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rvroberts

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rvroberts last won the day on December 21 2019

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About rvroberts

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  1. If you describe what you are doing correctly, you are actually running one amp into the other? In the real world when you want 2 amps, you run them independently - that is one into its own speakers and the other into its own speakers. You can't actually run one amp directly into the other without blowing them up! So typically in Helix land, you need parallel paths. DSP can get in the way here - so often (depending on how complex your effects chain is and the particular amps) you need to put one amp on each path and send both to output individually. It is not normally the case that you would feed the output of one amp into the input of another. Dual amps are not normally connected to each other - even if Helix makes it possible. Dual amp rigs might have a batch of effects before the split to the 2 amps - but from there on you keep them seperate. Some people have used a preamp as a kind of valve overdrive in front of another amp - but not one amp into another. You can feed the result into your FRFR - no problem! You would do that to say mix 2 different amp overdrives. I've done it where one amp is reasonably clean and the other heavily driven. You don't need 2 FRFRs, although if you really want to experience a double amp rig, it would be necessary to have 2 FRFR boxes. Hope that make sense to you?
  2. When you play through an amp, you are playing through a device designed to take the output of an electric guitar and make it sound good. When you play through FRFR, you are playing through a system that is designed to deliver a full audio spectrum. A guitar amp and a speaker designed for guitar is a very different thing. Guitars sound good where most of the frequencies are limited to say (depending on the particular amp) 100Hz to say 5KHx. The FRFR system is probably trying to deliver say 40Hz to 20kHz. Not only that but the FRFR system is trying to be as flat as possible over that range, the guitar amp will have a tendency to be mid heavy. As you can see, this is because a limited frequently range with a mid bump makes guitars sound good. Even what we describe as a glassy Strat sound has little need for anything above 5.5K. Traditional recorded guitar is a mic (also with noticeable bass roll off and limited high end) on a guitar amp. Not slightly FRFR. So why bother with FRFR? Well if you want to reproduce as accurately as possible different guitar amps, pedals etc, you need a system that itself is not colouring the sound. What a lot of people struggle with is that in order to get a great guitar sound, they will need to throw away a lot of the potential frequency range available. Distortion that sounds musical does no have any high frequency. Guitar amps sort that because they have limited frequently response, FRFR systems require you to make that sort of decision. Every time you hear someone complain that the Helix distortion is harsh, you can pretty much guarantee they need to EQ their total range to get back that guitar amp limitation. Hope that helps.
  3. If you go down the monitor path (HS7s) - get a pair. First stereo is a lot of fun for delays etc, but you then have great stereo system ans surely you play along with backing tracks and listen to music in general? So why not have a good sound system not just a guitar speaker?
  4. Well at home I use my studio monitors - basically upmarket stereo speakers - and it's pretty good. If you want a box that does the job for home and even a not too loud gig, there is the Headrush FRFR-108. From all reports it's good. But you can make anything that's kind of flat response do well at home volumes. You just need to adjust the global EQ to match the particular speakers.
  5. Well, how loud do you play? If you want something that can get levels similar to a 50W guitar amp through 2x12 - you should be fine. If you need to compete with 100w Marshall stacks at full tilt - you might need 2. And then you got stereo!
  6. Well to start with - what piece of software did this come form?
  7. It just depends on your brainspace - I only use the editor - but I know some people refuse to do that. I like that you can see it all on the screen.
  8. Just had another play - I get more than close-ish with the Mutant (Mutron) filter set on low pass. Would satisfy 90% of people.
  9. Yes - the Adrenalinn is a very unique effects device. That sound that John Mayer gets on Don't trust Myself for example................you can get close(ish) with some of the envelop stuff, but it's not as good for that particular sound. Would be great to be able to get that sound though! It's a great box, the Helix, but it can't do everything!
  10. rvroberts

    Thank You!

    Thank you Line 6 and the Helix team - that was a nice clean update! How it should have always been! Well done.
  11. First step - is your Helix getting its power form the same socket/circuit as your amp? If not make sure it is. If hum is gone - success. There is a ground lift on the Helix (well on the floor board anyhow) try this. - success? if not, as this sounds like an earth loop, make sure your cables are correct - that the earth is connected all the way through (that includes inside your guitar. If you have hum after all that, Either your amp has an earth problem or - extremely unlikely, but possible - your Helix is faulty. The fact you get it even with the Helix off seems very likely to be an earth problem outside the Helix. If you can run your Helix into your stereo or some other amplification system - try it. (also be sure to use the same power source as that amp) That will tell you if the Helix is OK. You are using a correct power plug on the Helix??
  12. I see what you are trying to do, and you can bet that's Nile Rodgers is direct into the desk. This would quiet probably have been a Neve desk (analogue obviously) as they were all the rage in studios then. Not a valve preamp though I think. Everyone loved the Neves, but they were solid state by then. What I hear very much is his classic strat (the hit maker) you hear that even in messy live mixes like this So the mic preamp might do it for you, or as you were experimenting anyhow, anything that just adds a touch of overtone to an otherwise totally clean Strat on the neck pickup by the looks of this. Still, that part on the original sits so well in the track...........!
  13. I suggest you show us a patch screen grab or something? I've had great results personally, especially in Stereo, but you might be looking for something I'm not. Maybe a sound sample or a link to some great sound you can't get. Maybe what I love you hate and vice versa!
  14. As you mention analog mic pres, you probably need to know - or maybe you do? - that the old desks when used with guitar direct, were generally driven pretty hard - to get the harmonic overtones you might otherwise associate with a valve amp. So if you were to isolate those tracks, they would not have been any more (probably less) clean than what you are showing here. I think you are obsessing in the wrong territory, it's more about how the sound sits in the mix. There is not one sound here - varying reverb levels and types will be just as important and obviously EQ that is totally track dependant. Then you end up with final mastering tricks from compression (you need compression somewhere in that chain even if it's post amp and mic) through to spacial trickery and master EQ - it's layer upon layer of the art of recording - it's not all about the "perfect" sound at the source. Doesn't exist because you have to modify it in the context of the whole.
  15. No simple quick fix unfortunately! Rolling off 100hz and say 4K (and maybe as low as 3K) is a start - but you just got to play it at volume - I'm constantly tweaking sounds created in the studio to sound good live - you will also need to adjust mids. Even delay etc sounds a bit different. So prep in the studio gets you somewhere to where you want to be, but there's no substitute for live level so far!
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