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Paulzx

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About Paulzx

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    Iknowathingortwo
  1. Excellent info! I went back and read mike shipleys old post about recording the guitars on hysteria with the rockman and he did say the sound of the X100 on its own was pretty awful, but layered up and going through palmer speaker simulators, it worked, plus the fact they notched some frequencies etc. Clearly, its not going to be possible to match that sound, but going back to your point about the Boston tone actually being multiple tones, I think most of us chasing that tone on a modeller would be happy with something that had that rockman characteristic, but sounded more rounded out, almost like a composite of all the different Boston or hysteria tones without being specifically any one of them. I didn't know Leppard used the XPR on the hysteria tour, I know they were using Randall solid state amps, I know of someone who has one of the very ones used, so is the XPR just a processor then because even as a big Leppard fan, I never thought the guitar tone on the hysteria tour was particularly good, very harsh and treble like. All the following tours were different story though, fantastic huge sounding guitars. So if we're trying to get some of those X100 characteristics in a helix tone, have you got any tips on how to do it? Should we be boosting 800khz or adding a static wah etc?
  2. Yeah I know what you mean. Helix does a very good job of getting close to a lot of this stuff. I've got a self created Angus tone that I'm quite pleased with now, I think in a lot of cases that last little bit of difference can just be in the dynamics of the volume. It seems obvious thinking about it that if I'm playing through a modeller at relatively low volume and trying to get close to an album or live tone being played a he'll of a lot louder, I'm probably not getting all of the same dynamics, therefore if its sounding pretty close, I'm probably doing a decent job of it. Funnily enough, I've got a hysteria tone now also that is starting to sound good. I started to realise that part of that rockman tone is actually achieved by cutting some highs on the EQ. I think we all knew it was accentuated on the mids, but cutting the highs and lows does get it in the ball park
  3. Excellent find.. I'm now becoming obsessed again with trying to mimic the sound with the Helix! The wah rumour does make some sense because the tone was quite a nasal compressed type of sound wasn't it? Also there's not much bottom end in the tone is there or at least not on the Hysteria album. They seem to have extracted the basic rockman tone but dialled out all of the bottom end, which does give it an almost unreal cut through the mix type of sound. I find this stuff quite interesting. I was watching a rig run through with Angus Young's tech last night and couldn't believe what they do to get his tone, using real Marshall heads, about nine of them! But there are other subtle devices they also use to affect the tone. I think it basically gives him that big sound but running the amps quite low, they just use a lot of them
  4. I've not found any rockman related patches or IR's that really worked well, no doubt they sound amazing on some people's setups but not quite right on my gear. It's a very difficult sound to replicate, didn't Tom Scholz just put a very exaggerated EQ on those rockman's? Maybe if you're a whizz with EQ you can replicate it on the Helix without a dedicated IR - or just using a standard IR?
  5. Good suggestion on the cuts - I usually leave that as stock, but I'm nowhere near 50% mix. I only use a small amount of reverb but even that just seems to take a slight edge off the attack of the distortion. I'm probably a bit over sensitive to it compared to most because I'm always trying to get maximum bite and attack from my high gain tones so what has stood out to me lately is that I've been leaving reverb on all the time but if I switch it off on my dry patch, it does sound a little better, it's just not my 'go to' way to build my patches, I pretty much always put an active reverb on every patch or snapshot. We all know that when you temporarily engage a delay or some other modulation effect, that will affect your high gain tone, but I never considered reverb to compromise it slightly, and I need to check all my patches now to see if it's happening anywhere else. I don't think it's anything wrong with the Helix or the modelling, it's probably just the way I'm setting it up, and perhaps just being a bit too fussy. Worst case scenario is I turn it off altogether.
  6. Yep I know what you mean - I'll try and get some audio
  7. Yours is a touch more dialled down, I'm around 30% mix with 4.5 decay
  8. I don't know why its doing it, I just know it is. I'll try some of the above suggestions. I think I'll check my other patches for comparison
  9. Haven't checked the mix level but it would be unusual for me to ever use it as high as 50, but I can I can say with absolute certainty that it is slightly muddying the bite of the distortion. Its only slight but it is apparent
  10. I will try that too, thanks
  11. Great idea.. never thought of using parallel path! Will try that
  12. Hello guys, Small detail, but hey, we're always discussing small details, we're fussy guitar players right? So I'm doing one of my usual periodic overhauls on a couple of my high gain patches, see if I can tweak a few improvements etc, and my main rythm snapshots are always set up with a reverb switched on. Any time i build a patch, I've always had the overview that a reverb is a given, just for the ambience, slightly bigger tone etc, I think most would agree that's a standard approach. However, as I was A/B'ing the distortion tone with the reverb on and off, I noticed a distinctive difference in the 'bite' of the distortion. When the reverb is on, it takes a slight edge off the bite or cut of the distortion tone, which of course is theoretically undesirable for this type of tone. I never noticed it before either. Delays and other effects you expect to slightly muddy the distortion bite, or cover it slightly, but I never suspected to hear that with a reverb. I will add that the reverb effect is low as well, so now I'm thinking the only way to get the distortion at it's best sound, is completely dry, no reverb. The reverb i'm using is the plate. Has anyone else encountered this at all? I didn't expect the reverb to partly cover the distortion itself, there's no real 'ducking' reverb effect that I know of. I'm also wondering if this is noticeable due to playing at low volume, whereas a live situation at higher volume you may never hear the difference. Has anyone else noticed this and ended up not using reverb as a standard?
  13. Paulzx

    FRFR speaker !!!

    I've got those Alto speakers too, just out of interest when you say the headrush is a lot better, how would you define the difference? I use a lot of high gain tones and if there was a speaker solution that transformed those tones then I would be interested, but it depends obviously what the nature of the improvement is
  14. For anyone interested in using the DT50 in the UK, I have one for sale on ebay. Hardly used, excellent condition.
  15. Yeah I liked this one too. Been wanting to use this and at least have an idea what parameters to use now. Just saves time!
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