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Hillman1312

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Hillman1312 last won the day on August 17 2019

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About Hillman1312

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  1. Here's some screenshots from Ableton with added lines for easier comparison. Same amp, same IR only changes are the frequency cuts (IR block or EQ block). Bottom graph is a reference based on just the amp + IR without any cuts. When using the EQ block the signal strength starts to drop (albeit very slightly) already in the 3-4 kHz region where the IR cuts start to drop a bit after that. Above 9-10 kHz the IR cuts are slightly steeper. Overall, very subtle differences and again .... this is based on a frequency sweep and not on actual playing.
  2. FWIW I did some experimenting by using a sine sweep going from 10 - 15 KHz as a feed into HX Native using Ableton Live as DAW. At the end of the signal chain I put an analyser so I could see the response by the model as a function of the frequency. I know, this is not the same as playing chords with all the overtones and all that, but it gives you a good idea on how the model responds as a function of frequency. The signal chain was very simple : Amp (2204) into an Ownhammer IR and into a Hi/Lo cut EQ block. When testing the EQ block the high cut on the IR block was off and vice versa when I was playing around with the high cut on the IR block the EQ was bypassed. Similar to what Mr. Sadites is saying in his video I found that an Hi/Lo Cut EQ block with a high cut at 12 KhZ would give nearly the same response as a high cut on the IR block at around 5.8 - 6.0 Khz. The difference in response was very very small but to be honest I did not expect it would require this big of a difference in cutoff frequency. I always wondered why the guy from the Helix channel puts his high cut so low, but actually this experiment shows that it really is not that low at all. Apart from the experiment above this setup is pretty interesting as it also allows you to get a good idea on the frequency response of different mics, different cabs or basically any model or combination of models in the Helix. For a nerd like me this helps in understanding why certain models sound the way they do and it is in fact helping me in dialing tones. For those who would like to try as well, here's where I downloaded the sweep file: https://www.audiocheck.net/testtones_highdefinitionaudio.php The volume is pretty high as an input to you helix/ native so be careful and correct for that. Also, turn down the volume on your speakers/ headphones.... these are sine waves, very different from music :-))
  3. Probably best to start with the files in the Summary folder (and then the "L" files). I usually end up using either the SS, M+ or DK files. Have fun!
  4. I'm very happy with the OwnHammer (r)Evolution bundle. Gives you a wide range of speaker cabs with (for me) more than enough variations/ mixes. Well worth the money as far as I'm concerned. https://www.ownhammer.com/store/index.php?main_page=product_info&products_id=449 I tried some 4x12 Cabs from Celestion with V30's; these also sound very good, yet different. Need to admit that I'm currently not using them. My favourite at the moment is the OwnHammer 412 MRBW GNR M25 MMMC. Those files work great with the Plexi and JCM models in the Helix to get that classic Marshall sound, but when combined with the HiWatt or Placater models (or whatever these are called exactly) it can give very nice clean and breakup tones as well. Not yet sure if I like this cab with more modern hi gain sounds (like the RevvGen) but usually the gain provided by the Plexi and JCM models is sufficient for my needs anyhow. Hope this helps ...
  5. I get disconnects from time to time as well, but strangely this happens only for HX Edit. I'm running Ableton as DAW and I never had issues with that programme. I guess it has to do with the HX Edit software itself and not so much with the USB cable or which port I'm using (I've tried different cables/ports also). FWIW, I'm running an old MacBook Pro with OSX El Capitan and the latest HX Edit software. I don't need to install a HX specific driver, just works out of the box. The disconnects are inconvenient indeed and it should not happen, but I've learned to live with it. Apart from the dropouts I'm also experiencing slow response from time to time. Not really helping you, but at least so you know you're not the only one having these kind of issues.
  6. I'm no expert by far and still learning everyday, but the "keep it simple" advice is the best you can get at the moment. Actually I just started over again creating basic presets for my needs and forced myself to keep the amount of blocks to a minimum so as to concentrate on the core tone (i.e. keep it simple). Once that is set you can move on to "more sophisticated" signal chains including parallel paths, all kinds of EQ blocks etc. etc. I'm not sure exactly what sound you're after, but try this: - In the signal in activate the noise gate and set the threshold at around 55 - 60 dB just to avoid some noise; not strictly needed. - Pick the RevvGen Red amp+cab combination - You may want to lower the gain slightly (my personal preference) - In the cab settings set the reflections to around 20 - 30 - Add a room reverb (reduce the mix to around 30% !!) after the amp/cab block This should get you a good starting point and should sound already pretty convincing. Next, tweak the EQ on the amp itself so that it sounds good together with your specific guitar. Be careful with treble and presence; at headphone volume levels you may feel the need to increase those and/or to decrease the mids, but once you get to high volumes the sound may get ear-piercingly harsh. From here you can go in many directions, but don't try them all at once. Options are endless, but the obvious ones to try first: - change the microphone and/or change the distance - change the cabinet - go for a dual cab or put two cabs in parallel paths with two of the same (or different ?) cabs, one mic'd with a SM57 the other with a R121 or R160 - .... and so on and so forth - Need a more tight bass for palm muting? Add a tube screamer with gain at 0 and tone/ volume to your liking right before the amp. Should work in my view ....
