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mileskb

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Everything posted by mileskb

  1. Only slightly related to the original question.... If the Helix SHOULD NOT have Phantom Power sent to it, why is there no protection from it? I simple voltage detection circuit seems like it would have been prudent. Yes most better boards you can select Phantom per channel, but really if "used as directed" we are at the mercy of "hoping" the nut behind the wheel (engineers) know to not use Phantom or accidentally turn it on. Larger stages are going to have the monitor engineer and the FOH engineer to worry about especially in situations where several bands play back to back. I'll admit, I've killed a mic or two over the years by accident swapping things around in the heat of battle... stuff happens.. It's one thing to tear up a $100 mic, it's quite another to take out someones $1500 rig. :( EDIT... Asked and Answered.... Do a Search on "phantom power blocker" I think I'm gonna get a couple... and ALWAYS use them if hooked into someone else's gear. It would seem this DOES address the OP.
  2. mileskb

    6, 7 or 8?

    The Event's look like the older 20/20's and I highly recommend Event... however, anything in the price range you are looking at are going to be on par with each other. If you really need to upgrade, than... Adam A7X is the way to go. JMHO
  3. So, if essentially the only limitation of Native is the computer.... so like I could use real Room IR's if I want to? So if I want to record at Abbey Road or maybe there are Sun Studio IR's I can use them ? Imagine the reverbs !!!!! I'm I dreaming, or is this possible?
  4. Ya'll realize, regardless of what anyone said at NAMM, the acronym NAMM stands for "Not Available'till Mid March" As for the tuner... I love it since the last update. Took a minute or two to get used to looking at two things at once, but really really love it now. And FWIW, I have a 10-string. I finally don't mind just grabbing it and playing, cause it's so easy to tune now.
  5. I have most of them, just because I wanted to dig deep... The Fremen Pack and I also have several of TheHelixChannel.com packs from Scott. The Fremen Pack has fantastic tones, and it comes with tone match IR's that are useful elsewhere too. But if you want to see how to get the best out of your own creations, I find Scott's most useful. He also has a lot of free patches and tutorials for specifics. I do like Glenn's creations as well, and he also uses tonematching, but I don't find them useful for "learning" how to do it myself. He often has at least what I see as complex paths and when I try to edit one parameter of one effect, it all goes to hell in a handbasket.... HOWEVER, I still HIGHLY recommend his packs if you want to get specific tones especially for recording.
  6. I agree totally on this. I wouldn't want a full-blown touch screen, but there are a couple of actions that I actually catch myself touching the screen..... to no avail of course. Even if the touch was just a "select-this-block" and nothing else, it would add a level of intuitiveness to an already pretty intuitive system. In fact, that's how it works when we're using the editor. We can just click on a block. If you have a touch-screen laptop, there ya go. Would be nice if the hardware worked that way cause in the heat of battle, I could see using the joystick one could end up making a mess real quick.
  7. Oh how soon they forget... :)
  8. I hope it sounds good. It's the first bit of "competition" I have seen as I do not consider Kemper or AxeFX really competition... more apples and pancakes... they're both food, but that's about it. Competition is good. I actually think this unit is a little pricey... I mean with a little creative bargaining you can get a Helix for a few hundred more, so that might be a miss... although... some vendors do tend to "inflate" the price of a new item until the actual release date. Anyway... it's got some clever features and maybe the extra few hundred will be a difference for someone who doesn't need all that Helix has to offer. Again, competition is good.
  9. You might contact Scott at theHelixChannel. I think he uses the JBL EON (not positive about this) monitors for everything, but maybe he has a trick up his sleeve.
