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mileskb

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Everything posted by mileskb

  1. mileskb

    Just a Guitarshow observation..

    Was at the great SEATAC Guitar show this weekend. Loads of great high-end, low-end, and all points in between amps. Some really excellent players that could really get fantastic tones.... As I walked around, periodically being drawn to some amazing sounding vintage amp... I kept thinking to myself... "yep, I got one of those, and one of those, and a couple of those and if I wanna stick that amp into that cabinet I can do that too... " I like my Helix.
  2. mileskb

    IR's - anyone else overwhelmed? (tips?)

    I really like the 3Sigma IR's as they pretty much sound like the cabs they are emulating with mic placement, right out of the box. The new ACE ones are enhanced somehow and are even better. Ownhammer is the go to, id you need to mimic a specific rig. If you know someone recorded something (maybe you), with a certain speaker and certain mic placement, and you need to as seemlessly as possible add something, Ownhammer might be a good choice. Also, guys that tour, who are just eliminating their favorite cabinet... Ownhammer is a great choice, although 3Sigma might work as well. I look at 3Sigma as giving the best sound of the Cabinet as possible. That generally IS NOT what the typical Marshal 4x12 sounds like with an SM57 stuck in front of it. If you need that, especially if you play live... you might drift toward the Ownhammer as it will be a more familiar sound to the sound guy... enough to where he'll forget there isn't a mic on stage. Whereas with the 3Sigma he might say.. "wow... amazing sound/tone"... and just have to deal with it into the mix.
  3. I'll take the comparison one step further. So many people ignor RIGHT TOOL FOR THE RIGHT JOB !!! Tonally to the Audience, it's unlikely someone could tell the difference between any of these units if they were all setup to their optimal settings, but they all have jobs they are better at than others. Kemper = If you have a tone you are trying to achieve, maybe a few, and you don't want to drag your huge rig all over... Perfect solution. As example, I have a friend that has a great tone. He plays originals and some covers of course, but he always has HIS tone. Another example might be someone like Howard Leese, or Billy Gibbons. They essentially are guitar-into-amp guys, with minimal if any effects. A Helix or Ave FX is a waste to them. Axe FX/AX8 = You need a lot of high end effects, you likely play with AMPS/CABS on the stage and you don't need to use specific outboard gear. Maybe your tech is doing the switching for you even. Maybe you have a studio and have many guitar players from many genre's. Also, consider how often you might "tweak things" on stage. If you do Open Mic's and Jam with lots of bands or do a lot of Session work, you might consider the Helix instead as routing in external gear or adding effects on the fly is much easier. If you have a more fixed setlist that you mostly sortof at least stick to the tunes... Maybe Axe FX is for you. Helix floor = Bang for Bucks.. If you do a lot of different types of gigs. Like maybe you have a band or two you play with, you teach, you record, you do session work, you have ALL the tools you need at your disposal without the use of a computer. If you are touring, not only is your gear load minimal, you can also adapt to nearly every stage plot. IEM's, Real monitors, XLR, 1/4", recording... Big point on recording... built in interface that you have WITH YOU. If you have a laptop you can laydown tracks and re-amp etc etc.. while on a bus or in a hotel room. Expression pedal included... edits on the fly easy... Regarding the YouTube videos... remember that it's unlikely except for a few folks to be an expert on all three models to know all of the nuances to get the best from them. Also keep in mind, Helix is essentially new. And really... until the 2.0 update (snapshots and some of the amp models) wasn't really ready for prime time. Now some well respected musicians are just finishing up tours where they used the Helix. Also, worth considering, if you ever have any thoughts of a Variax... I'm biased, because the Helix is the right tool for me. I had a friend over recently to see what he thought of the tone. The same one mentioned above. He liked the tone. But it would be a total waste for him... He uses one, maybe two pedals, and has one tone. He'd have one preset and that's it He's better off with a Kemper if anything.
  4. First... I agree with you, or at least your premise. I used the word bypass, cause that's what the little button reads.. here's a little closer to what's really happening. When you pre-compile two subroutines, one with two functions, one with one function. If you have code that doesn't execute the first function, both subroutines should have the same output. This is what you video proves and I agree... It's not right. There's no impedance, bypass or any other ANALOG routine in the code stack. I find it hard to believe they modeled what a fuzz does in bypass. Maybe they did... but it seems silly considering, "turning off" something in the chain should mean that code isn't executing at all. Further it would mean they modelled all of the devices in the off position as well, or that "off" means different things to different devices... that's just seems silly to me. Possible, but a bit silly. In any case... I still agree with you... something is not right.
  5. I have been holding off on saying anything.... as I don't think referencing "impedance" is the issue. However... especially in a digital world, the video is very clearly unexpected behavior. This could be a real issue with complex snapshots and likely is. Bottom line... I agree... If you have a preset setup... with an amp, and another preset setup with an effect and an amp... if the effect is bypassed, both presets should sound the same. That's simple logic. An option for Bypass (True or Buffered) on the appropriate pedals might be a good solution, as well as many others suggested. I find the Line 6 folks are pretty smart, so at this point I assume they see the problem (if they see it as a problem) and will address it in some clever way none of us thought of.
  6. mileskb

    Are any artists ACTUALLY using the Helix?

