roscoe5

I think the DSP cost is the same for two cab blocks vs one dual cab block. I just use the level controls on each cab in the dual block to mix them. The AB Split you mention is a good method too.

There is a button to "Use Full Editor" and then you can edit the title. But no worries...just a thought. Good luck on your tone quest!

I would feel better about a mixer stand over a music stand as well. And I LOVE the Helix backpack. It would be nicer at $100 instead of $150.

Oh, and you might want to add something more descript like "djent tone" to the title of this post. There arent very many posts about djent tones. I glazed right by it several times.

I just tried my putting my Helix on my Proline GMS80A. The base gets nice and wide for stability. You really tighten down the knob under the holder though to keep it from tilting. Everything seems stable enough, but it still makes me nervous ;) http://www.musiciansfriend.com/accessories/proline-gms80a-conductor-sheet-music-stand

Try the PV Panama (5150 model) with the presence at around 7. German Ubersonic, Cali Rectifire, and Line 6 Fatality are good ones too. Also try a the 112 Dynamic mic on a good V30 Helix guitar cab like the 412 Uber V30. It works well mixed with another mic too in a Helix Dual Cab block. The D112 on a Mesa 412 is mean sounding and great for heavy tones. I'm surprised there aren't more pro IR's of it. I have the 3sigma IR's of Mesa, Bogner, Engl, and Friedman cabs and they weren't doing it for me. I actually just made a few AKG D112 IR's of my Mesa Recto 212 cab and just tried them for djent tones...they sound great. https://www.dropbox....sHCL2DAVba?dl=0 MesRec212_L6SV_D112_1oa.wav MesRec212_L6SV_D112_2oa.wav (my fav) MesRec212_L6SV_D112_3oa.wav Mic shootout of a Mesa 412 with SM57 vs D112. This was my inspiration to use the mic for my IR's.

Ugh, sorry. They're not all winners though ;) You guys have been very patient and tolerant of my forum brain dumping. I don't know why, but it helps me to write stuff up and post here. I definitely get ideas and inspiration from this group.

I'm not a pro studio guy, but I do get some weirdness with my rear-ported M-Audio BX-5's too close to the wall. They are about 24" away from the wall on my little Studio RTA desk in a small 10x10 home office. I do remember reading that the tweeters should be about ear level for you. I found a good thread with someone specifically asking about HS5 and discussion about 1/3 listening distance rules. https://www.gearslutz.com/board/newbie-audio-engineering-production-question-zone/918120-monitors-near-wall-yamaha-hs5.html Pretty good article on listing environment setup http://arqen.com/acoustics-101/room-setup-speaker-placement/

Ran a quick Google search and found some old 2011 download links if you want to try to reinstall mixIR1. They seem to still work. http://forum.fractalaudio.com/threads/how-to-mix-impulse-responce.36388/ Windows: http://www.redwirez.com/ir/mixIR-win.zip Mac OSX (intel only): http://www.redwirez.com/ir/mixIR-osx.zip

You can mix with NadIR from Ignite Amps. But I don't think you cant export a mixed wav IR file like you can mixIR. I havent tried it in a while though since getting mixIR. http://www.igniteamps.com/en/audio-plug-ins

Cool. Yeah. I've yet to find a single mic on a cab that sounds like a cab in the room to my ears. Dual mics help. I just tried your mixed cab types and settings with the Brit 2204...very nice! That is a smoooooth sound. That 8k +3db after the HX dual cab block is a nice touch too. I hadn't thought of doing that before. I'm actually able to get a little closer to the "better" sound of IR's with EQ after the Helix Cab. I nudged 125k +2db too.

While fine tuning my Line 6 SV/Recto 212 FOH IR's this weekend, I got some nice, real AKG D112 off-axis captures. It was just a happy accident while moving the mic around. It's not a traditional position for a D112, but it takes a little harshness off...sort of like angling an SM57. https://www.dropbox.com/sh/4phus5no73yhjos/AAAlclIXZYENU9OsHCL2DAVba?dl=0 MesRec212_L6SV_D112_1oa.wav MesRec212_L6SV_D112_2oa.wav MesRec212_L6SV_D112_3oa.wav The MesRec212_L6SV_D112_2oa.wav is the closest to my cab in a room I have heard from a single mic. That's the one that got my attention and I made it first. Then made the other two just for a couple more options. Soundcloud clip https://soundcloud.com/michael-potts-995394155/helix-cali-recto-d112-2oa-ir

Oh, throw a mono volume or effect block after the dual cab block or you will get a different cab/mic in each ear...unless you want that.

