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cruisinon2

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Everything posted by cruisinon2

  1. The only thing that really distinguishes an acoustic guitar amp from an electric guitar amp is the frequency response of the speakers...so assuming that you're monitoring through some sort of FRFR output, then everything you need to emulate an acoustic guitar amp is already at your fingertips...EQ, some light compression (if you're so inclined), and maybe one of the mic-pre models. A dedicated acoustic guitar amp model isn't necessary.
  2. Other video examples notwithstanding, muffled sound is neither normal, nor desirable. You are experiencing the same growing pains that plague essentially everyone when they're new to modeling, regardless of the device in question. A modeler is not a guitar amp, and can't be treated as such... you're creating recorded tones, not live "amp in the room" sound that you're likely used to. There are numerous youtube tutorials that can guide you through getting started...Jason Sadites' channel in particular has a bunch of Helix and Pod Go specific videos. Start there, and be prepared to spend a significant amount of time experimenting before you're comfortable with your new toy... there's not much in the way of instant gratification with this stuff.
  3. Welcome to the club... I'd hazard a guess that the majority of users will never come close to using everything in Helix. I certainly don't... it would be nearly impossible for all but the most well rounded of musicians, playing every genre of music under the sun. But so what? If it ain't broke don't fix it...you'll take a loss on the Floor if you sell it, and then you'll spend money on the Stomp and whatever MIDI controller you end up buying. Then you have to go through the hassel of getting the two devices to play nice together. In the long run I doubt you'll save enough money for it to be worth all the shuffling around. Keep what you have and experiment with it...odds are you'll eventually stumble on something you like better than the patch you're using now.
  4. Let me save you the suspense... it's a virtual certainty that there will never be one box from any manufacturer, that perfectly emulates everything under the sun, yielding 132% satisfaction for every guitarist on earth. So stop waiting for it, 'cause it ain't coming. If there's something that you need/ want that isn't already in there... wait for it... GO BUY IT. You'll never get everything from one source... life simply isn't that neat and tidy. Or keep waiting and crossing your fingers. Trouble is, that often ends in disappointment...
  5. cruisinon2