    I may have responded to this thread before... it's an old thread... anyway.. Aren't we ALL artists? I guess the OP meant "Professional Touring Musician" and if he did, that IS different than an artist endorsement. When I see/hear pros actually using something I'm interested in, it adds a bit of comfort factor to my decision. In fact, and I just realized this, of the musicians/artists I admire the most, they ARE using a Helix. Blue Oyster Cult and Garbage... Both have a wide-variety of tone in their catalogs, and they have to sound like the album when they hit the stage. Both bands have tone junkies both on stage and back stage that just would not tolerate any gear that didn't create the sound needed. Of the many other guitarists I admire, I can't imagine most them ever using a Helix. Maybe a Kemper because they have a particular tone that they use and don't want to haul their delicate amps around anymore, but that's about it.
  7. mileskb

    helix vs focusrite

    I have a Focusrite Scarlett that I actually purchased in anticipation of getting the Helix before the Helix was actually fully shipping. While a lovely unit, at least for guitar, the Helix blows it away. And if I may... when people do these comparison's of modelers, I think it's things like this that are soooo overlooked. Not just the quality of the I/O for recording, but the fact that it even exists.
  8. mileskb

    IR's and bitrate...

    This has come up before, but I'm wondering if one of the "inside" guys could address this.. In the Manual "48kHz, 16-bit, mono, .WAV type IRs of up to 2,048 samples are natively supported. But the Helix app allows you to import IR .WAV files of different sample rate, bit depth, length and stereo format, and the app will convert these attributes automatically before sending to the Helix hard- ware" which makes sense. However, as example when recording, if my destination media is a CD, I try to record at 44.1Hz 16 bit unless I plan to do a lot of processing because 44.1kHz/ 16bit is the standard sampling and bitrate for CD's. The reason I do this is because even though an algorithm is used to downsize from lets say 96HZ you are GETTING RID OF DATA. So my thought that I'm looking for confirmation is... If you can get 48kHz 16bit IR's, you should use them and NOT use any other size as while the conversion loss is probably not audible... why throw away data if you don't have to.
  9. mileskb

    IR's and bitrate...

    Actually video has a "feature" that when you take a high amount of data and put onto a smaller screen or output size, it actually appears to improve. It doesn't actually improve, but it looks like it's sharper. but i digress True enough. However for example, voice-over for things like Computer Based Training are done at lower resolution because it just sounds better for that, but yes.. for mastering it's nice to have the extra bits for the compression and eq to use. However, if you aren't mastering, for whatever reason, then recording at the same rate it will be played back "may" be better. For those who think the IR's that are presented at multiple bit rates are recorded at the highest then downsized, I would not make that assumption at all especially if it's the same people who do room IR's. I would guess, as they state, they are "recorded" at the different bit rates. I hate to rain on the general party of "bigger and faster is always better" but in audio, it isn't. I'm gonna stick with the "fewer conversions is better" thought process. I admit, the likelihood of actually hearing the difference is unlikely, but no need to do a conversion that need not be done. And while intended to no one in particular some of the responses reminded me of the famous quote... "Better to remain silent and be thought a fool than to speak and to remove all doubt."
  10. I am curious to see what people get out of this. My opinion is that, Wow, the Helix is super accurate and easy to tune. As soon as you see the > and < light up together... move on. This does take a little practice, because your eyes want to look at the big bars across the bottom, but as an experiment, other than the low E string thing which is weird.. watch this video again, but take an envelope or piece of cardboard and hold it over the bars so you only see the NOTE and the > < marks. You will get a whole different perspective. The fact that the little bars are drifting is meaningless. If the two >< are lit... you are in tune. I know it sounds silly... but go ahead and try it. Watch the video with something covering the bars... and you'll see it's spot on with the Petersen as it should be.
  11. I have searched and searched and found websites with the info, but I'm looking for something I can print out of the latest lists of models. This http://dshowmusic.com/line-6-helix-amp-models/ seems to have everything, but before I consolidate it into something I can print out, I'm checking to see if anyone else has done this yet.
  12. mileskb

    Current simple list of amps, effects, etc..

    LOL... will do... you too. I need to modify mine so the models are in the same order as they are in the Helix.. That'll make things easier to find too. I might do that tomorrow.
  13. mileskb

    Current simple list of amps, effects, etc..

    Thanks Per !!! Your's is much prettier than mine, I just needed something in hurry... Didn't realize you were already on it... Thanks !!! This is awesome.
  14. mileskb

    Current simple list of amps, effects, etc..

    Hey Guys, Here is a pdf you might find useful. helixreference.pdf
  15. mileskb

    A cheat sheet on amps and effects...

    In another thread Per stated he's be updating his dropbox files. I'll patiently await that :)
  16. mileskb

    Current simple list of amps, effects, etc..