I used to use an SKB VS-1 for pedals before Helix. http://www.sweetwater.com/store/detail/SKBVS1? adpos=1o2&creative=54989979481&device=m&matchtype=&network=g&gclid=CjwKEAjw5vu8BRC8rIGNrqbPuSESJADG8RV0T-dIwIkha3fquOnXxX3T4MNQH2GTIKrw8gW3AUSIlBoC1djw_wcB I liked the rails, lock mechanism, and velcro surface of it. Looks like the Helix floor control is 17.2" wide from the specs, so it should fit. It fit on my SKB rack, which is full depth. So maybe not what you want since you mention half depth.

This weekend, I messed with the Helix dual cab blocks with the same cab with different mics and settings. I got some nice amp in room effects increasing the mic distances and early reflections. A dynamic or ribbon mic 2-3" from the cab with early reflections up abut 20% and a condenser at max distance and early reflections at 75% was pretty nice. I definitely gained some appreciation for the HX Cabs and their controls.

Great idea about tone matching the electric mags with the acoustic for the IRs. That took some time and work I bet. They sound great in the videos!

I think this is pretty common and generally resolved by NOT plugging Helix into the same outlet or power strip as the computer. Also, I found USB cables with ferrite core filters (little black cylinders) on the cable are worse.

Agreed. Helix into my Spider Valve HD100 and guitar cab feels better than my SS amp into the same cab, while having similar frequency range and response (after you adjust the presence accordingly). I'm sure DT50 is even better. I thought these videos were some of the best (and only) comparisons I have seen running modellers through both SS and neutral tube amps into a regular guitar cab.

No worries. To your question, I ran a sine sweep signal back through each existing IR (loaded into a convolution reverb plug-in), into the Mic Room plug in, captured that, then deconvolved the capture with the sine sweep. You can use EQ plug in's to to post-process the IR's (EQ match, etc.), as well as any other plug-in your experimental heart desires. This worked with my Recto 212, Studiocat Friedman 212, and some 3sigma Recto 212 IR's (not posted since they are paid). I just finished a little writeup here. http://line6.com/support/topic/22023-ik-t-racks-mic-room-to-re-mic-your-irs-and-tracks/

This info evolved in a couple of other threads, but thought I would summarize it and post separately. Maybe some will find it fun and useful, maybe not and it will die on the vine. But this has really expanded the sonic flexibility and resurrected some IR's I previously didn't use or care for. I've recently been experimenting with IK T-Racks Mic Room to add some more mic sounds to my own personal rig IR's of my Recto 212 and SM57. I was happy with the results. I got some really nice "faux" ribbon 121 & 160 IR's, D421, D441, & D20 type sounds, and a cool Telephone mic sound. I also tried re-mic'ing Studiocat Friedman 2x12 and 3sigma Recto 212 IR's. Neither of those had ribbon mics either. I got pleasing results from those as well. There are SO many combinations and possibilities with Mic Room source and target mics. You don't HAVE to have the exact source mic. Good sounds can actually be had using source mics that are not the same as your capture mic. Luckily we have Helix's routing and looping features. You can audition your Helix amps with the original IR through the TR Mic Room plug-in and potential target mics before you rip the new IR. The process is similar to re-amping, except your "dry" input signal is a 20Hz-20kHz sine sweep signal. Put the IR in a Convolution reverb or cab IR plug-in>T-Racks Mic Room and capture. Deconvolve the new capture with sine sweep signal. There is lots of info on the web for each of the steps. I think this will make sense to most people with DAW and plug-in experience. You can also do some EQ matching IR mods with the right EQ plug-in, existing guitar tracks and a close Helix patch/IR. Recreating the IR with the EQ-match in the chain. I believe Fractal, Kemper and BIAS Amp use a similar method for their tone-matching after the original amp/cab IR is captured or patch is configured closely to the target amp. I think maybe Glenn Delaune does something similar with his "imprinting" and isolated instrument song tracks. Again, you would need a little DAW experience for this one too. Are the re-mic'd IR's true to the original mics? Probably not. Are they good usable representations of those mics to expand your set of IR's and tones from a limited few? Indeed!!! IK T-Racks Mic Room is pretty inexpensive at $69. Plus they have a 14 day free trial. http://www.ikmultimedia.com/products/trmicroom/ This info was intended for personal use, not commercial. Don't go ripping of commercial IR's and re-marketing as your own ;) On the same note, 3rd party IR people shouldn't be marketing re-mic'd IR's as true physical mic'd IR's either. Good tones are good tones though. Nothing wrong with a little DAW magic to get there. Just don't misrepresent it when sharing/selling. Keep it honest and fun for all!!! ...mic drop...(pun intended)

