Please ensure Javascript is enabled for purposes of website accessibility Jump to content


  • Posts

  • Joined

  • Last visited

  • Days Won


mileskb last won the day on August 6 2018

mileskb had the most liked content!

Contact Methods

  • Website URL

Profile Information

  • Gender
  • Registered Products

Recent Profile Visitors

1,668 profile views

mileskb's Achievements


Proficient (10/14)

  • Week One Done
  • One Month Later
  • One Year In
  • First Post Rare
  • Collaborator Rare

Recent Badges




Community Answers

  1. Great ideas one and all for the workarounds. They all work to some extent. Just a keep-in-mind thing, is that this isn't about "getting a tone"... It's about getting the Dynamics. I heard reference to people not likely the Reverbs... well that's fine.. If I wanted nice lush reverb I wouldn't be looking at a tank with springs in an old amp... But what I like is how the reverb (and the whole tone in fact) changes with playing dynamics and input volume. Those dynamic changes are what brought me to Helix. Kemper and AxFX just don't have it, it's not how their amp modeling is designed. Let's move off Reverb for a moment... I just picked it but maybe it's not obvious enough. The Chorus in a Roland JC120 it worthy of being an effect on it's own. Lots or nice Chorus and other modulation effects in the Helix and in the world... but only one JC120 Chorus... especially when mixed with the reverb... it's a sound all it's own, and it changes with your playing.. and frankly sometimes not in a good way... but that's kinda the point too.
  2. I agree about the more polished sound... however, in many cases, it's not about polished or not, it's more about just "the" sound. I guess the reason I and some others notice it, and miss this feature is Helix, as far as I can tell, with the component level modeling is the only one that could do it. Using the Fender as an example, the dynamics of your playing and the level of the amp, change the texture of the reverb. It's subtle (well, unless you don't want it to be) but it's there. If you "up pick" a chord on the higher strings the reverb accentuates that breakup that is almost not noticeable without it. It's a cool sound, used a lot. It's kinda easy to reproduce running the 'verb on another path with some sort of gain stage in front to taste... and maybe a bit of eq after to accentuate what you what... It's pretty close that way... just not as close as I'm pretty sure it could be. Of course.. if they did have a separate amp block... imagine the combinations, in general, being able to use one pre-amp with another power amp.
  3. Wow, I killed my own thread... that's impressive. Am I the only one who is curious about this, or am I missing something so stupid no one is willing to say anything? :)
  4. Not being able to put things like Reverb or other "built-in" effects where they "belong" in the chain has bugged me since day one. I'll admit, it's a little picky, and 90% of the time it doesn't really matter. But to me at least, it matters on at least a couple of amps and I'm sure others and I wondered what the workaround is. Specifically as an example, to keep it simple. The "reverb" on a Fender Deluxe goes after the input of the preamp and exits before the early stages of the power amp. This makes getting that "Fender" sound a little tough because we can't put the reverb there. The best we can do is split before the pre/amp and put it on a parallel path and it's helpful to put some tube distortion (very subtle) in front of the reverb on that path and maybe an EQ after then bring the path back before the cab block. This is close, but in this specific case, the Reverb does not get the elements of the Fender input circuit nor does it get treated to going through the amp. It's close, but on the real amp, the reverb, for better or worse, has a sound of it's own, because it's IN the amp between the pre-amp and amp. Another example is the JC-120. The reverb and chorus are affected by being IN that amp, and while you can put the effects on a parallel path, the signature interaction between the pre-amp, the effect, and the actual amp is lost. Based on how many updates there have been, I'm guessing just having an AMP block just isn't going to happen. So what is the BEST solution for getting this signature tones back into the amps they came out of.
  5. mileskb

    FREQ OUT !!!!!

    No it's clean if after the amp... just don't like the tone and the way it works when after the amp.
  6. mileskb

    FREQ OUT !!!!!

    Yeah that's the issue for me. I'm not "feedback crazy" but my style (for what it's worth) is a lot of run-and-hold kindof riffs where I stop the note and move on just as it's starting to feedback, or hold a chord until just as it starts to feedback. I have some good sustain patches that were close... but the FreqOut is perfect for what I do. I think I'll probably leave it in the "natural high or natural low" setting so I can just set it off when I feel the mood. But getting it into the chain is becoming a chore or sorts.
  7. mileskb

    FREQ OUT !!!!!

