DunedinDragon

But you see, that's the value of being in a band with a Neanderthal....they make all of use modern guys look and sound so good!!!!! B)

Now THAT is funny!!!! :lol:

I don't think your bass player is necessarily a dork or has ulterior motives. He only sounds that way because he still thinks it's 1972. I would just respond by sending him an invitation to join the rest of us in the new millennium. EDIT: I would, however, let him know his email has provided us with hours of laughter and good times....;)

Feedback really has little to do with the type of speaker although the type of speaker might affect the frequencies that would tend to feed back. Chances are you'll experience feedback on whatever speaker you get as it's not a function of the speaker but a function of the volume and it's placement relative to your guitar. I assume if you're using the DXR12 as a monitor facing you that you're using a direct line to the mixing board and to the FOH for the sound for the audience. In which case I can't imagine why you would need that much volume feeding your personal monitor since the FOH is doing all the heavy lifting for getting the sound to the audience. I'd work on placement as well as stage volume as the main culprits. I use a DXR12 and have it positioned behind me as a floor monitor. The only feedback I've ever experienced has been when I use my Gretsch hollow body guitar and it was due to having my volume up too high. This doesn't happen any more since I've incorporated a better process for dialing in my volume settings.

With the thousands of Helix users out there if this were a prevalent problem with Helix you would hear more about it. I doubt all of us have tin ears and only you and a few others can hear it. I've never experienced what you're talking about, but then again it could be specific to the combination of amp model you're using and the specific distortion pedal, or your output mechanism or some combination I haven't come across. But clearly from the responses here people aren't experiencing this in mass. I might be easier if we knew the exact pieces involved in this. What amp model, gain settings, which distortion pedal and it's settings, which cab/mic/mic positions so we can see if we can duplicate it. Or potentially post the patch to CustomTone so we can see if it duplicates on our setups.

Just be aware you don't HAVE to use snapshots to achieve different sounds within a preset. You can also use multiple assignments in regular stomp mode to achieve the same effect. You may still choose to use snapshots if you're comfortable with it, but either way you're going to have the same DSP limits per patch. That shouldn't be a problem if you're using a patch per song. I also use a patch per song, but I've never felt to the need to use snapshots. I just use multiple assignments to a stomp.

I use a DXR12 as my monitor. All of my global outputs are set to the default setting of Line and both the XLR and 1/4" outputs are controlled by the Helix Master Volume. In performances I run the 1/4" out L/Mono to the DXR12 (set to line level input) and the XLR L/Mono out to the mixing board. There has never been a problem with this because all of my patches are normalized to the same volume output with my Helix master volume knob at the 11 o'clock position. I leave my DXR12 volume at 12 o'clock and at the board the signal is gain staged appropriately to the correct level to match the rest of the band. This has never been a problem as long as you're dealing with a competent sound man who understands the basic principles of signal gain staging. Otherwise you may need to tutor him in how to gain stage an incoming signal, and then promptly tell management they're dealing with an untrained clown running the sound.

Have you tried adjusting your Input Block's Guitar-In Z parameter. It defaults to Auto which may be the problem in that it's trying to make adjustments to your pickups. You might want to try taking it off of Auto and try the different specific values for the different guitars and see what works best. If it's set to a specific value you might want to see if Auto helps mediate the differences. I use multiple guitars as well (Les Paul Standard with Burstbucker Pro II, Gretsch Silver Falcon with High-Sensitive Filter'Tron, Strat Elite with Gen 4 Noiseless and S1 switching, and Tele Elite with the same pickups as the strat). I leave my Guitar-In Z parameter on Auto and the Helix does a pretty good job of adjusting to the different inputs. There are still differences in response from the different guitars as one would expect, but I just make adjustments within the patch itself to compensate for the response of the guitar. All of my patches are guitar specific. The same was true when I was using a Mustang IV, so whatever differences there were I compensated for within the patch. As far as using outside patches that's part of the problem. You typically have no idea what kind of setup the person that built the patch was using, so you'll have to make adjustments on those patches to accommodate the different guitars anyway. That's why I never rely on patches someone else created. I just build mine from scratch specific to the guitar that will be used and the song that's being played. By doing so there's never any real difference in response and my volume can be normalized so all patches have the same volume output. The most accurate way I've found to do this is I have a Yamaha DXR12 at home which I plug directly into from my 1/4" out L/Mono. I also have a small 4 channel Alesis mixer which I plug the XLR L/Mono out into. I set the input gain on the Alesis to mid-point or 12 o'clock and I monitor the meters to get each of my patches fairly close to the same output level. I still occasionally have to make minor adjustments in the patch once I get to rehearsal with the band, but it's typically fairly small adjustments. One thing for certain, I don't think you're ever going to get what you want out of a single patch used across all those different guitars because they are all so different.

