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ricstudioc

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ricstudioc last won the day on December 6 2017

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  1. Let us know how it goes. Like I say, I've been as happy as that proverbial pig, but I never make assumptions for others. Funny about "latency" - most folks will throw the term around, and it's certainly a real thing, but seems like folks I encounter don't grasp that it exists in the real world and not only digital. I tend to play large stages, call it 50ft or more wide. With sound travelling at 1msec/foot (variables apply) that means that the guy on the other side of the stage is taking around 50ms to reach me, with varying lower figures from folks closer to me. It's amazing we've ever been able to make sense of anything on a stage. The X32 console reports an in-to-out latency of about 1msec. Let's be pessimistic and call it 3 - so miked cab (?) to console to monitor return sits in that range. Let's assume some additional latency at my digital transmitter, maybe 2msec? My Helix 1/4" line to the mixer (after internal conversion) is analog. Add that all up and the band mix I'm listening to is maybe 4-5msec total from moment of creation, with my Gtr signal being 1-2msec off of that. Compared to hearing just the stage sound, the in ears (which bring everything to me at the same time) are a clear winner. BTW we record every show - I've never heard anything that would be called "latency" getting to the audience. They hear it fine, I hear it fine - winner! Good luck - have fun - let us know!
  2. FWIW this is pretty much exactly what I do - I re-associated with a prior band for some special projects, and in my (several years) absence they had transitioned from wedges to in-ears as well as going from an analog board to an X32. I had picked up a cost-effective in-ear system (an Xvive U4, great bang for the buck), but literally on my way to the first gig I got nervous about trusting my personal guitar monitor to the sound guy. (Not chucking stones at him, Jesse is one of the best mix guys I've worked with. But seconds count on stage, and hearing myself clearly is non-negotiable). So I swung by a local GC on my way to that gig and picked up a little 4 channel mixer (Harbinger), big selling points were that it had 2 XLR ins and XLR main outs. Cost about $70. At load-in/setup I sent Helix XLR (mono) to the FOH snake - took the XLR monitor out from the snake into Ch 1 on my mixer I took the 1/4" out from Helix and ran it into Ch 2 on my mix. The Xvive transmitter is a dongle-sized dealie that plugs into the XLR out on my mixer. I then told Jesse to send me a general band mix without my guitar in it. So now beside me on stage I have the ability to control the relative band/me blend. Half a dozen or so shows in and it's been working perfectly, no noticeable latency issues or such. Kind of an "Aviom lite". Worth noting that I'm not a monitor snob - hell, when I was starting out stage monitors weren't even a thing. You had your Shure Vocalmaster columns out front and that was that - eventually PA systems got better and those columns became the monitors for a while. So I've always done just fine with what I hear from the stage itself - the whole in-ear thing is just icing on the cake. Don't need a perfect reference mix, just need a reference. Over these last few shows Jesse has tweaked my band mix to where it's quite good, but it was fine early on. But I have the final say as to how much of ME I'm getting at all times.
  3. You say that like it's a bad thing... I'm seeing some possible upside, there.
  4. Stylistically not in my wheelhouse - but that sounded great. Tight, crisp and punchy, very articulate. Low cuts were probably a good idea, I could envision the mix getting pretty mushy without them (though I'm sure the engineer applied some sonic surgery as needed). And the vid itself was fun - nice use of the old colorized stock. All in all, very well done! Keep going...
  5. FWIW shortly after acquiring my 69 I had an actual Strat neck put on - I believe my luthier said it was from a John Meyer (?) model. Night and day for me - like you I found the stock profile kinda chunky for my hands. Took it from being a guitar I played because of its flexibility on stage to one that I actually enjoyed playing in and of itself.
  6. I always thought it was an inside joke about the Dumble only being affordable to lawyers...?
  7. Buncha Fanboize!! (But then, so am I). Yeah - Helix pretty much wrapped it all up for me, other than some poly fx that I put in the loops everything else I might need is already in there. The only thing I've remotely considered picking up since Helix is maybe a Katana 50 just for the "one box grab-n-go" quickies. But for any real work Helix has me covered.
  8. Just go ahead on the next release and turn "1.82" or whatever into "2.82". Yeah, I get "conventions" and revision histories and all that - just do it. Heck, catching up on this board I've seen several instances in the last 10 minutes where the confusion has tripped up discussions. You guys have slowly been getting the update process more clear and touting how Core unifies the whole thing - bite the bullet, defy convention and just do it. Bring it all into synch. Thenkyouveddymuch.
  9. Voted! I mentioned this over on TGP - call it the "What's In A Name" update or sumtin. Since (I assume) Updater handles other product lines we can live with 1.7 or whatever it is now - but really ALL Helix family should be on the same rev.
  10. Dang - never thought of that. Good idea!
  11. Note, though, that if you kick the Helix the reverb won't "sproing" like the real thing. Firmware 3.0 perhaps?
  12. Oh, agreed - I never charged more for FR's, just cursed a lot while doing it. The tool I mentioned was a game changer, suddenly I could work the bridge while tuned to pitch. And for $20 - $25 bucks not exactly a major capital expense.
  13. Has the design changed in the last 15 years or so? When I was doing setups the FR was the biggest pain ever - you loosen that screw and the whole saddle piece slams forward. You can loosen the string, then the screw, move and tighten, then retension the string - repeat until correct. Royal time-sucker. Prior to posting this I googled and checked - sure enough Stew Mac is still (or once again) selling a special tool for just this purpose, braces the saddle assembly screw against the frame and lets you incrementally screw the saddle back and forth. Had one on my bench at the time - not my shop so it stayed behind when I left. Highly recommended when working with FR's. Again, I'm willing to stand corrected if the basic FR design has changed - but that quirk is why I've been a Kahler guy.
  14. Interesting - I've never had a problem getting feedback with my Helix/FRFR, in fact I've found it one of the most reliable rigs I've had for that. Nothing really special - I run a couple of Alto TS110s in front of me, floor monitor style. So my sound is firing right back up at me, I suppose that's a big part of it. Never need to be too loud. Most of my patches have a touch of compression before the amp, I'd assume that also helps get things rolling.
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