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rd2rk last won the day on January 16

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About rd2rk

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  1. rd2rk

    Headrush FRFR

    I believe that we are over-thinking this. For those who are compelled to do so, I'm going to insert below a lengthy dissertation on the subject of FRFR speaker use by DunedinDragon in another thread. Thank you DD! For the rest of us plug'n'play kids, the above quote of my own from earlier in this thread cuts to the core of what THIS thread was originally about. NOTE that I said THIS THREAD, NOT the general subject. See below. From the ever insightful DD, from this thread - https://line6.com/support/topic/34941-replacing-amp-with-frfr-for-live-never-using-foh/?tab=comments#comment-280438 "I appreciate the detailed post because it makes it much easier to respond to you. You have no idea how rare that is around here... I exclusively use a FRFR setup using a Yamaha DXR12 as my speaker. I'm in an 8 piece band and we have a similar setup to yours in terms of a normal backline situation. Although we commonly go direct into the mixing board with our instruments, there are several cases in which we only send the vocals, harmonica, and congas through the PA and depend on the backline stage sound for everything else in smaller venues. My setup is the same either way in that I have my DXR12 on a half height speaker pole positioned behind me. There's a lot of good reasons for doing it this way. First, these monitors are designed to have a wide horizontal spread of sound and a much more limited vertical spread of sound. If positioned in a wedge position either in front of you or behind you, your bandmates far to your left or right won't get much of the benefit due to what would normally be the limited vertical spread. However, positioned upright on a pole it has exactly the same effect as a normal PA speaker as that what it is. So in a smaller venue it simply augments the FOH speakers in that it has the same kind of long distance throw as a normal FOH speaker. It makes for the best of all worlds for both you, the audience, and your bandmates. As far as going with a full FRFR setup, you'll likely need to make some adjustments to what you're used to with a conventional cabinet. I've been doing this type of setup for so long (about 6 years now) that I get a bit frustrated when I use a cabinet because I'm so used to the clarity and definition of the FRFR speaker cabinets seem muffled to me. I'm a bit concerned about your choice of speaker quite frankly though. In the powered speaker market you pretty much get what you pay for, and the Headrush is more or less the lower end of the market. You may be fine with it, and many people do use it, but it all depends on the style of music you play and how critical you are about exacting tones that you dial in. We play a very wide range of genres including rock, blues, jazz, rockabilly, R&B/Funk, and I use a variety of guitars, so I'm pretty much OCD when it comes to getting the tone right for a given song. If your band is more specific in genre it may not be that big a deal to you. The best way I found to adapt to doing FRFR live is to think of it like I'm dialing in my sound for a studio session and what I'm trying to achieve is a studio sound live. If you think of it that way you won't be thrown off by the whole "amp in the room" thing that bothers a lot of people, because there is no "amp in the room" sound in studio recordings. This also means you'll need to be much more attentive to the things that are relevant to studio production such as compression, cabinets/IRs, mic usage, mic positioning, and EQ to get the finished, polished sound you would normally want in a studio. You'll hear a lot about using high and low cuts due to the expanded responsiveness of a FRFR speaker, which is true to a certain degree, but not always a given depending on the amp, the cabinet, mic and mic positioning. In effect you need to develop your ability to hear what frequencies are problematic and the different ways you can go about correcting them. The biggest transition is in dialing in your tone. It's important to be as near as you can to performance volume levels in order to not be fooled by the Fletcher-Munson effect. And you definitely want to dial in your tones through the FRFR. The main thing to remember is FRFR speakers are specifically designed for long projection of sound and will be much more harsh close up to the speaker. This is the reason you don't seat people right in front of a PA speaker, because it takes a certain amount of distance to resolve the mix between the horn and speaker. I normally stand 6 feet or more away from the speaker and often off axis to check my tone when I'm dialing it in. My biggest issue is often getting too aggressive with high cuts. What sometimes sounds right in isolation is far too muffled when combined with the rest of the band. Hopefully that helps you or gives you some ideas about how to approach this." ----------------------------------------------------------------------------------------------------------------------------------- Not that there'll EVER be an end to new threads asking "What is the best FRFR speaker for use with modelers?"...........................;-)
  2. rd2rk

    Headrush FRFR

    While "Full Range" usually means "the full range of human hearing", "Flat Response" seems to mean whatever the manufacturer wants it to mean. My understanding of "flat response" is that no part of the frequency spectrum is emphasized over other parts at any volume. There's usually a +/- clarifier attached in the specs, but that's the non-technical definition. Earlier in this thread I stated that it sounds great for guitar, better than the TS210 that it replaced. Someone else said that they were buying the TS312 specifically BECAUSE it sounded more like a PA speaker. That really is the difference here. Are you wanting the speaker to more accurately reflect what your presets sound like FOH? Get the TS312/310/308. Do you want to get closer to the SITR sound without sacrificing the Full Range, wider dispersion and weight benefits over a traditional guitar cab? Get the FRFR112.
  3. rd2rk

    Unexpected latency (Sound goes out of sync)