Most monitor manufacturers recommend you set the volume at 12 o'clock or what they refer to as unity to start with then increase slightly if you need to. I never run max'd out on any of my powered speakers whether they be stage monitors or front of house. I think the highest I set any of them is on the top units of the KLA12 line array which are set to about 2 o'clock.

That sounds like it's more likely related to the settings on your DAW (i.e. buffer size, etc.). That's most often where crackling and popping tends to come from when the DAW processing can't keep up with demand. It could also be related to other background processes on the computer that are stealing computer cycles from the DAW.

I play at least once a month in a venue where we don't put the instruments through the FOH. I still keep my DXR12 in the monitor position behind me and it still fills the room quite well. Actually better than the other traditional amps on stage as it projects much better. I can envision a scenario where I might put it on a pole if the room was particularly wide and fairly dead, but in almost every situation I've run into I keep it in a monitor position behind me. But then most often I'm also going through the FOH. We're a 7 piece band and everyone on stage seems to be able to hear me very well even in that configuration.

There are quite a few differences between studio monitors and FRFR powered speakers which could be deceiving. The main difference is studio monitors very often depend on ports in the cabinet to help bring out the bass whereas powered speakers don't. So you would likely find that the patch when taken live might not have the low end you expect it to have from dialing it in on studio monitors. Secondly there's a really big difference between the tweeter in a studio monitor and a horn in the PA cabinet that's driven by a compression driver which could result in your high end sounding a bit brittle in live performance. I guess I don't understand why you couldn't simply use one of the PRX715's directly plugged into the Helix to dial in your patches that way. That would certainly give you a much more accurate idea of what to expect live.

Wow...thanks for the Info!!! You just saved me $200 on the two DXR12's I bought on July 3rd. I didn't realize this was in effect!!!!

As far as I know Helix line level is +4 dBu as that is the pro audio spec whereas -10dBV is for consumer audio devices.

I've started doing the same thing integrating a second acoustic guitar into a patch for certain songs. The great thing about it is each guitar has it's own dedicated signal chain which makes it easy to adjust them independently. The best advantage we've gotten in doing this is it's a much faster transition than what we would otherwise have to endure. In our case our vocalist/harmonica player takes over the 2nd electric guitar, and the 2nd electric guitar player picks up the acoustic. I leave the acoustic guitar plugged in even on patches its not used on. I simply change the input block on my non-acoustic guitar patches to 'guitar' rather than "all" so the acoustic guitar is only enabled when I switch to the patch that has the acoustic guitar path defined.

I honestly can't speak to the L2M versus L2T other than how they're marketed. As far as the QSC K series, they're roughly in the same ballpark as the Yamaha DXR series which is more at the higher end of these type of speakers. What tends to differentiate these units it the way they incorporate more advanced DSP options and some of the internal electronics that give more precise control over the frequency response of the speaker. But ultimately it's what you hear when you compare them to some of the lower priced units. To my ear they have much higher articulation, clarity and even projection of sound than some of the lower priced units. It's not a huge difference in and of itself, but when mixed in with a band they stand out better without needing to rely as much on volume. I know I just replaced 2 Altos 110s we were using as stage monitors for vocals with 2 DXR12 speakers and by all accounts of everyone in the band they were able to hear the DXR's way better than the Altos and there was less tendency for feedback. So for me the price difference is justified.