  7. Yep, I have considered that. Actually I was thinking about buying a poweramp and a cabinet just like the other guy has, but as I said, this actually defies the purpose of the all-in-one-unit. We don't do a lot of gigs and if we do don't get paid (a lot). We play for fun basically and with that in mind I don't want to spend the extra money on gear that I don't really need. I may go for a bigger speaker (maybe the Alto TS 312, i.e. the bigger brother of my 308). The bigger speaker will move a bit more air and that might just be enough. As to patch creation I'm getting closer to what I want but keep getting confused. I downloaded the Michael Britt preset pack (there's a discount now) and that pack has some really nice sounds and seem to be dialed in for live use. But, if you would compare those tones at the same volume to the free presets that for example Jason Sadites has on customtone or even the factory presets loaded in the Helix, then the difference is huge in terms of brightness. I know, the factory presets may not be the best, but as a user I would expect that these tones would also be usable for (high volume) live applications. But, things get harsh pretty quickly when the volume knob is turned clock-wise (the Fletcher Munson principle). Also if you would listen to isolated guitar tracks from recorded songs then the tone is actually very often on the brighter side rather than on the darker side. It's because of the mix that this isn't very noticeable I guess. Anyway, I'll get there eventually :-)
  8. Headrush 108 or the Alto TS308 (these are essentially identical) will do the job. Even though this speaker "only" has an 8" speaker it can go really loud. I recently tried out some old KRK Rokit 6 monitors. For home use and dialing in tones these also work pretty well; soundwise actually preferable over the Alto to my ears.
  9. Ok, so I did a first test with the preset and compared it to my presets with the same type of drive (different amp though) and I think I found the issue in that there were a lot less of these "mids" and more "highs". I changed the IR and the amp settings (not that much though) and came a lot closer to your sound. Next I cranked up the volume of my Alto and it gave a lot fuller sound where my original preset was closer to being thin and slightly harsh. I know, this is all not very scientific but at least this gets me in the right direction. So, thanks a lot !!
  10. Thanks a lot, I'll give this a try over the weekend and let you know how it compares with my other presets. I don't have that particular kind of guitar but for sure I'll be able to tell the difference using my own instruments. There's a lot of discussion about "the mids" which makes me wonder what typical frequency range for those are? People talk about "low mids" and "high mids" but for me it is actually not very clear what is meant with that in terms of frequencies.
  11. Yes, this is exactly what I'm experiencing as well. I can hear the other guitarist very well but can barely here myself. The Alto helps a bit but not much .... Would you mind sharing a preset that has the cut you are referring to? I can then compare it with my tones pretty easily myself and using my guitar, speaker etc. I don't know much about PA systems but by the looks of it this is an old system. We rent the rehearsal room so need to stick with whatever is available. That said, the sound coming from the Alto (albeit a bit on the brighter side) sounds cleaner and more articulate than what comes out of this "PA" (my quotes indeed :-)) So yeah, for sure the PA we use is not helping, but in my view it's not really bad either. Good question ... for one it is that there's a lot of volume coming from the 4x12 and it is difficult to compete with that. So hearing myself properly and fitting in the mix is an issue. And yes I have thought about getting a Poweramp and a cabinet (or maybe a Powercab) but to me that defies a lot of the purpose of these great all-in-one units. I'd rather spend my money on other gear. As to the audience ? I don't know yet ... like pretty much in the rest of the world there's no gigs at the moment and I only joined this band in January. My guess would be that in a complete mix with a decent PA there would not be a real problem.... but that is actually what I don't know at the moment.
  12. Hello again forum, I'm in a band with 2 guitarists. I myself play through a Helix LT connected to the "PA" in the rehearsal room and for some extra monitor signal I sometimes use my Alto 308. The other guitarist plays a Kemper but does not use the cabinet simulation. Instead, he uses a power amp and feeds the amp signal + effects of his Kemper to a regular 4x12 cabinet in the room. The other band members seem to like his tone better than mine. This can have varies reasons obviously and it might be that my presets may need some work, but in general I believe that they like it better simply because it is a totally different experience. I.e. they hear (and feel) the actual cabinet, whereas from me they hear a (simulated) mic'd cabinet which is not in the same room. This however appears a difficult message to get across and I'm not sure how to improve this situation. It's a bit frustrating..... Any advice/ experience? In order to take out the possible preset issues I'm happy to share some of my tones so you can check/listen accordingly (although I need to say the more recent ones are based on some commercial Ownhammer IRs, which I cannot distribute). Thanks!
  13. Maybe share the same preset of both setlists on this forum so we could have a look/ listen as well? This might help in further understanding the problem.
  14. I agree on the (r)Evolution pack. That pack offers also some mixes and I like in particular the Orange 412/ Mesa Boogie 412 combination for modern high gain. That said the two Marshall cabs I use a lot more for rock/ hardrock stuff (I don't play a lot of metal). If I recall correctly there's also a few free impulses available from Ownhammer which should work for high gain tones. That said, if you split the signal into two stock cabs and run each of them with a different mic and use 30-50% of early reflections on at least one of them you should be able to get a very good high gain tone. For example use the same cab and mic one with a R121 or 160 ribbon mic pulled back 3-5" and the other one with a 57 or 421 as close as possible. Use the A/B routing to go anywhere from very dark (ribbon) to bright and in-your-face (dynamic). Or if you want to add in more variables use two different stock cabinets. True, the internal cabs will never sound the same as the impulses, but that's not what counts ... My problem is actually in the vast amount of possibilities .... I should spend more time practicing/ playing and less with goofing around with this great piece of gear ;-)
  15. I've bought the British pack from Jason and on the Alto 308 it doesn't sound great. To my ears a bit to harsh, but using a bit of EQ helps. As to the Alto, did you perhaps push the contour button? If you do it will push the highs and the lows which will be even be further emphasised once you increase the volume. I found your presets very bright (in particular I did not like the IR) so you may need to lower the presence and treble on the amp further than what I did. But the presets I sent you sound ok over here (using a relatively cheap Harley Benton fusion pro with 2 humbuckers). And indeed making a blend with a ribbon mic will give you a much smoother sounding tone. But, if you prefer the SM57... it should work.
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