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rvroberts last won the day on December 30 2020

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About rvroberts

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  1. I’m going to suggest there are better pedals. brass players often find doubling and harmony effects very useful, and these are not Helix’s best attributes. there are other digital devices out there for vocals and brass that offer more of that stuff along with chorus, flange, delay and reverb and some do distortion and wah too. But their main thing is they are built for a mic input and enhancing that type of stuff.
  2. OK - not an IT expert - but - Helix devices are automatically detected by Apple OS. You don't need the Mac Helix driver - it is (as far as I know) not totally out of date. I don't use it and I suspect not many do. The Helix is compliant with the USB audio system (Quartz?) that Macs use. What your system names the Helix is really no problem - it is possible that your 3rd party software renamed the devices to pass them through it's code.......but I can't imagine that is a problem - that the native driver is in use is fine - not a problem - the Mac driver was a quick fix for a problem back in history. It's not better quality or anything. If you still have the device recognised and it performs normally (with the native system), you have nothing to worry about. If you no longer can use some other functionality that's different - but not what you are saying here? If you can go to the system preferences and still select your device - all good! (but you are using a very out of date version of the OS - and expect problems with various software in the future as your old OS is no longer supported.)
  3. Regarding the extra or parallel path…. You need to use a splitter- think of it as a y cable with mixing capabilities ( a 2 channel mixer) and you can control that mix with snapshots if you like so it can be a switch or a mix. What most of us use this for is things like dual cabs. So you can have a cab of greenbacks and a cab of V30s with different mics. Next step up might be a delay or other processing on each cab. Also, it’s a place to put extra pedals when you fill the path and you just need another pedal! Be careful with that mixing capability though, I can’t tell you how often you read some post like “my x pedal seems to be leaking into my clean tone”. If you don’t set the mix on the extra path, anything might be happening! Unfortunately, dual amps tend to be not something you mostly can do on a parallel path as you tend to run out of DSP, so most dual amp rigs will use both paths. And that can get a bit tricky where you might be forced to run double pedals so you can feed say chorus to both amps. It’s fine for wet/dry rigs, but if you want say 5 pedals feeding 2 different amps, it can tie you in the odd logistical knot! So there are limitations, still there are a huge range of options!! Subtle effects like mixing 2 chorus effects are also possible but often putting the 2 pedals on one path and using the pedal mix, can get hard to tell the difference- until you add the idea of stereo!! My other advise- don’t get too lost in this stuff- playing music is the final aim, not disappearing into tweaker land!
  4. Hi - a brave move! Depending on what it is you get form a big amp, you probably need to be thinking about how you will be hearing the Helix. Be aware, there is a big difference between hearing a good Marshall sim at conversation level and at 100db! Also check out the Fletcher Munson effect - your tone that sounds great at low level is all boom and harsh highs at high levels. So be sure you can monitor at a level you can relate too - or use different variants of the same tone for quiet and band level situations. So just be aware in general that you need to expect to deal with stuff that a sound guy/engineer would normally be doing as you are now controlling a simulation of an amp and a speaker cab mic'd with a certain mic. None of this means you will be worse off in any way. I don't miss the amp in the room at all because I'm hearing studio quality guitar sounds. At stage level, I can still play the feedback etc - obviously a bit less so at home level. Expect to need to adjust this totally HiFi device to be limited to a guitar amp frequency where it's needed - so you might want pristine delays requiring a bit more frequency range, but you want a cab sound that is not harsh - and that means high and low cuts at a minimum - very possibly a full EQ just after/before your cab. The short message here is any distortion sounds really bad if you have a pile of high frequencies - and guitar amps and speakers have very limited frequency response - and our ears like exactly that! You will have lots of experience of pedals. If you have your amp sim set up well, the pedals do exactly what you expect. If they don't (you hear all the time - I added a fuzz and it sounds terrible - that is a clear indication of the amp not set up well (or you just hate fuzz!!). So My advice is not to get too involved with the presets that come with the Helix - use them for a reference by all means - but if you learn to use the unit, you will never use them for anything more. Start at the basics - start with an amp and a cab you know how it should sound. Learn to make it sound like it should. When you get that the rest is just pedals you mostly know anyhow. You might have to figure out the "wiring" sometimes - so definitely learn how to use the full set of paths in the Helix - but if you can take an amp that's sounding good - you are 90% done. Learn to backup! You can take any risk you like if you know you can always go back! Snapshots are great - but I've found trying to have a preset for every song is a bit extreme and leaves you a bit tied up when you need/want to improvise. Generally think in rigs - so I have 2 Marshall rigs (presets) - with 8 snapshots each - that covers every case of a Marshall sound I need - there are flangers and chorus, delay and reverb settings within that that do 15 songs. I have 2 Fenderish rigs for clean and tube screamer driven sounds with a batch of pedals again - does all the clean to driven stuff except....... The Vox rigs - that do cleanish jangle to driven Vox sounds. Then I have a few others that are for songs that need something more specific or unique. Done! Not that I actually use a Vox for both presets - it's just that sonic territory. Same goes for Marshalls - Friedman might be one of your Marshalls and if you are a Marshall man, you might need an extra Marshall based rig or 2.......... My point is you may well be able to keep this down to 8 rigs - which means you can get to rig with an absolute minimum of tap dancing. Worth thinking about? 2 pages of presets absolute tops I recon! Anyhow, be patient - expect it to take a little time. There will be some frustration.......Youtube videos will help a lot - but by time you have a handle on this thing you will find you disagree as often as you agree with them. They aren't gods - some of them are just a month ahead of you! When you know what you are doing, you won't use the marketplace - I bet. (except maybe IRs) You've got all that experience of the real world and it does translate - when you know what you are doing. So like I said - start with an amp and cab - if you can get an amp and a cab sounding good - especially one that's just lightly driven - you will be on your way.
  5. rvroberts