    To further clarify what I think DD is getting at, you're using Helix as your soundcard. In Ableton Preferences you're using ASIO Helix as your Audio Device, Sample Rate matches Helix (48k default), your Inputs and Master Out are set to Helix, and your speakers are connected to the RME, which is getting it's audio from Helix 1/4"/XLR outs?
  4. rd2rk

    trying to replicate s-gear high gain tone

    Thanks! As I mentioned above, if you've got the Redwirez IRs, you can get even closer to the original S-Gear tone. It's popular these days to dismiss Redwirez as being old tech, but they're a big part of the reason why S-Gear is one of the few sims whose users LOVE it's factory presets. Other companies (IMO) sometimes do better with heavy hi-gain sounds, but Redwirez IRs seem (to me) to have a clarity that the others don't.
  5. First, follow phil_m's directions to turn off MIDI PC Send. Here's what's happening. With MIDI PC Send ON, when you select a preset on the LT, it's corresponding Program Change (PC#) is automatically sent. Your Invader is set up with preprogrammed Presets. A preset consists of not only a channel, but a mode and all sorts of other settings (RTM). Probably, there is no documentation as to what exactly the presets do. To switch channels like was happening by default, but only when YOU want to do it, You need to (after setting MIDI PC SEND to OFF) use Instant Commands in Command Center (page 47 in the Helix LT Manual). Program Instant Commands like this (following assumes that you were using Helix presets 01A-01D): Channel 1 = PC#000 Channel 2 = PC#001 Channel 3 = PC#003 Channel 4 = PC#004 You can use a single IC to send different PC#s in different Snapshots. Do you like the default settings? If not, to use your incredibly powerful and infinitely programmable device via MIDI, unless I missed something in the very long manual, you don't get to just tell it "Switch to Channel X". You MUST define all of the required settings. Sorry, unless you can find a setting, maybe a dip switch(?), to limit MIDI PC changes to CHANNEL ONLY, that's how it works. The Helix can change channels via footswitch method. It works great with a 2 channel amp. Yours is 4 channel. it MIGHT work. Get a 1/4" TRS cable and connect it from the LT's Exp Pedal2/Ext Amp jack to the Invader's Footswitch jack. Use Instant Commands in Command Center to tell the switch how to operate. Since there's only 3 choices (Tip, Ring, Both), odds are not good that it's gonna work. You may be able to trick it by using multiple ICs (IC1=TIP,IC2=TIP;;IC1=TIP,IC2=RING; etc - maybe it'll toggle the channels?). It's worth a try. If that doesn't work, you'll either have to program each channel change in detail, or get the expensive and hard to find factory pedal. GOOD LUCK!
  6. rd2rk

    Helix midi cc to control Variax guitar

    In the screenshot you posted you're in the Variax EDIT screen. Right next to the EDIT bar you'll see BYPASS/CONTROLLER ASSIGN. In my description I was using a variable controller (slider) since you're using a preset , it'll be different. If you can attach that template, I'll try to figure it out for you.
  7. rd2rk

    Helix midi cc to control Variax guitar

    Set Model to MIDI CC. Click "Bypass/Controller Assign". Select VARIAX MODEL in the left hand column. In the right hand column set the CC# to whatever CC# your controller is sending. In the picture, I've set the CC# to the CC# sent by the first slider on my APCmini Controller. What controller are you using? In my case I've used MIDIOX to determine the CC#, then, because the APC is USB and therefore can't be directly connected to the Helix, I've mapped the the APC to the Helix in MIDIOX. Your controller is probably directly connected?
  8. rd2rk

    trying to replicate s-gear high gain tone

    Try this. Not exact, but if you mess around a bit more with the eq, you might get closer. I happen to have the Redwires IRs that S-Gear uses, and with the same cab, mics and the 50% Impulse Curve it almost nails it. S-Gear HiGain Hlx.hlx
  9. rd2rk

    2.71 firmware issues?

    A small minority of users have issues with EVERY new firmware release. As cruisinon2 said rock, with what ya got and deal with issues IF they arise. Also please note - the vast majority of that small minority's issues are caused by failure to RTFM!
  10. rd2rk

    Helix usb cable?

    USB 2.0 is what it is designed for. I'm in the "try different cables" group. I've used mine with an old Core2Duo, so it's not like you need a lot of processing power. If you're using a desktop, be aware that usually the USB ports on the front are a Hub, the ones on the back are attached directly to the mb/buss. If you're using a laptop make sure that the port you're connecting to actually works. Failing all that, you must know somebody that has a PC and is willing to let you install HXEdit and the drivers to test it out?
  12. DK - I'm as old as you, and your generation bashing is not only annoying, it reflects badly on OUR generation. STOP IT!
  13. All of THAT taken into consideration, you obviously got a previously owned unit. Return it, and don't be shy about publicly disclosing the name of the vendor. Sometimes bad press is the only way to deal with a vendor like that, and protect future potential customers from THAT kind of abuse.
  14. rd2rk

    Increased Output level when placing fx on "Path B"

    Some of us have amps and overdrives. But mainly we'd be looking for obvious and not so obvious configuration problems.
  15. rd2rk

    Increased Output level when placing fx on "Path B"

    Be helpful if you attached the two presets in question.