I need with stock cabinets, but because it's simply faster and easier to use IRs because I tend to have LOTS of presets..pretty close to 300 at last count. Once you settle in on the variation of IRs that you are most likely to use (what mics, mic combinations, and placements), it's a simple matter of auditioning the various ones with a preset and selecting the one that seems to be the best fit. No tweaking of parameters at all and you just move on to completing the other aspects of the preset. As far as cleaning and service, I've had my Helix almost from the day they came out and gig with mine 1 or 2 times every week, plus practice and prepare for gigs, so I get a lot of use. Cleaning it is pretty easy, the footswitches are self-cleaning with a few twists, and although I've never had a pedal squeak, that should just be a dash of lubricant, so I'd do it myself.
  17. If you're Helix is hooked up to your PC via USB you can do everything from there, given that you have some speakers attached to the Helix. If you have the Helix and a soundcard attached to your PC, your PC will only use one or the other for input and output which is determined by what is set up in your sound settings when you select that by right clicking on the little speaker icon at the lower right hand of your screen. I'm not sure where MIDI comes into play here at all. If you selected the Helix for sound input as described above it's going to play the audio signal from Cubase, not the MIDI.
  18. That begs a question for me. I keep all my operational presets stored as preset files and import them as needed. After updating I've never had any problem with any presets even when I import them. It may or may not be my imagination, but it seems to me the importing of a preset may sometimes take a bit longer after an update so I've assumed that's when it's getting rebuilt. Do you know if that's true or not?
  19. Where it appears on the screen is exactly the same behavior as what it would do in a real signal chain cabled in sequence. Therefore, it will always have an effect on the blocks after it in the signal chain. Where it should go is somewhat arbitrary and subjective. There are no rules. However I would say that in the real world as well as in the modeling world, the majority of people use EQ toward the end of the signal chain to address minor tonal problems as that's the most efficient way of doing things. That doesn't make it a rule. The good news is that it's easy to move it around in the signal chain and see what difference it makes. This is especially true with special EQs like the low/high shelf which can dramatically change the overall tone prior to reverbs and delays. What I would emphasize is to make sure all the blocks in your signal chain are configured to get you as close as possible to the sound you want to achieve before applying final EQ. A good example is that of cabinets/IRs, mics used, and mic positions. Often changing those things can dramatically shape your tone and can sometimes reduce or eliminate the need for dramatic changes in EQ. EQ, in my opinion and for the most part, is for final "tweaks" of tone and most prominently for surgically addressing specific problem issues. It's not really a hammer for beating your signal chain into submission.
  20. DunedinDragon

    Helix vs...

    I think people put way too much emphasis on which modeler or profiler is better when in reality hardly anyone in the audience or anyone that listens to your recording would notice or care given you're adequately proficient at setting up and dialing in said modeler or profiler (which is a big given). What is a big, quantifiable difference is what you may be able to do with a unit. Like SaschaFranck I depend on my Helix for live shows every week and some recording. By that measure it's hard to say that anything provides the range full range of capabilities the Helix provides not just for performance, but also integration with other stage equipment, and it's flexibility to adapt to changing situations. If you're a working musician, this is what makes your life better. You can be totally self sufficient in achieving the tones you need, adapting to varying stage setups and performance needs all in a single unit. That's real freedom in my opinion, and worth far more than any marginal difference one might subjectively cite between what is "better".
  21. This isn't a patent...this is a copyright. This has nothing to do with free speech. It has to do with protecting the investment you've made in a brand name. But if you're not so hot on copyrights we'll bear that in mind if you get a song published and want some royalties for it. Personally I don't use my eyes for dialing in an amp or effect. That's what ears are for....
  22. Very astute of you cruisin....Oddly enough I was actually referring to Queen Elizabeth as chance would have it...
  23. You know, I suspect you'd be amazed how much better you'd get both in building presets and playing if you worried about that as much as you worry about upgrades.
  24. That PS4 device appears to only have a MIDI in, but I would think you would need a MIDI out port from the PS4 if it's actually sending MIDI drum notes. Likewise you'd need to confirm your drum set can receive MIDI drum notes through it's MIDI in. Also, drum mapping could be a problem unless both the PS4 and the drum kit are using General MIDI mapped drums which in my experience isn't always the case. Singular Sound, the manufacturers of Beat Buddy, make a specialized PS2 Midi cable that breaks out into two input and output standard MIDI cable connections. Then all you would need are standard MIDI cables to connect to the in/out ports which you would connect to the drum kit. I use this connector all the time to control the Beat Buddy through the Helix, but Helix wouldn't do you much good for playing the MIDI since it doesn't have any MIDI drums defined. The following is a link to the Singular Sound cable they offer: https://singularsound.com/product/midi-sync-cable/
  25. Not without redesigning and replacing the entire existing circuit board...so what would be the point? As my previous post discussed...DSP chips are not plug and play pieces. Just manufacture a new unit...maybe call it a Helix LT? Oh wait...we already have one of those!!!!
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