    Please post when it's updated. Like you... I need a reference when not around a computer, or computer not booted up... I actually printed an earlier version on larger paper and have it hanging on the wall for a quick reference. So THANK YOU !!!!
  17. mileskb

    A cheat sheet on amps and effects...

    Per, How up to date is your cheat sheet. I have been looking for something specifically as you have done. I need a reference for when I'm NOT at a computer, the helixhelp is great when at a computer, but I just need a printout like you did. I just noticed the badonk amp wasn't on there, so that's why I'm asking how up to date it is.
  18. mileskb

    Helix with Crate Powerblock

    I used my powerblock for a little bit too. The dullness you are getting is likely because you're signal chain is set up for the FRFR solution of the Alto's. Just removing the cabs isn't the solution. You need to tweak the presets for the powerblock/4x12 option. Global EQ "may" be the answer, but not likely.
  19. A couple of things.. My reaction would be to tell them to find a new guitarist. Period. However, if that is not your choice.. I'll worry about my own gear and ability to hear myself thank you very much and based on the seeming lack of a monitor system, you could bring your own wedge to hear yourself. That's what most folks do. Or you could run a line to backline amp too... or if he really can't hear you, run a line to a backline amp behind HIM !!! but seriously... why play with people who don't take you for who you are. Life's too short. They call it "playing" music, cause it's supposed to be fun. There is NO need for you to defend your choices of gear. This is what you got. they don't like... get someone else. done.
  20. mileskb

    The slow, secret death of the six-string electric...

    I agree on the "hard to tabulate aspect".. However, if you look at YouTube, it's like all there are is young guitar players... 1000's upon 1000's of them. I think it just just depends on where you look. And... maybe more importantly... most of those guitars (I think it's safe to say just most) sold in the 60's 70's and 80's are still in service, on top of the plethora of new guitars out there. That's the premise for my comment about more now "playing" then ever. There are just so many instruments out there, it's mind boggling. Ovation, a smaller one of the big guitar makers, was making 600,000 instruments per year in the 80's. That's just one company, and they're still cranking them out. Fender, PRS, Gibson, Ibanez, Yamaha.. I think it's safe to say that if spread out evenly, a good portion of everyone on earth could have a guitar at this point.. Remember, the brands I mentioned aren't even the tip of the iceberg.. think of all the brands that have come and gone worldwide... There are a LOT of guitars out there.
  21. mileskb

    The slow, secret death of the six-string electric...

    Amen... And you'd be surprised at how affordable custom, really nice custom guitars can be had. Not cheap, but not any more than a new production line guitar unless you go over-the-top with options.
  22. mileskb

    The slow, secret death of the six-string electric...

    While I agree with the title of the article, I DO NOT agree with the reasoning. There are more new guitar players, or guitarists in general than any time in history. In the past few years there's a whole gender of rock guitarists popping up that was almost non-existent 10 years ago. But what has changed is a combination of lack of need or care about "high-end" pricey guitars and looking for the "holy grail" of tone. The want a guitar that's playable. You don't need to spend more than a few hundred bucks for a decent guitar anymore. Will it last? who cares.. if it falls apart they'll get another. Sorry, but that's the hard truth. There are of course exceptions to the rule, always, but I've been to NAMM and purposely sat back and watched "the kids" and what they go after. Honestly it's impressive and inspiring to see that they could give a rats patoot about what "hero" played what guitar... they want what they can play and what they think looks cool. It's truly inspiring.... and mind you... if a kid is at NAMM, they are not "typical" because they are there because a family member or friend etc.. is in the business. That makes in more poignant. They have been likely exposed to the best of the best, all the hype, the artists... and yet... they just want what they want. No, I do not think the Electric Guitar is going anywhere... The companies that are smart, are already making, or working toward making, quality affordable guitars. What we will see are less and less of are the guitars in the $1000+ range on the rack... but... there are literally millions of these instruments out there already. They will find homes, switch homes, etc.. And lets give a nod to the local luthiers.. The guys that make a few guitars a year. THAT business is booming and on the upswing like never before. I believe because many younger players, who are the exception to the rule and are looking for tone, and woods etc etc.. recognize that they can have a better quality guitar built to spec than many of the high-end "production" guitars on the rack, for equal or in most cases, much LESS money. If they are discerning enough to care about build quality... names like Fender and Gibson mean nothing to them.
  23. Or the "non-solder" crimp connectors on the board the switch is attached to. :(
  24. I had a similar issue. While I fixed it myself, it is not what I consider a DIY unless you are very experienced. More importantly, support NEEDS to know about what I believe is a minor design flaw.
  25. This is definitely a perception thing. First off... At not point was your guitar actually "out of tune" but the two tuners displayed different things... I prefer the Helix or my Peterson Strobe. Neither will ever come to rest a note, or very briefly... as that is the nature of the guitar string. I have an older Sabine, and while it's not as granular as the Helix or the Strobe, I don't think it ever locks on a note like that Korg does, and I prefer it that way... because I know the guitar is fluctuating as well. Maybe Line 6 could put a "response" control on the tuner so it's response can act like other tuners.
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