Ha, just for fun I just re-mic'd some 3sigma Recto 212 IR's that I didn't care for. I got some really nice "faux" ribbon 121 & 160 IR's, as well as D421, D441, & D20 type sounds. True to the original mics? Probably not. Good usable representations of those mics to expand your set of IR's and tones from a limited few? Indeed!!! I believe that each of the 3sigma IR's are a mix of dynamic and condenser mics, so this was total trial and testing. Luckily with Helix's routing and looping, I can audition the TR Mic Room mic transform before I rip the new IR. Both dynamic and condenser source mics yielded usable target mics. I can't post the 3sigma IR's since they are paid. Maybe I can get some before/after clips up.

I saw the BOGO Sale and was looking at ARC 2 again to flatten out my monitors...and to see how it handled the cheap Crate PA speakers and JBL Eons in a room. That is too cool about cashing in two years later with your ARC 2! I reprocessed some of my previous IR's, as well as Studiocat Friedman 2x12's. Neither one of us had ribbon mics, and the Telephone mic makes a good LoFi effect. I think Glenn Delaune does something similar by "imprinting" IR's with an EQ match type plug-in to better align the IR with the original guitar tracks he is trying to emulate. I was glad to have the Friedman 2x12's to experiment with too since he had more mics in the capture list. I hope he doesn't mind since he was giving them away for free anyway. I put a courtesy post up on his thread to let him know what I was up to. http://line6.com/support/topic/21714-friedman-2x12-cab-irs-multiple-micspositions/page-2 I found that while you can take any capture mic in the list and "re-mic" it to any target mic in the list, some basic character of the capture mic signal remains. It seemed that while you do get a lot of target mic character no matter what source mic you pick, condenser>re-mic> condenser and dynamic>re-mic>dynamic sounded more correct. Both condensers and dynamics yielded different, but usable ribbon sounds. With the Friedman 2x12 IR I re-mic'd, I actually thought the TR MR SM57>Ribbon 121 had similar character to the Helix 121 Ribbon mic. There is a bit more low end boominess to both that was not there with the TR MR C414>Ribbon 121. I couldn't find anything in the IK docs or forums on what mics are ideal for this. I guess it's trial, comparing, and personal taste. They actually even have their own iRig mics listed as source mics too. From one IK thread I saw that you're not bound to just the source mics on the list either, and good results can be obtained with other mics. Anyway, it was a fun learning experience and a good tool for DIY'er just wanting to make the most of their cab and SM57. I have a lot of respect and appreciation for the pro studios making hundreds/thousands of real IR's.

I noticed the IKM Mic Room "target" condenser mics sounded more like condensers using your Friedman 2x12 - 414_2 IR, so I remade them and added a few more target condensers. I also remade the ribbons with your C414 IR as well. I left the original dynamic source mic (_D) versions as I still think they are interesting and usable. Also, to get really crazy...I transformed your original C414(_O) into a D57(_C) and your original D57(_O) into a C414(_D), D20 (_D) and D421 (_D). Sadly (or not), the transforms are only vaguely familiar to your originals and seem to retain their original flavor. They are still usable and interesting variations though :) So in conclusion, it's probably best to use the same type mic you want to transform into. I guess we just have ribbon-flavored C414 and D57 for now ;)

Yeah, that was my original concern. Thanks!

I hope you don't mind that I experimented with your IR's in IKM T-Racks Mic Room. I transformed your Friedman 2x12 - SM57_2 IR into a couple of ribbon mic IR's and some others I like (condensers, telephone mic, other dynamics). You didn't have any ribbon mics in your pack. Edit: I noticed the IKM Mic Room "target" condenser mics sounded more like condensers using your Friedman 2x12 - 414_2 IR, so I remade them and added a few more target condensers. I also remade the ribbons with your C414 IR as well. I left the original dynamic source mic (_D) versions as I still think they are interesting and usable. I had just done this to a few of my Recto 212 IR's with good results. https://www.dropbox.com/sh/45kmfpmxyz61ard/AABu8-LmJuwm30a2ncfjCZ2ja?dl=0 FYI, it does seem to work better with the original captures if you wanted to take a pass yourself at it. The plug in is cheap enough at $69.