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rvroberts last won the day on December 30 2020

rvroberts had the most liked content!

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About rvroberts

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  1. 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!
  2. 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.
  3. 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!
  4. 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.
  5. 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.
  6. WELL, JUST MATCHING SOME SETTINGS IS NOT LIKELY TO PRODUCE THE SAME SOUND. (not shouting - just left caps lock on!) Even if you had exactly the same guitar and exactly the same amp speaker combination and DI'd with the Two Notes Torpedo with the same marshal cab IR, pots on these things have wide tolerances so it's not that simple. You have a parametric EQ - but you can't expect the knob positions to mean exactly what they show - they are also pots - potentiometers - and they are analog devices with probably about 20% variation across the batch. So it will be a starting point - you will need to use your ears. And the 6 band.....well you have the 5 band Mesa EQ........ But at the end of the day - these are just a batch or EQs - it's totally possible to get this effect without all this EQ. He's mostly scooped the mids on the amp. He's then added a mid boost in a smooth curve on the MXR 6 band - pretty much undoing the amp setting - maybe even resulting in a slight mid boost. Then he seems on the parametric EQ to be boosting a narrow bit of lows - no way to be precise about that - but maybe 100hz - but not a lot. Some mids at maybe 800Khz - a fair bit but with a wider Q - I'd just call that another mid boost And the highs at maybe 3.5K again with a wide curve - call that an upper mid/highs boost. But what he's really doing with that para is - he has the gain all the way up - so he's using it mostly as a big gain knob. The thing to note on the 10 band he's cut 1K drastically and the 800hz a noticable bit - kind of undoing the mid some of the boost of the Parametric and the 6 band. (that 1K cut might be the one thing to take out of this) So if he's really achieving much with all this it's about gain boost and probably introducing some weird phase distortion due to all the cuts and boosts working against each other. I'd not be trying to copy that personally! The result sounds thin to me - which is what you get when you strangle your tone like that.
  7. So I’m not actually answering your question. but I just thought I’d point out that you only need to accidentally hit that button once and you have no way to recover. You would at least want a one back button? just in case.
  8. So why wouldn't you go for the HXFX? https://line6.com/hx-effects/ It's designed for what you want to do.
  9. rvroberts

    Usability question

    HX FX. Designed for people who just want effects but want to program everything. https://line6.com/hx-effects/ You can even have other pedals in the effects send/return and you can run your delays etc into your FX return on your amp if you have one - so you can decide what goes into the front of the amp and what goes into FX return. - per preset! Sounds like everything you just asked for.
  10. Don't get confused - Amp in the room is a different conversation. We are talking about the fact that human ears hear differently at volume - a proven fact! A nice full sound at low volume will be boomy and probably muddy while possibly having harsh tops too! If you like your current gear - spend a few dollars in a rehearsal studio at live volume. If good sound matters to you - and yes, makes you feel good playing - then do it loud! - well however loud you guys play. (preferably with your band - sitting in with the other instruments while being heard is also part of the puzzle.
  11. Well I’m afraid I have bad news for you. there is only one way to set up sounds for playing at volume, and that is by playing at volume. Now, using an FRFR system will be closer than running tube amp quiet and then loud, at least the simulation of running the amp at volume will be closer to to the same experience, but there is enough difference to still cause big problems. I have a lot of experience doing this now, and can get a 80% result setting up sounds at home at low volume. But the final EQ is still only possible at volume. And because of that, other effects like say the Q of a wah also needs tweaking. Even the clarity/ability to hear individual notes in a overdriven sound seems to vary based on actual volume. I’ve actually changed amp sims sometimes because I find the mud can be different at volume. So bad news for you. Setting up tones at volume is the only way to get it right. With experience, you might get closer ~ but you will still find you need to tweak.
  12. I honestly think this line of thinking is totally misdirected. Just because you can get a unit that can do the job of a batch of pedals doesn't make it a good choice for a facility with a lot of very different users. You can use it as a full system into FRFR (the PA potentially) or just as effects in front of an amp. But!!! The learning curve is definitely not for everyone, and not for the casual user. If you've never used a Helix before, and you turn up for a rehearsal, the rest of the band will probably kill you while you stumble around totally lost, wasting their time, and failing to get good sounds. The great flexibility comes with the disadvantage that these devices require setup. Setup specific to the requirements of the user and song. I doubt there is a Helix user who didn't need at least a few days before they had a basic kit of sounds - and they were absolutely bound to be totally aware that they were just at the start of their journey! As an experienced user, I'd never turn up to rehearsal with a blank canvas - just adjusting a sound to work at band volume (maybe 5 mins of total fiddling) drives my band members mad! I absolutely think effects in general are a black hole you should not enter. A classic Fender amp or maybe one of the amps that have like 4 or5 sound types - clean/crunch/lead/metal type - on a knob is as far into that territory as I'd go. Anyone who cares about their sound will bring a pedal board or their own multi effects unit - don't try to solve that for them - you totally can't!
  13. OK - we find a few problems with Line 6 and updates - and it's improved dramatically since the start I have to say - but still plenty of room for improvements. We have computers to make life easy.........well at least that's a possibility!! So smart programming tries to do that - why have a computer and do all the work yourself? (Helix is a computer!) I actually think most upgrades could keep global settings - but there might be the occasional time where software/firmware improvements need a backup and install of globals. Again it's something a computer is good at - better than people generally. So I suspect what is really going on is Line 6, when designing the OS and hardware for the Helix did not want to allow space for all that storing if information while replacing stuff in upgrades - so they moved some of those jobs to the user. It's a compromise. Probably let them give us more bang for the buck, as far as memory goes while needing us to do a bit more work administering the update process. Unfortunately, Helix knowhow is acquired over time, and there's always stuff that catches the new user out. That's why there is always a long (and a bit frightening for first time users) set of "How to" notes with every upgrade. All this could be potentially handled by really good update software(Mac andWindows versions)........but that's resources being used to write and test stuff that we can do manually - so they leave it to us, and it always results in long chains of "I bricked my Helix" or "everything sounds bad after update" "No sound on XLRs" type of discussions.
  14. Well, where you suggest after the amp is a perfectly fine place to put it. But in general, the reason you connect into your amp effects loop is to keep delay and reverb effects as clean as possible. In the Helix, while you could duplicate your live chain (well close with what you suggest) more likely you'd do what you would do in the recording studio - which is place those effects after the amp, speakers and mic - that is after the speakers/IRs. Then your Big Sky can really sparkle with absolutely no limitation of amp and speaker colouration. Naturally, you might like that colouration......... so back to plan A. But try it last in the chain and think about some EQ if it's a bit "in your face" and bright. Think like you are in a big studio where those effects are probably applied on the desk with outboard gear.
  15. Actually, it's always been the case, but it's a bit annoying! Is there a real reason?
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