    HX Stomp FRFR

    OK - I'm not a Powercab user - maybe the experience is somehow super special........... But for the money, you'd have to consider 2x FRFR108s in stereo. I run a stereo rig, and I'm hooked! I don't use the 108s, but I've been thinking about auditioning them as it's such a compact rig.
  6. Well, it’s only going to take you say 10 mins to test my information. if it works- then it works! If not, you lost 10 mins
  7. Learn to use snapshots. They change instantly. Then you make a small number of presets, each having a full set of snapshots. Think of each preset as a rig that can do a number of songs. this lets you get around quickly- you don’t have a hugely long string of presets- you might get by with no more than 8 - especially if you used one amp in the past. You might then have one preset that is say a Marshall based rig and a collection of pedals that gets you maybe 8 songs in your set. You might have a chorus in your crunch sound in one snapshot and a flanger in the next song, so one snapshot is Marshall with chorus and the next one is same Marshall, maybe with slightly different EQ and gain and chorus saved as a different snapshot.- still the same preset. Then when you use up all the possibilities and you still need say another crunch with univibe, you build the next preset. and then you have a few presets say built round say a Mesa sound. They all have say 8 snapshots, so you can have a lot of variety there with no delay switching, just be sure to not change presets during a song and it will all be fine. Change snapshots. Learn to program all the controls inside pedals and the amp so you can change flange speed and amp gain for example from one snapshot to the next. Changing presets has a delay- never do it in the middle of a song.
  8. There’s nothing “nuanced” about high and low cuts. well not if you do the sort of thing that makes the full frequency Helix output sound like a decent guitar amp. Typically you cut below say 100hz drastically and above say 5.5Khz also drastically. That’s because a guitar amp into a typical guitar speaker box has almost all its energy in that range. If you want to sound really fat you might go down to 80hz, but even that gets muddy in a band contest if you have keys. How you do it is up to you. Purists will tweak it for every patch, but I have a basic global EQ and then do the fine tuning with an EQblock in my patch. I’m not using the Stomp, so I’m not needing to be economical with modules. Try it. Start with some drastic EQ and the ad an amp and speaker in front of that - so you are tuning the amp with the EQ right from the start. and while you are at it, boost some midrange to taste for balls and thickness - picking the right frequencies to boost a little brings a lot of OK tones to life. Then, obviously tweak to taste!
  9. rvroberts

    Fractal FM9

    Yep - the price will be interesting to know. I'm sure it's a serious competitor - but I'm invested in the Helix world, so it will have to do something fantastic to make me think about what I expect to be substantial dollars. For new digital take up and people wanting to upgrade from a pod Go or something else lower spec'd if the dollars are competitive, it might start to take significant market share. Competition is good for us all - sooner or later there will be a device that's enough of a step forward we will all find we start to get GA$!! Is this it?
  10. I hear this a lot. I'm wondering if people don’t understand what causes feedback? if you are playing at a live band level, with an overdriven sound and you don’t get feedback, you are having a different experience to me! At studio level, well my studio level, I need to be thinking about proximity to my monitors, but even then, I can generally coax some feedback when I need it. Not like standing in front of a stack, but then I’ve not used a stack in a long time. Try a semi acoustic. I found that to be thrill seeking!
  11. This is very typical for this type of forum. What most people do is upload to YouTube - you can leave it only visible for people with the link - then you just link that. Simple!
  12. Let's just start at the beginning - you having this totally wrong! HXFX can have lots of effects - limited only by DSP (memory) Maybe you've got confused with the stomp? or the Pod Go? But you can set up lots of presets and get to them easily, so you can have a pile of different effects in the next preset. It's like you have 100's of pedal boards - each built for a particular song if you like. Each preset is essentially a new pedalboard of whatever effects you might want limited only by DSP - that could be 14 or more effects in just that one preset. Next preset might have 12 effects - none of which were in the last preset. And so on. So unless you want to turn on every one of these at the same time, you are thinking it in the wrong way. So look at the Line 6 page on it and rethink the whole of what you have tried to work out here.
  13. What EQ to use is up to you. The high and low cuts on the IR or Cab are where I start. I personally like the Cali Q for a bit more tuning as I find the frequencies well placed for tonal sculpting. (not as the main cuts though - not what it's designed for) But sometimes, I'm feeling like I need to hone in on more specific frequencies............which might be the 10 band or the parametric. So I'm cutting top and bottom and then tuning after that. I also have a basic set of cuts in my Global EQ too - but a lot of people here will say your global EQ is for room tuning. I never room tune - but then, I'm using 2 wedges in stereo pointing straight at me and if there is a bit of bass boom (a definite problem on some stages), there are bass and treble control on the wedges - and I just tweak that - therefore FOH always gets the same sound (I don't leave anything to FOH - they are asked to start flat and then adjust where necessary - but that's the only place to tune a room I think). Anyhow, there are lots of ways to skin a cat - you make your own decisions!
  14. I will just point to the comment about low and high cuts - the minute you start limiting the frequency response to a typical guitar amp and speaker range, it all comes together. I personally drastically cut everything below 100Hz and above 5.5KHz. With that as my base setup, I can still get what people would call a "glassy" strat. Smooth, but bright. You can obviously try that and then back some of that off if you feel I go too far.......I like to keep well out of Bass and big keys area.....so if you like your bass well up on a Marshall, you might not like 100Hz - but 70 or 80Hz is still capable of giving you lots of bottom (I'd say too much!) and 7Khz I'd call sizzle that's too edgy for my liking - the more high frequency, the worse distortion sounds.
  15. rvroberts

    Wah tone

    Another way to do this is with a parametric EQ. You can make all the “half cocked “ tones you like with a parametric.
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