    I had it first in the chain, then moved it to after the compressor. I did switch to line level and that quieted it a bit, but still "hisssssssssss". EDIT.... there was a distortion right after it... I moved the loop to after the distortion and all is well now. EDIT #2.. actually it doesn't sound as good after the distortion. Hmmm
  8. mileskb

    FREQ OUT !!!!!

    Hey all, Got a Freqout for my birthday and just got a chance to check it out. I really like it.... but... I'm using it in FX loop 1 and getting HISS any time I turn the routing block on. :( I'm using a Variax jtv89F with the Variax cable so I can't really put it between the guitar and the helix. It sounds great, I just don't really think I should have to put noise suppression in the loop. Has anyone else has this experience or place it elsewhere in the loop or some other idea of what I might be doing wrong ?
  9. I can confirm that in 1977 at the Hartford Civic Center he was using much more than a couple of Marshall's and a power soak. He had Rockman branded Cabinets (they were actually Marshall cabs originally with Rockman Stenciled on them). There were Carver (before they were branded Rockman) amps in the rack. Not to belabor this topic, but... hey... it's fun stuff.. Here's a concert from 1979 where he's already using the Hyperspace pedal, maybe there are some shots of what else is on the floor in front him.
  10. I'm with ya... although I am a Boston fan, it's specifically because of the "light and pop oriented" aspect, but at the same time, I don't think I've ever played a Boston tune in a band. My rig was all Rockman, and I'd get asked.. but I wasn't a good enough guitarist to pull it off, especially with a 3 piece... and if a singer could tackle the vocals... they weren't going to be caught slumm'n it with me. It seems like Brad Delp almost constructed the tunes specifically to mess with singers... I mean, I think most singers can sing "most" of their songs, except for one or two signature notes.. It would be like playing a riff-based rock tune on guitar, without the riff... it just doesn't work.
  11. One must remember when talking about Mr. Scholz, (and most folks who are into the electronics like I assume some of the folks at Line 6 are) modding gear for him is like changing strings for most of us. He has a workbench in his studio. So when most of us want a new set of strings... we grab a new set of strings. When his Distortion pedal isn't quite giving him what he needs, or the compressor isn't breathing enough, as easily as we would change strings when we need to, he'll swap a cap and resistor or transistor without even referring to it as a "mod". Kinda like "the Rockman 500 amps are just Carver PM175 amps with different covers" I've owned both the Rockman 500 and the PM175, and while the guts are "essentially" the same, there's a difference. Most notably a mod that allows one to switch the output from "full range" speakers to "guitar" speakers. I only mention this because remember this was the early 90's.
  12. I found the guitar player interview which was one of the ones I was thinking of. He kinda glosses over the parts that are always in front of his amp. " ’70s Marshall head I’ve used from the beginning—which, as always, I run with equalization, gain, and compression ahead of the amp, and an [SR&D] Power Soak after the amp and before the speaker cabinet. I run miked signal from the speaker into an EQ with narrow bands that let me select the frequencies I want to emphasize. That’s the sort of sound I designed into the Rockman stuff" And that EQ that the miked signal is run into....
  13. I don't have the links handy, but he has said things that pretty much contradict this. I believe the Hyperspace pedal existed on the first album, which is a crybaby pedal, eq, and Maestro Echoplex all modded together with a reverb I believe. Also, I'd be real surprised if his amps weren't modded too.
  14. **That's an understatement. I think a lot of the power of the Helix is overlooked. In the traditional sense, it's not practical to tweak the bias settings and such on an amp for every song, but on the other hand, want to put your distortion between the power amp and cab... I wouldn't recommend it IRL but on the Helix.... why not? Heck, put a cab after your Wah into an amp, into a compressor... woo whoo !!! Seemingly limitless possibilities.
  15. Hope no one minds but here's a link to Scott's Hysteria patches demo which is pretty spot on to what you can do with a Rockman when you're NOT playing a Boston song and Glenn's demo artist patch for that Boston tone. These are the closest I have found as someone who has been playing Rockman gear since it came out. And here's a link to Glenn's demo of his Boston tone.
  • Create New...