  10. I'm not forgetting at all... for most of what I mentioned, accurate listening isn't required. Auditioning Patches, playing with effect and amp parameters.. organizing setlists, maybe minor editing like changing what snapshots do what etc.. There is a ton of stuff to do that doesn't require actually listening or playing for that matter. The ability to create a patch that sounds good in the room, then be able to tweak it with the SAME modeling software for mixing it priceless. I'm thinking back of all the times that I recorded a guitar part that needed a little "something" and all we are left with is after-the-fact tweaking of compression or eq. How nice it will be to be able (as long as there is a dry track too) to go in and just adjust the compressor or gain or whatever, and not have to bring the artist back in the studio. Many times it's an adjustment to one note or one phrase... and while yes, even I'm sure likely no one would ever notice the difference between adjusting it post production, or just re-amping the bit that needs fixing.... I'll know it was done. Ya'll ain't gonna rain on my parade... this Helix plug-in is some amazing kit. As for it sounding different than the Helix... my guess is not. I know some others do sound different, and I could see where actual recording with the plug-in could sound different based on the A/D tech being used... but if you are using a track recorded with the Helix hardware, I believe any effect on that signal from the Helix plugin will be the same because of what I believe the architecture to be. Once it is in the digital world, it's just bits. If you add 1 + 2 on your calc on your phone, or 1 + 2 on a super computer... using the same algorithm, the answer will be 3. What I see as a bigger ADVANTAGE.... while the A/D in Helix seems fine... if not now, in the future, I could use better A/D from another source, and create even better tones !!! Sorry for the rant... but I just had another idea... I could actually record an entire group, couple guitars, bass, keys at the same time... and run them all through their own Helix in the DAW !!!!!! I'm headed to the Tardis... I'm going to February.. !!!! See Ya
  11. This made my day !!!! I have been struggling because I can't get out of "studio" mode. I play in the "play" room and I record and mix in my "control" room. My work-around was put a laptop in the the "play" (some people call is live) room. And while I have nice monitors in the live room, that's not the optimal place to mix, or create patches. It's for playing. It's not a dead room, it's a pleasantly alive room. The control room is the dead room, designed to sit for hours and mix listening only to what comes out of the monitors. Also... I'm to freak'n old to sit in EITHER room to audition patches.. how nice to finally be able to record a dry track, transfer it to my Laptop, and sit in the comfort of my living room with headsets and just casually audition amps or effects... or just tweak different aspects of an amp or effect or cap to learn the effect completely. For folks on the road... they can setup their Helix for the next gig while on the buss or plane. For that matter, even if you're in a local cover band, you don't have to break out your helix hardware to setup for the next gig. You can do it at your leisure, in a comfy setting on a laptop, then when at your destination or setting up at the gig, plug in the laptop for a few seconds to make the transfer and you're done. Of course, this begs the request now more than ever for better file management, especially regarding IR's, but WOW just the same !!!!!!
  12. If you do a little research online, there are a couple of issues that are cropping up on many of them. Mine has developed a faint hum and they are a bear to get inside of to fix/repair. And... if I pay someone else, I'd be better off just buying another as it would be cheaper. I may just do that. Mine would make a good backup even with the hum... but it does kinda drive me nuts when I try to use it.
  13. I wish someone would come out with a new Crate Powerblock. It's nice for stereo, mono, it's a real nice "backup" to keep in a bag, or use as needed. But they just aren't as solid as you'd expect.
  14. A lot said in the short post... I'm serious. If you are looking for a particular setup, like to replace an existing live rig because you have a signature sound and mic placement, I would go with the appropriate Ownhammer and you'll likely be able to dial in your cabinet. This would be the same if you were doing work on a mix and no longer had the original rig, but had to add something or replace something. As long as you knew the cab, mic placement etc... Ownhammer might get you there quicker. If you are looking for great sounding cabinets but don't have to "match" a particular sound to detail... the 3 Sigma's sound fantastic. To be specific... A. If you want a great sounding Mesa cabinet I'd go with 3Sigma. B. If you want a Slanted front Mesa Cabinet, with 60 watt Celestion Vintage 30's mic'd with a pair of SM57's using the Fredman Micing Technique... you might want Ownhammer. It's really not a matter of one being better than the other. It's proper tool proper job. I don't mean to downplay 3Sigma, they sound fantastic. You could likely mimic a particular setup as well, it just might take a little more tinkering.
  15. Yeah, I think the problem is the Helix is essentially a passive USB device, in that as example... it doesn't know if it's hooked up to the computer, the computer knows if the Helix is hooked up to it. I wouldn't think it would be too difficult to have an Android App that just accesses the patches and IR file loader sections... That would be pretty convenient. Basically an editor that just loads and save patches and IR's that one could have on their smartphone or tablet. Speaking of Tablets...the right cable from a Windows tablet might be a good solution, and you could actually have the whole editor on it. Or even a small netbook would work. It doesn't take much. I must say... after using the Helix for over a year... it does seem odd they didn't think about file management much. One would think they almost would have, and maybe did, just for testing purposes and R&D purposes. I know they designed the Helix as a stand-along unit, with a great UI so you could edit without an editor.... ok... but then to not provide a way to back it up, or even do updates without a computer, just seems odd. Like maybe they have a solution and it's just not been released yet. We take for granted that "everyone" owns a computer.... but still... I might think differently if you could walk into any tech store and say "update this for me" but that's not the case either... and with the Helix, not only do you need a computer, but you need to be pretty proficient with one, especially to do updates. Just seems like such an odd oversight, that there must actually be a plan, and it's not an oversight at all.
  16. Almost makes one think that Helix should make a "Helix Lite". Just looking at posts around the web, there are plenty of people who only use a fraction of the Helix's power, and that is likely ALL they will every use of it. The reason why they bought the Helix over something smaller/less expensive was the build quality, the routing, and the Interface. When I think back at some of the effects rigs I have owned since the 70's... nearly ALL of them were more expensive than I single Helix, and ALL of them had restrictions that the Helix doesn't and that's before even getting into actual tone/sound quality. Do the math.