    Polyphonic

    I just love passive- aggressiveness... the OP drops by to vomit uninformed vitriol, whining about the lack of a feature that's been acknowledged to be in the pipeline for some time. And after being so informed, he vanishes like a fart in the wind. Never gets old...;)
  6. This is it, folks... practically every block has a level control, and whether you choose to boost by 3 dB in the IR block, or output block, EQ block, etc etc, makes no difference. 3 dB is 3 dB no matter where it's coming from, and any perceived tonal change is simply due to the fact that you've made yourself louder.
  7. "Coming soon" is the closest thing to an ETA that you'll ever get from L6... that's just how they roll. Feel free to use any interpretation of "soon" that you like, but what it really means is "coming eventually"... ;)
  8. If it makes you feel any better, I spent $1500 on Helix floor... at today's exchange rate that's almost 3 "bombs", and my IR's weren't free either. Welcome to life.... Or just use the stock cabs in the Stomp, and it won't cost you anything extra. They're perfectly usable.
  9. To use a traditional guitar cabinet, get rid of your cab or IR blocks and use preamp only amp models. But honestly, if you've gotten to this point, then you've already left most new users in the dust. Do yourself a favor and invest in a FRFR speaker of some sort if you want something for stage volume/personal monitoring.... because no matter what you do, a real guitar cabinet is not going to sound like what you've already dialed in through an FRFR output. You've created tones with models of mic-ed cabinets... and now you're removing the mic from the equation. It can't be stated enough just how huge a variable the mic is. If you're trying to get the same sound out of a real cabinet as your direct to FOH tone, it's gonna be an enormous chore involving a significant amount of EQ manipulation and complete reworking of your patches. They're two different worlds.
  10. This is a lot like asking "what's the best shoe size for my feet?". The answer is "the one that fits". Nike's size 10 might be an Adidas 9.5. All you can do is try them on... and don't buy the ones that cut off the circulation to your toes, no matter how stylish they are. ;) If you try 100 IR's, and find yourself gravitating back to the same 2 or 3, then those are the "best" ones for you, and nobody can tell you otherwise... there's no objective truth to be found here. End of story.
  11. Yup... that's the problem. Re-purposing tech for activities other than those for which they were designed often fails miserably, lol. All of these solutions are fine for passive music listening, movie watching, and phone calls... for these applications a 40ms delay is of no consequence. But for real-time monitoring of a musical instrument that same 40ms (if you're lucky) is an eternity.
  12. Bluetooth was never intended for real-time monitoring of musical instruments... it was designed for phone calls and passive listening. My advice is just live with wired headphones... it's really not that difficult to do, and it's far less of headache than trying to jury-rig Bluetooth device(s) into a setup something that might yield barely acceptable latency, if you're lucky.
  13. Global EQ is a scalpel not a broadsword. It's for minor adjustments in different acoustic environments for what are otherwise well designed patches... but if you prefer to use it to undo damage inflicted by an ill-suited output device, far be it from me to disagree.
  14. You bought a top-shelf modeler. Do yourself a favor and get a decent set of flat response, studio quality headphones...what you have is deliberately designed to provide an appalling overabundance of bass, so that they appeal to teenagers listening to whatever currently passes for "music". Even if you get them to work with an adapter, you're gonna spend all your waking hours trying to get rid of low end mud.
  15. https://www.tremol-no.com/ It won't be a floating bridge anymore, but it'll solve your problem.
  16. This is one of those questions that doesn't have a real answer... it's all subjective. If you have a dirt box that you've loved for the last 20 years that you can't envision living without, or you're just a connoisseur of different distortion pedals, then the answer will be 'yes'. If you're a guy like me who used preamp/poweramp/ multi-fx rack gear, without the aid of a single stomp box, for more than two decades before going the modeling route, then you probably couldn't care less about adding extra outboard gear. There is no right answer. Try it out, and let your ears tell you what's what.
  17. Whatever makes it easier for you to sleep at night.. but fwiw, in 30 years of guitar playing and countless pieces of gear, I'm still waiting for my first failed power switch.
  18. Don't know... but what I do know is that electronic devices draw the amount of current they need, so as long as the power supply isn't under powered for the unit it's plugged into, then it's a non-issue. Power supplies that come with a given device are often capable of putting out more juice than that device actually requires.
  19. Yeah it's workable... after a few minutes you adjust, and it just kinda "vanishes". How much latency the Helix version will have is more of a curiosity for me than anything else... since most of my patches have two amp models, I suspect that I'll hit the DSP wall without getting rid of other critical stuff... remains to be seen.
  20. Exactly...I'm curious how much will have have to be sacrificed to use polyphonic pitch shifting with my existing patches. There's a limit to how much re-engineering I'm willing to do just to drop a half step here and there. Also interested to see what sort of latency it produces, if any. The Drop is a nice pedal, but it does have a slight latency, albeit small and manageable... if the Helix improves on that substantially, then I might change my tune, so to speak. ;)
  21. This is a bit confusing... what you're asking for already exists. What difference does it make who's name is on the front ? If you don't like the Pitchfork's performance, get the Digitech Drop then... I've had one for years, and it works great. There's no weird artifacts that I can discern... and I'm just as picky about that stuff as the next guy.
  22. I couldn't disagree more. A well made instrument is a well made instrument, and junk is junk. This all has far more to do with whether or not things are built properly, what type(s) of wood are used, whether or not it was properly dried beforehand, how the neck is reinforced, one piece vs multi-piece construction, etc etc... than how fat or thin it is. I had a one-piece birdseye maple Strat neck at one point that was a useless piece of crap. It had no stability whatsoever and needed constant adjustments... yet it was twice as thick as the neck on my old Ibanez RG540 that I've had since high school, and that thing is bulletproof. If it's done right, a thinner neck can be every bit as stable as a baseball bat, and a 7 lb guitar can have just as much sustain as a 12 lb boat anchor 60's/70's Les Paul. And one should play whatever is comfortable for them to play..."I have big hands, therfore I must play on a tree trunk" makes no sense. Fat or thin, if you have to fight with something that's uncomfortable, it's a struggle to play well. Steve Vai has some of the biggest hands/longest fingers of any player I've ever seen, and he's made a career of playing some of the thinnest necks on the planet.
  23. A "real" mic-ed amp, even if it sounds glorious as you sit next to it, does not automatically sound the same once recorded... in fact, it's more or less a guarantee that it will sound nothing like what's hitting your ears directly from the amp itself. So if you're looking to that option as a magic bullet, you're likely to end up just as frustrated as your are now. Also, it's very common that a tone that sounds just perfect in a mix will sound somewhat less than inspirational (if not downright horrible) on its own, and vice versa. Everything in a mix is just one piece of a large and very complicated puzzle. Mic choice and their placement are critical, and getting a good recorded tone is an art all by itself. And whether you're using real or virtual gear, the philosophy and required skill set are the same. A month with Helix, or any other modeler for that matter, is nothing if you're new to the game. If you approach this like a guitar player, you'll fail... you have to think like a recording engineer. And that means developing a thorough understanding not only of EQ, but which kind of mics (and their placement) impart what characteristics to the final recorded sound, and how to use tthose choices to shape the tone you're looking for. And even then, most of the time you're still not done. EQ is your friend... and more often than not that means getting rid of problem frequencies, not automatically boosting those you may perceive to be absent. Otherwise it's very easy to end up with too much of everything, and then you've got a bigger mess than what you started with. It's not something that you'll master inside a month... hell I've been at it for years, and I still learn things anytime I sit in the control room next to somebody who really knows their $hit. Experiment, experiment, experiment... It's the only way.
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