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rvroberts

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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 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!
  2. 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.
  3. 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.
  4. Actually, it's always been the case, but it's a bit annoying! Is there a real reason?
  5. Well assuming every setting is identical, then it should sound identical. I've done similar reorganisations myself, and not noticed a difference - but I can't say I A/B'd them to test. You have been careful regarding same speakers/mic placement? - and the cabs are in the same places? No pedal assignments (except the volume). The volume is the same profile? If so, you have discovered a bug I'd say. Be worth just placing the amp and cabs (no other units in the paths) in path one and path 2 and seeing if there is a noticeable difference? A simple test I've never done. Then if it was identical, you could slowly rebuild and see if you can find where it's coming from?
  6. I'm surprised you don't know AC30s don't have FX loops,.....
  7. rvroberts

    Spdif

    Have you thought of connecting your Helix directly to your DAW via USB? It might appear that you can only have one Audio device at a time, but at least in theory, you can create an Aggregate CoreAudio device. Not tried it personally - this info is Mac specific - https://support.apple.com/en-au/HT202000 I've heard it's not as easy on Windows.........but I'd be googling that!
  8. On your output - the arrow pointing out on the right of your path - does is say multi? If so, you have a problem. If not click on it and set it to multi.
  9. I'm just going to put this out there - and I'm totally willing to admit it's years since I tried this - and since I've never had 2 identical speaker boxes side by side - one 4 ohm and one 16 ohm - it's always had far too much time between the 2 audio experiences............ but I'm betting you can't hear the difference. There will be different amounts of wire on a transformer involved, so I can't prove that it's not audible - but I'd bet it's less than using a totally different amplification system all together. Just found this video - they seem to believe there's a difference............maybe you can hear it..........no sure I can!!
  10. It's all about DSP - that's processing power. It is probably exaggerated on a downloaded patch as it is probably already packed with devices. You have 2 paths (well you don't say which unit you have....) path 1 and path 2. They both have the same amount of DSP - so if you find you can't add another drive say to path 1, you probably need to feed path one into path 2 and move a few things like the Amp which is generally pretty processor hungry to path 2, then you will be able to add that drive to path 1. When it comes to IRs, you either use a Helix native cab or an IR, not both, so the very first thing to do is get rid of the Cab. Most likely that will make space for the IR. Whichever way you look at it, there is only so much DSP and juggling it is part of the art of building great patches. Mostly it's just a case of getting rid of stuff in the patch you aren't using - it still takes up DSP even if it's not on at the time - that's why there is no delay changing snapshots but there is a slight delay changing patches. There is no rule - some units use more DSP than others.......it's all about the combination.
  11. If the noise pickup of single coils is a problem for you, then you need noiseless pickups. But Fluence is just one solution. There are lots of noiseless single coil replacements for your Strat or Tele. And yes, the helix has a noise gate, but if you want dynamics in your playing - especially for low and medium gain, you don't want to do too much with a gate. From personal experience on a noisy stage - you know the ones with lots of lighting etc - if noise drives you nuts (it does me), the Helix can't fix all that buzzing and fizzing. I use Dimarzio Area 61pickups and am very happy - but there are Kinman and even Fender solutions. People will tell you they aren't as good as single coils, but when you don't have to fight the noise, I'd say the freedom to adjust your tone lets you sound better. Personal opinion!!
  12. I'll second (or third) that - works well.
  13. Your "typical" living area of 30ft x 100ft is more like a small club! So most monitors are not intended to fill that sized space at what sounds like close to live gig levels. I'd be thinking a pair of self powered PA speakers. would be the solution. I use exactly that as monitoring on stage. I can say it works, but I use studio monitors at home, and the studio monitors sound better. A lot of smaller PA systems seem to have a vocal enhancing EQ built in - and it does mean that what sounds great through the studio monitors is too bright through the PA wedges (yes, Fletcher Munson is probably a factor too) so it can sound great, but you might need to use your global EQ to adjust between the PA and your headphones. At least with PA speakers you can probably easily audition them at a sensible level. You would find studio monitors that could cut it, but like someone already said, for the level in that sized space they would be mega expensive.
  14. Ok, line level is hotter than mic - yes. Why not send mic level to something expecting line level? Well, a few considerations - Firstly, it is quite likely that there will not be enough gain in the line level amp to reach satisfactory levels, very unlikely to reach anything like full volume. Secondly, all electronic devices and signals has a noise component. If you have to use lots of gain to get a very low level signal up to something usable, you also amplify the noise, so expect a noisy result. In guitar amplification this is pretty important because guitars are noisy sources, distortion pedals etc are also noise amplifiers, so you are often already needing to do stuff like manage volume on the guitar or a pedal just to keep the noise acceptable, so the last thing you need is to amplify all the noise in your signal even more.
  15. If you don't want to rewire - you don't want to rewire! But your amp will run into 4ohms just fine according to the Marshall site?? So there is a simple answer if you want it!
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