First, just because something can be setup like a wedge monitor doesn't mean it needs to be in front of you. I use a Yamaha DXR12 as my on stage FRFR speaker and position it behind me in the same way as I would an amp. In cases where the instruments aren't going through the PA this more than suffices for feeding adequate sound not only to the other band members on stage, but also into the audience. You have to remember that these types of speakers are designed to actually be PA system mains, so they're more than adequate for the job. This is why I would strongly urge you to focus on the L2T or ZLX12P noted your list rather than the L2M because it falls into that same category of possible FOH speakers. In that regard there are a wide range of other speakers in this category such as the Yamaha DXR, DBR series, the QSC K series, Altos and others that might be worth your consideration. If you're really wanting the full benefit of an FRFR setup I would encourage you to stay away from passive speakers. They simply don't have the embedded DSP processing logic that the upper end powered speakers have for giving you a decently flat response across the full range of the speaker's response. This is one of the main reasons passive systems have become a fairly small segment in the live sound arena over the last several years.

I can just hear the guys at Line6 right now. "Hold up all further development on new amps and effects and features!! We need to put out a special FW upgrade IMMEDIATELY that allows the tap tempo and mode buttons to be used as normal footswitches, or else PearlJammy won't buy a Helix!! This is a MAJOR crisis!!!!" :wacko:

Depends on which tone you're after. The Acoustic is pretty simple and standard. The lead guitar fills are compressed, edge of breakup kind of stuff which could be any number of amps from Vox, HiWatt, to Litigator or Matchless maybe with Bias dialed down a bit to de-accentuate pick attack with probably some Hall Reverb. The pedal steel is typical pedal steel, but I doubt you're going after that sound...unless you have a pedal steel.

Well this has to be the oddest question I've seen around here in a long time. The Helix can do many things, but it can't displace technique. Tone-wise most sad songs (which are typically ballads of some type) are very clean setups with ;imited effects. What makes them produce a sad or lonely sound is how it's played. A rich hollowbody sound that's finger picked is always a good choice. In country a telecaster on a clean setting with a light tremolo and reverb is pretty common. This is truly one of those cases where the tone is in your fingers.

Fear The Walking Thread.....

You didn't mention what type of delay you're using, but depending on the delay you will have a headroom parameter. Have you tried adjusting that upward?

There's not enough information here to give you any feedback. "Awful" is a pretty broad statement and without understanding what your signal chain consists of it's hard to provide anything useful. As far as stereo versus mono, there's quite a few, if not most of us, that use the Helix for live performances that only use it in mono as stereo isn't practical in live environments and are quite happy with our sound. Obviously comparing a stereo effect to a non stereo effect stereo will be considerably fuller, but nothing should be changing in the basic tone of amp, cab, or mic. Maybe just be a bit more specific about what sounds awful.

I suspect most of these "my friend got A and sold his B" stories has more to do with the compulsion to buy gear than a significant difference in functionality. Musicians are infamous for thinking gear will turn them into the next guitar god. It is easier than practicing.....

The fact is, the difference between the three different units in terms of sound is marginal at best to most ears. The question really comes down to one thing if this is your first modeler/profiler...how much are you willing into invest in learning any of these three units? That is the single biggest issue I've seen on all of them because all 3 are highly complex environments that require an intellectual investment from their owners in order to really pay off. This is probably the core reason behind many people choosing the Helix, because the learning curve is less steep and there are a TON of users that can offer advise and support. As iamgeorge says, the audience doesn't know the difference, so it's ultimately up to you as to how much time you want to spend turning the system into something useful to your situation?