codamedia

Fair enough.... without a link to the video I would have never known that is what you meant by modded :)

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?

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.

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.

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.

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)

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!

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.

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.

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?

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"!

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 :)

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.

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.

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.

You got the right setting That is exactly how it works when "touch" is on, and you are setting up the unit to function the way you want. It allows you to set the LED status. I am pretty sure this is correct behaviour as well. The NAME can only be one thing... the LED status will indicate which channel (amp) is active. My solution around this is to CUSTOMIZE the name.... (eg: CALI 1 or CALI 2) then visually when the LED is bright it will be the name presented.

Setup the HX the way you want it... then go to Global settings and turn off the touch capacitance switches! Now test the setup to see if everything is working as you expect! (the amp and led should now toggle with the "press" of a switch, without surprises) The touch sensitive switches can create some confusing moments. IME... even through shoes I find they will trigger when I least expect it. For that reason, I turn on "touch" when I am doing a lot of programming, but turn it back off for actual use of the unit!

It sounds to me like you created a MIDI track (some DAWs will call it an instrument track) and are trying to record to that. If the Helix is set as the MIDI input, then yes, it would record any midi messages being sent. You need to create an AUDIO track... then choose the appropriate Helix INPUT.

Yes, I forgot about those. They are a couple hundred more than I was wanting to spend, but they do look like a viable option.

IMO... we are spoiled here in Canada... Long & Mcquade is our major music chain, coast to coast.... and they also own Yorkville. Yorkville is solid, gig worthy gear that has options at every price point (low end to very high end) Translation: If you own Yorkville gear, you are never very far from repair/replacement, but at the quality of the gear - you rarely need it! Yorkville is the PRO Division name.... PA, Monitors, Speakers, etc... etc... Guitar players are likely more familiar with the name "Traynor"... great sounding amps! That is also Yorkville! As for the coaxial monitors, I'm not sure I have seen those from Yorkville. I agree with your thoughts/idea's of coax monitors, I just can't say I'm familiar with any Yorkville models.

Just to confirm for anyone wondering, Yes... those are combo jacks. XLR/TRS/TS

There is no question if the Cerwin Vega falls short I will most likely go with a Yorkville. The YX10p was already on my shortlist.... as was an NX25. If was going to spend more than that I would just get a PowerCab. I have to admit... had the CVE-10 not been on sale this month I might have passed it by.... but $399 CAD (about $300USD) was hard to pass up for the features.

I'm in Canada and our local chain (Long & McQuade) carries them. I've liked many Cerwin Vega products in the past so this CVE line intrigued me.... L&M put it on sale for the month so I figured it's a good time to try. I'm in a no lose situation... if it ends up being a dud, L&M has a great return policy. and no shortage of other products to choose from. But for some reason, I don't think I have to worry about that.

First a quick backstory... I rarely need an FRFR. Most of my gigs have great monitor rigs and many of my gigs are in-ears so I don't require an FRFR very often - but there are times I need it. Usually gigs with inadequate monitor rigs and on rare occasion a legion or small room gig where the FOH is vocal only. With the smaller gigs coming back it was time to update my FRFR solution. I read many topics here and weighed my options carefully. I ended up rolling the dice on something NOBODY is mentioning. The Cerwin Vega CVE-10. Got it home, plugged it in, WOW! My Helix patches are alive and well, exactly what I was hoping for. Granted.... this is at home! I have a couple gigs this weekend so I do still reserve judgement on how they do at a GIG. Although I opted for the 10" version, there is also a 12" and 15" available. 1000 watts, 5 DSP modes, 2 multi-channels & bluetooth (although I doubt I will ever use that) If this thread shows any interest I will post an update after I get a couple gigs over with.

The touch sensitive buttons give me a lot of grief on stages and in practice. They trigger when I don't expect it.... for whatever reason. I love the feature, and use it during programming and editing, but during live use - I turn off "touch" in the global settings.