  17. I could see WiFi, but Bluetooth just isn't there. I've mixed with Behringer XR18 as FOH and I gotta say it was pretty awesome. I had a 20" tablet at the sweetspot in the room for main mixing, and a 10" that I walked around with every now and then. Actually took it to the Mens room with me and sure enough they started the set while I was on the can.... no problem :) Wireless (via wifi) would open up to android and apple devices for tweaking... all sorts of things. However... I think more pressing issues like general updates and file management (especially for IR's) need to be addressed first. I postponed the 2.11 update, and now that I just got the unit back to normal.... they release another update and I have to restore again. Kindof annoying.
  18. Not sure if this is appropriate but if you want to see a Helix and Variax in operation on a live feed... check it out... https://www.youtube.com/watch?v=pqZykuepbK0
  19. Um... just for clarification... in 1969 unless you were in a huuuuuge venue... generally only Vocals went via the PA, everything else was stage volume. In the 70's in smaller venues we started adding kick and snare to the PA... Full mix to PA on the smaller scale didn't start to get popular until the mid-late 80's. I still remember doing outdoor gigs where I would have my guitar rig directly behind me. When I was singing or playing rhythm I stayed in front of the mic as the "human attenuation" for the guitar. When it was time for a lead, I would step away from the mic so it had a direct shot at the amps behind me and bleed out into the PA. I think I just gave away my age.... :(
  20. Because I also wear a Producer hat this whole thread has me annoyed. No matter the trick, even if the soundguy realizes "oops" I made a mistake, the gig has been soured. You guy's aren't going to be at your best. That doesn't mean it won't be great, but without this nonsense it would be greater. Even if at least you didn't know about it.... but you do. I have had issues at gigs where I'm the engineer. The band doesn't find out about it... until maybe the very end. And just to give a realworld example... many years ago we opened for a well known, rather legendary national act. When we played, we generally played with guitar stage right, keys and bass stage left. We played this house numberous times. But on this night... the soundman came to us... "hey... I got a deal for ya". We're already setup for the main act... if you guys could reverse your normal setup, you'll get a pretty killer sound cause you'll be setup like the main act. If you don't, it's gonna be a hodgepodge and because of the time constraints, it's gonna be a zoo between acts. It seemed like a reasonable request, it was a great opportunity... and to make matters even better, the national act's soundguy stayed at the board to ensure none of their settings were changed, or at least not far enough to worry about it. It was one of our best gigs. It was that day that I learned how a world-class FOH sound engineer becomes a world-class sound engineer, and only part of it is running the board. We have since become friends. He didn't come over all cocky and stuff.... and... he could have done nothing, and we probably wouldn't sounded "ok".... but no... he wanted us to sound the best we could sound, cause that helps set the mood for the whole night for the whole venue. Make everyone sound as best as they can, make everything work for the common goal. That's how it should go. We never made it more than essentially garage band that did a few gigs, but from that day forward, that is how I expected to be treated and that's how I treated others. As soon as "attitudes" came out... it was time to find another gig if we wanted to play. Note again that word... PLAY !!!!! It's supposed to be fun. No one really says... "Hey, lets go work some music.." It's lets "play" some music.
  21. After calming down... If it's a good paying gig... rent your own system and soundguy. problem solved. You may not have as much scratch left, but you'll sound better, feel better, play better. The gig's already been soured if this guy is in the building. Or... just hire your own FOH guy. If you get the "we don't let other people run our sound"... I'd cancel the gig. Right... Taylor Swift, Pink, Lady Gaga, Aerosmith, BOC, Foo Fighters, Garbage... (whomever you get the idea... ) gets booked and they'd say "you can't use your sound guy??" Let the venue have bands cancel because the sound guy is a lollipop, and see how fast they get a new sound guy. Remember... it's calling Playing Music...cause it's supposed to be fun.
  22. As others have said, start from scratch to learn your way around. Then I would check out something like these tutorials for specific things you are trying to achieve. http://www.thehelixchannel.com/tutorials.asp Scott also has a bunch of FreeSets on there if there is something you are interested in (he also sells patche sets too). But starting on your own first, ask questions or google for things you run into... Once you're at the point of... "hmm that sounds good, but it needs more..." than you are at a place where you can start borrowing other ideas and downloading patches and such. On the other side... to answer your question... I've been using mine for over a year and still learning tricks. and there's Richie Castellano who has some videos online who is in a well known touring band who bought the Helix on a short break, and 3 days later was using it on stage. Really... YMMV
  23. I agree. This guy makes the rest of us (soundguys) look bad. Kinda pisses me off. Our (soundguys) job is to make the talent sound good for the venue. Period. I'd be inclined to give'em a choice... he can use what you have, or bring one these. or one of these and tell'em mic away and have a ball.
  24. WOW... I hope I don't lollipop anyone off, but that is the FIRST (caveat... first I have seen/heard) decent video of what the Helix can do in the really hardcore Metal arena. I'm sure there are others, but I generally can't get past the first few bars before getting bored with the sound... This was stellar. Well Done. Great playing and mixing as well. But really great tone.
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