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codamedia

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  1. Fair enough.... without a link to the video I would have never known that is what you meant by modded :)
  2. Those tones are not hiding in modded gear.... if you are discounting the "guitar tone" mentioned just because that guy doesn't "nail" the tone (I haven't seen/heard that article by the way) then you are discounting the most important part of the puzzle of getting Clapton's tone. Send me a link to one song you are wanting the tone for.... I will try to help you out. (with all the variations and remixes out there I will only work from the LINK you send me) It would also help if I knew what kind of guitar you were planning to use, which helix product you own, and how you plan to monitor it?
  3. It applies to single coil pickups as well. The peak resonance of a pickup makes a big difference to the tone and reaction from an amp. This is why an old school "fuzz" is debated so much... when first in line & engaged the impedance completely changes the peak resonance of the pickups on the guitar. The tone control does something very similar. You can dial in some really magical sweet spots with a little experimenting.
  4. I think the only thing custom about the JTM45 was that he wanted something he could throw in the trunk of his car so Jim Marshall made him a 2x12 model. For that tone I would just dial up a JTM45 on the Helix, get the gain level right and dial in a usable tone. It's not possible to give exact settings, as it will be different for every guitar. IMO.... there is more magic in how EC used his guitar than the amp. During that era he stayed on the bridge pickup a lot, but rolled back the tone a fair bit... by half or even more. That changes the peak resonance of the pickup which cannot be simulated by amp - the tone needs to start at the guitar.
  5. Another example as to why I really need to stop making ANY assumptions ever - LOL! My Helix has OFF, TOUCH, PRESS, TOUCH & PRESS.... I assumed the stomp also had the OFF setting. Sorry for confusing this matter. I would submit a ticket to Line 6, point out the problem and see what they have to say about it.
  6. You are right, this may be a bug.... setting it to PRESS should stop a touch from toggling the LED. Have you tried setting it to NONE or OFF (whatever the wording is... I'm not near my machine right now to check)
  7. That just adds more headache and an extra cable :) One of my favorite features of the Helix is it's I/O flexibility. phil_m provides the easy answer above. Just insert/use a return block as per his instructions!
  8. It's a coax speaker (full range).... When using the power cab in FRFR (full range) mode, full range is used When loading IR's in a PowerCab Plus, full range is used When using speaker simulation in the PowerCab or PowerCab Plus... the high frequency driver is disengaged and it's more like a normal guitar speaker.... at least that is my understanding (I don't own one) It's all about choice and versatility. Just like the Helix itself, multiple options are provided to accommodate a larger market, not necessarily for a single user to use everything included.
  9. Because the music we listen to was recorded/mixed/mastered by professional engineers that know how to capture the tone of an amp with mics, compressors and EQ's. Guitar players often don't realize what goes into to making that tone "after the amp".... and it's an art in and of itself. Let's say a guitar player has dialed in the amp to sound good in the studio (and even live).... here are the next stages most guitars players are blissfully unaware of, yet are vital to completing the chain "as we hear it". Mic choice Mic position, angle and distance Multiply that by multiple mics in different positions (this is optional, but a standard technique in the studio) Mic Pre-amp / often accompanied by filters (LPF/HPF) Compress (like it or not, there is compression on everything we hear, it does effect the tone) EQ... as in "channel strip EQ" on a mixer. Season with additional effects as needed.... reverb, delay, doubling, etc... etc... Steps 1, 2 & 3 (if used) are extremely important... it is the fundamental EQ for the rest of the chain! Steps 5 & 6 can be swapped if preferred.
  10. Something is wrong! Although the X3 is a nice sounding unit, the POD Go should eat it for lunch :) Don't let a good conspiracy get in the way of the facts :) The units you see in demos, is the same hardware you have in your hands! Did you accidentally use the AMP out instead of the main outputs? If that isn't it.... I suspect you have a faulty unit based on your description Most people complain about Helix FIZZ, not muffled tones! Did you try creating one of your own?
  11. As you will see in my posts.... I fully understand the lack of actual numbers. But you are right.... this is shrewd! It was like a slap in the face to those of us that do use meters... it's a sabotaged system without scale, there is no other way to put it. That said.. the gain reduction meters on the compressors and the clip lights are done to "near perfection"!
  12. In digital... 0 = the end. You cannot go higher. In analog.... 0 left room for more because the technology would degrade (distort, compress, etc...) some more before completely dying. For reference.... 0 on a VU meter (analog) is often compared to -12 to -24 in the digital world depending on the metering system used. This is just ONE reason I suggested numbers are arbitrary earlier, and I can see why they are not used! Exactly why I recommend a LINE (or a change of the shade of green) about 2/3rd or 3/4 of the way to the end. You can read that line as 0, I can read that line as -12, @cruisinon2 can see it as a waste of time, and nobody can compare it to anything. It's just a reference line :)
  13. I believe they don't want numbers in place because the numbers are arbitrary since there is more involved with the output levels depending on how users setup their Helix. That said...a few strategically placed LINES (or SHADES of GREEN) would be nice. They won't be referenced as hard values, but they will be a visual reference point.
  14. codamedia

    New FRFR day...

    First Gig yesterday..... quick update on the Cerwin Vega. Sounded great. I initially had the DSP set to "Monitor", but after trying "Mix/Flat" I preferred that setting. More than enough volume. On stage beside me was one of the loudest singers/players in the city and I had no problem keeping up with his Mesa. I don't like the levels I am forced to play at with this front man, but at least I know I can! Just a couple of nagging items... The wedge angle is great, but the footprint of the wedge is small. Probably not a big deal, and likely nice to keep the bass coupling to a minimum.... but I would prefer it a little sturdier in that position. No top handle! This is not a very big unit so grabbing a top handle would provide more than enough lift. Instead, you have to flip it to it' side and grab a side handle for transport.
  15. Yes.... it will be convoluted, but it can work. Setup a double path... and direct one input to the upper path and one to the lower path. On each of those paths, insert a RETURN BLOCK (one for each return) and make sure the MIX is set to allow the signal from the input through as well. On the MERGE block, just have both paths set to equal outputs so they blend. You can pan them so the outputs are separated, but that doesn't seem to be what you want. Now EQ, plan it accordingly and work backward! Setup an EQ at the end of each path, and adjust it for the RETURN on that path. Try to make sure the RETURN is something that needs minimal EQ. Setup an EQ on each path between the INPUT and the RETURN BLOCK. Use that EQ to adjust the INPUTS, without affecting the RETURN blocks. Now for effects.... If you only want to have an effect on the INPUT(s), place the effect between the INPUT and RETURN block on that path Anything you add after the return block will effect BOTH the input and return on that path Anything you add after the MERGE block will effect every input! Good luck! SAMPLE SETUP (this is how I would setup what you are describing) Guitar 1 > Input 1 Guitar 2 > Input 2 Vocal > Return on Path 1 Keyboard > Return on Path 2 EQ and REVERB placed after the MERGE block. This will act as a GLOBAL EQ and a Common Reverb.... use the reverb sparingly. Insert an EQ after the Retrun on Path 1... set this for the VOCAL (if the mic pre-amp has EQ built in, you won't need this EQ) The keyboard path shouldn't need an EQ... but if it does, insert it after the RETURN block Insert an EQ on each path before the RETURN blocks. This EQ will control each guitar individually That should leave you with 1 or 2 additional blocks.... insert as required. For the "BOOST" I would use snapshots and adjust the EQ level for each guitar rather than insert gain or boost blocks. But that's just my opinion.
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