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Everything posted by Paulzx

  1. I just wanted to add to this discussion that Def Leppard actually only use the fractal for certain effects, they don't use it for everything like we would tend to. It's still a massive endorsement but its not the full story just to say they use it. Phil himself in manraze used to use the vetta live which is how I got into line 6 stuff. He then went on to a cyber cybertwin so in reality these guys are constantly changing their gear around
  2. You could, but I don't think you could do it just isolating the volume boost, I don't think you could bypass all the effects blocks could you?
  3. Magnificent stuff, can't wait to try this method. I think it's kind of what I've been aiming for without knowing it! If you get time, send an email over to me at paul@paulzx.plus.com Thanks for all the explanations! A bit off topic but seeing as you mention Blink 182, interesting what Tom DeLonge is doing these days isn't it?
  4. For goodness sake, what a stupid thing to do. I've literally never seen that option removed on any other forum. It's not like we're sharing Military secrets on here
  5. I give up, how do you send a PM on this site. Looked everywhere, no obvious option!
  6. Gotta say I'm seriously impressed with how you've got your setup sorted. I see what you mean about being able to customise the layout now so I'm going to give this a try. The only thing I'm a bit concerned about is having to rebuild my presets that are designed for snapshot mode, that could be a bit messy! Yeah that would be a help to see the screen shots actually, I'll send an email address. Button one and two for moving up and down presets I take it are what was previously bank up and down, or are they additional to the bank switches?
  7. This is interesting, trying to get my head around it though. When set up like this, presumably your display on the foot switches still shows a bank of stomps and bank of snaps? The 4/4 split mode would be similar wouldn't it, so what is it about this stomp mode that is making the difference for you? Have to admit I've been starting to wonder if stomp mode is actually the way to go now for a while because while the snap shots were a nice idea, you don't really have the flexibility of individual pedals. Switching from a snap shot mode into stomp mode whilst playing, just to toggle effects on or off isn't really viable, it's too long winded
  8. I'm actually already doing that with exp 1, just using it as an overall volume adjust. The volume boost I want is for quick solo volume then switch off again, so can't really use the pedal quite as easily, especially if it's being used for overall volume etc.
  9. Ah yes, I know you can switch between modes, but it's cumbersome just to keep doing for a bit of volume now and again. I was hoping for a solution where I don't need to switch modes, just have a gain block on a snap shot foot switch, or next to a snapshot foot switch. I don't think it's possible is it? I would either have to do what you've suggested or run in the combined snap shot + foot switch mode - which I don't want either.
  10. Hello All, I need a quick bit of advice with using a dedicated volume boost foot switch. So basically I'm using 8 snap shot mode, but i want to use one of those foot switches for a stand alone volume boost - not using any snap shot parameters, just volume. The only way I can think of doing it is to switch to a snap shot + stomp mode but i don't really want to do that because it reduces my snap shots and I only want one volume switch, plus i want to run all my other patches in 8 snap shot mode. You can't really make a snap shot with a stand alone volume can you?
  11. Thanks for letting me know Jim, I'll check it out anyway.
  12. I've revised my opinion on this having played around with settings a bit more, in case anyone reads this thread later. It's not really viable to dial out the presence altogether on most of the high gain amps, you lose too much resonance. In fact, to make your guitars sound more like those in album recordings, you need a higher end sound, dialling the presence down or out just makes it too muddy I think. The best result I've found is to set presence relatively low, bring treble up halfway, boost the mids up a fair bit, and bring the bass up a bit. This seems to give a much better overall sound. Of course I'm talking in general terms here, but as someone who is forever tinkering with high gain amps, I'm always looking for a big, modern distortion tone, and so far, that general method seems to work for me. So to sum up - presence is nasty if you have too much, but a little bit is necessary! (more or less what was said above by others above)
  13. Hey Jim, I would be interested to see your Queensryche patch.. one of my favourite bands
  14. Thanks for the suggestions. I have experimented with the mics and positions, I know there are a lot of variables. I haven't used the tilt eq though so will have a look at that
  15. Totally agree with this. The sugar in my case is the presence or brightness. Sounds good initially when you turn it up because everything sounds more alive and up front but in reality for me at least, it makes the tone way too top endy
  16. Interesting info Jim, you're probably right, although I singled out the presence for making the tones too fizzy, it may well be a combination of drive also. I need to do a bit more investigation
  17. Yep thats a good description. I'm constantly trying to get a nice bitey distortion without it being shrill or thin sounding. Messing with the treble and swapping around with presence can help on some amps. Maybe the treble itself is the culprit on some amps
  18. Interesting about the phantom controls. My main thinking on this is that the presence control is adding too much fizz to heavy distortion tones, even though it sometimes sounds good to the ear initially. Now I'm listening more closely for it in recorded albums and live performances, I can hear its either been dialled out or not there to begin with. I do think it has improved most of my tones by dialling it right down or out. Apart from Scott on the helix channel, I was interested to know if anyone else here was also removing the presence from their high gain tones as a go to method for more authentic sounding tones. Its actually the first thing I look at now when building a tone, much more so than using EQ blocks, as a starting point at least. Sounds like I might be the only one who actually thinks its nasty though lol.
