ricstudioc

Well, one nice thing about the FRFR is the flexibility - I've run a couple Alto TS's and on most stages they're in front of me in monitor config. But in smaller venues I've been quite comfortable setting them up behind me in a more conventional backline setup. Just depends how I need to get the sound out there - the Alto's are plenty loud. And I'm kinda with Peter here - you sound like a perfect candidate for an LT - all the horsepower of Helix with fewer ins/outs/whistles, and the lower price would leave room for the FRFR's on the same budget.

Y'know if I heard this about anyone else I'd call BS - but in Morse's case I'd tend to believe it, certainly the pilot story has been verified so why not...?

I'm sorry - have we met....? Memory's not what it used to be... I'm sorta in jshim's camp - default strat models are servicable if not inspiring, but then the whole guitar - to me - is about flavors, and there's plenty to be had. My use until recently was completely live, and having that many tonal options in one axe has been a godsend. Not sure if I care about the Tyler line per se, but I'm hoping they haven't bailed on the HD innards just yet - tho the lack of any updates for quite a while now doesn't bode well. Here's hoping...

Welcome aboard, mate!! Coming up on a year since getting mine and as I've said before, I've quite literally NEVER been as happy with a musical purchase, nor as satisfied with it's capabilities and performance. Keep in mind - we're not finished yet w/developement, still some serious updates to come. I suppose at some point they'll have all the functions they can squeeze into it - but even then there'll be new amps/fx for some time. Enjoy the ride!!

Wow, I know it's been a harsh winter up in Presque Isle, but what the hell (underline hell) was that tirade all about? Did he key your Camaro or somethin'? Fact is, one can simply ignore (underline simply) any advice one finds to be unrelated or irrelevant to one's needs - indeed I'd venture that it took you notably longer to type your diatribe than it would have to simply thank HonestO and move on. Glad you could fit it into your busy schedule....

Only issue that comes to mind is spacing between the bridge and bridge pickup on the 59 - but the TriplePlay pickup fit just fine on my 69, I'm guessing you'll be fine. The TP pickup is pretty thin...

And another "go for it" - it's truly hard to see how you could not be satisfied. Myself I run 2 Alto TS110A FRFR's - they're only about 250 each, and the newer 210's have a more symmetric cabinet. Personally I run mine in front of me like floor slants, tho in some smaller places I've set them up behind me more conventionally. For now - do the Amp Return on your Classic thing, you should rock. I started with FRFR because I also use a Variax for acoustic on stage, the FRFR is much better for that sort of thing. I've been doing this for something like 45 years - and have NEVER been happier with a purchase, musically. Whether on the larger board with outboard FX, or just backpacked in to use by itself, Helix has changed how I go about all this....

:lol: :lol: :lol: Dammit - now I gotta clean the coffee offa my monitor.....

Yeah, caught my little fuzz face doing that once - nothing a little duct tape couldn't solve... .......reminds me, gotta get her off the wall for a while, she needs to exercise occasionally......... :rolleyes:

C'mon - "soul-crushing", really? Seems a bit over the top... Now "demeaning" or "abasing", perhaps "humiliating" - sure....

Muh MAN!! I just love this guy - nuttier than a candy bar, but one serious plank-spankin' mofo. A purveyor of high quality gristle, indeed... Greg Koch says it - I believe it - that settles it.

Yah, tough to do - but to offer some hope, ever seen Eric Johnson live? I've seen him get this thick, buttery tone in the bridge position of his strat - startled me first time I saw it. Bear in mind he's an amp switcher - so perhaps a dual amp patch...?

...and another vote for the Ebtech (or equivalent, didn't know about the Behringer). I'm always tinkering around with new board builds, Ebtechs have been a godsend for stopping noise problems....

Exactly the word I've always used - and your time frame sounds about right, to my experience. Only thing I'd add is the visibility factor - you have to reach plateau A to even be dimly aware of plateau B, and B to C and so on. There is an inevitable natural progression, one jump leading eventually to the next. But you can't see C from A - you have to take the steps to open up your view to the next level. I had a martial arts instructor who always said "anybody can be incredibly dangerous empty handed, you just have to devote every moment of your existence to it". And I've heard others say the same about being rich. I think that's one reason I still have my idiosyncratic technique - music/guitar is one PART of my life, not all of it. I've never been motivated to dedicate the temporal resources to a major forward leap. Thats on me - no regrets, I still love playing. To tie this back to Steve Morse (where my commentary began) - you may/may not be aware, for a period of some years he flew (Captained) commercial heavy airliners for... I believe Southwest. (What the f&%k kinda resume is THAT? Rock Icon & Heavy Pilot) Stories go, he'd get'em in the air, set up the autopilot - and then reach back and grab his guitar, play incessantly till time to enter the approach pattern at destination. THAT is an insane level of dedication - and god bless him for it, too. I've enjoyed every note.....

YouTube "Dixie Dregs" - although quite successful on his own, the Dregs is where he (quite justifiably) came to fame. Interesting thread - lots of viewpoints, which is as it should be, as there are lots of ways to approach this whole thing. Heard of Brock Davisson? Worth your time to check his YouTubes - impressive skills, all the more so since he's wheelchair bound (not sure about his specific infirmity) and plays over the top of the neck. Watching his left hand is disorienting to say the least - but he smokes that thing! There's enough excellent advice above, I'll just present a different viewpoint for the sake of it. By all means, if such matters to you, strive to improve, be "better" by some yardstick - but at the end of the day don't worry about it too much, just do it. Precise/sloppy, articulate/slurring - whatever, it's YOUR voice on the instrument, speak with it - be yourself. Quick story - personally I'd say I'm a hack technique-wise (just to establish that). But I've been playing pro/semi-pro for many years, no one's asked me to stop yet. I used to run a music store back east, and like most we offered lessons (not from me). On of our teachers - we'll call him John, since that was his name - was a certified monster jazzbo, into harcore bebop. Dude would sit behind the counter between students and just CRUSH me - talking sports or politics or whatever, but constantly flying around the neck with laser precision - deedly deedly deedly, hemidemisemiquavers 'till the cows came home. One day we're behind the counter and I can't take it anymore, ask him if he has room for another student in his schedule. "Who do you have?", he asks. (Deedly deedly deedly) ME!, I tell him - I've been watching you beat me with a stick for the last year or so, got room to teach me? "Why on earth do you want to play like me?" (deedly deedly deedly) Well - there's THAT! I reply, I can't come remotely close to what you do. "Ric (deedly deedly deedly) I've been to your shows - you're a very musical person (deedly deedly deedly), and I rarely see anyone who puts so much of themselves into what they're doing. You may not play as fast or clean as I do (deedly deedly deedly), but you've always hit me right in the gut - it's always YOU coming thru those speakers. I may have better technical skills, but you have the knack of grabbing people by their feelings..." Stopped me dead in my tracks - gobsmacked. This monster admired ME? I withdrew my request - and play like myself to this day... Just sayin...

I ran a strip of adhesive velcro down the side, then run the cable down that side and slap a piece of opposing velcro over it. Done.

Yup - tho keep in mind that most of the (pleasant?) guitar-leslie tones are clean-to-slightly-overdriven, and you can get those from the sim itself - but personally I keep the gains on the sim low and feed it right from the amp. Been working for me....

Another "real deal" owner, here - a modified 125. And I agree with the above, shut down other cab sims/IR's and just use the rotary. A little tweaking and I think you'll be pleasantly surprised. ... o'course, having said that, I DO own a real one and come studio tracking time out she comes!! But it dates from 1959, and weighs like 90+ pounds, so the sim is a godsend for live work...

Wheee! Dodged the bullet there - glad things worked out. Who knows, maybe soundguy B will tell soundguy A how good it sounded and A won't give you any guff in March...

Heh heh - yah, that it is, but the graphical interface will be second nature in no time. Enjoy yerself, welcome to the club! ... and yeah, just toss a Send in wherever. Done.

If you were gonna do guitar techno I'd steal some stuff from this guy....

Of course it can apply - or not apply - as one sees fit. That's part of the POINT of Helix. My way, or Alex's way - either one gets you there.

BTW don't forget you can decouple the volume knob from the XLRs so he always gets a constant level max signal regardless of any tweakin' you do onstage. Not that amp guys don't reach back and crank'er up anyways... Been an FOH guy for decades - this bozo's a hack..... GImme a stage fulla DI's and I'm in heaven.

Oh, I dunno - in a real life, analog, application how often are you using post-fx to change volume? Certainly the basic food group stuff - mods, delays, verbs - are typically best at unity pass-through. Certainly you CAN manipulate volume at many points in the chain, choosing one as your default makes sense. Certainly when I set up a patch, I start with the core tone first - get that amp/cab singin'. Afterwards as I'm adding post-fx, I compare back to the uneffected frequently, if I note the fx changing the volume I tweak the mix/level/headroom to keep the levels the same. Oh - who would set up their guitar rigs without post-fx? Hendrix, Clapton, Santana, Blackmore come to mind - lots of great playin' came from guys who had nothing more than amp 'verb on their post signal. Jest sayin'.....