  19. Guys, this more of an open discussion on tone than question but it would be good to get some feedback especially from people who use helix for gigging. Like a lot of you I suspect, I'm always tinkering and analysing my metal and hard rock tones for authenticity as well as what sounds good to me just playing on my own. I've come to the conclusion that a lot of my distortion tones I liked that sounded rich or saturated on their own, actually do not sound good when you jam along with records and classic players. Whats doing it is the presence. I noticed most of the amps come with presence dialled in, which amplifies with IRs and gets even worse, so I started taking the presence right off with amp and cab tones and IR tones, there was a massive difference when playing alongside records. With the presence gone or just very low, my guitars now sit in the mix of real records so much better. When I play alongside Angus Young, my guitar tone now sounds really close to the real thing as ive realised the presence is just making these tones extra fizzy and totally unrealistic. I now realise most of these live artists and records have taken out these fizzy top end parameters and what you get is much better cut through. I know Scott on the helix channel always said to dial presence out of the tones because its nasty, and I have to agree. So if any of you guys are trying to get your guitars so sound more like the classic Rock records, I would suggest looking at this. Anyone else found the same benefit in their tones?
  20. Yep, always had this usb disconnect problem too. Been through all the possibilities, its not the cable or computer, thought it most likely to be dodgy helix USB port but strangely it only disconnects with helix edit. If you play audio tracks back through helix it stays connected. Must be something to do with helix edit software
  21. Personally, I would check that out on YouTube because there are a few guys on there doing the really heavy distortion tones and they walk you through it. Nick Hill is one I saw recently, he seems really good. I'm sure people here can give you some ideas but these YouTube channels go quite in depth with it
  22. Yep you're right, I didn't know you could have all three modes running simultaneously, so now I really do have a lot of options. Thanks for all the replies chaps, I need to start thinking in terms of switching between these modes then.
  23. I've got the original Helix floor unit. It was working out that I did need to use at least 8 snapshots on each of my presets because i wanted all my favourite effects available on each preset. Basically I've got my favourite three or four hi gain amp model/IR combinations that I like to use, so i have a different preset for each amp, but i want the foot switches to operate the same effects from one preset to the next, so what i end up with is four presets all using the same snapshots and foot switches, the only difference on each preset is the amp and IR. So for example one snapshot had just the amp and reverb running, snapshot 2 had a short delay added, snapshot 3 had a long delay added, snapshot 4 had delay off and chorus added, and so on, so i easily used 8 snapshots using these various combinations of effects. The idea was to give me a lot of possible variations on the sound, it's not specific to any songs, just a generalised setup i can use to cover all bases, just using different amp models from preset to preset. I'll go back and look at the presets and see what I can do with the bypass function then. Totally agree you need to plan ahead, that's really why I asked this question because i wanted a clear idea in my head how to go forward with my pedal setup. I'll see if i can implement what you've said above then with my existing snapshots, thanks. Just on a side note, what got me thinking thinking about simplifying it all was the idea of coming away from snapshots and just having individual stomp switches for a chorus, a flanger, a long delay, a short delay, chorus etc. Only problem i see there is you would have to do some tap dancing if you wanted to just go from a dry amp sound, to switching on a chorus and a delay ay the same time, which i guess is where the snapshot idea comes from. Just too many options on the Helix!
  24. Okay guys, thanks for all the replies, I am trying to get my head around your scenarios that you're using. It's not easy to describe in writing how exactly everyone uses their switches, but I have taken some useful hints out of that, now wondering if the upper switch bank should be effects on/off and lower bank snapshots. To be honest I didn't know you could do that. I'm not playing live, it's just for home use but what i'm aiming for is to set up a range of presets that all work the same way. I know what sort of effects I want available on each preset, they would all be the same, the only thing that would vary would be the amp models and IR's. The tricky thing for me was how to go between being able to activate the effects on and off individually, and also how to select a sound that might have multiple effects running, so that bit would have to be a snapshot. So at the moment i am still using snapshots on all eight foot switches but i can't turn any effects on or off individually while playing. How do you set it up so you can footswitch on and off individual effects within the snapshot? And if I do use that mode, would that not reduce me to just the four lower snapshots now? Presumably the top bank just become stomp boxes? I haven't actually seen the Helix running in that mode so it's a bit difficult to see how it would work.
  25. Guys i need some opinions please. I'm going back through my helix streamlining my patches, I've decided I want to standardise my pedal layout on all my patches and just vary the amps etc, so basically all the stomp effects do the same thing on each patch. Anyway, with the release of snapshots, I adopted that feature straight away but as versatile as that is, I've now found it quite limiting because you can't turn off individual effects within a snapshot easily, you really need a snapshot for each scenario within a patch which gets tricky if you decide you want delay on with a phaser or something just on the fly, so although it seems like a backward step in some ways, I think I need to go back to just assigning a single effect to each stomp switch so I have the freedom to mix effects in and out at any time. Does this sound sensible or am I missing something about the snapshot arrangement? Please don't tell me to do just what's right for me haha... I want to know what approach you guys have taken because you've got more experience with the unit than I have. I don't want to change everything back to then find out everyone is using snapshots now for reasons that i haven't realised yet. I hope that made sense!
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