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Posts posted by Kilrahi

  1. 32 minutes ago, outlawten5 said:

    Where in the chain do you put it?


    I've done all sorts of things with it, but generally you want it really early in the chain, if not at the very start. If you stick it to far at the end then you're doubling things like reverb trails and in my opinion it gets really muddy.  Where you're trying to double a lead tone I'd probably start at the front of the chain and then if you're not satisfied slowly move it back. 


    Most of the time when I use it it's to create a subtle effect in the background, so I've experimented a lot with putting it on its own path (B) and then adding effects to it to my liking, but it's always as more of a supporting role. 



  2. I've seen many preferred approaches.


    Me, when I need more than one guitar sound I like the "Double Tank" effect which was designed explicitly for that purpose. Some aren't happy with it though, but I like it. Give it a try first.

  3. 23 hours ago, Servo said:

    I purchased a Truetone 12 to power the Stomp as well as the G10 relay (modified) and two other pedals.   For those who use this set up, I wanted to clarify the power out put.  I have read that the Truetone's will put out more mA than the output that is labeled on the output plug, as long as you don't come close to total max rating of the power supply.  The Stomp is essentially right at 850/875 mA.  Did you use a current doubling or current splitting cable (that doesn't come with the package) or did you just use the Line 6 adapter into the polarity reversal and into the 800mA output.  


    Also, would you recommend a current splitter adapter for a 350mA pedal or just plug it straight into the 300 mA outpu?

    .  imageproxy.php?img=&key=4f3d79318bd3844dimageproxy.php?img=&key=4f3d79318bd3844dimageproxy.php?img=&key=4f3d79318bd3844dimageproxy.php?img=&key=4f3d79318bd3844d


    Do NOT use the 800mA port. That is for AC power and you risk frying your Stomp, or at least giving it some nasty hiccups.


    All you need is one port (the 500), the L6 adaptor, and the polarity reversal cable, and you're set. Works great.


    (Also, yes, it can output much more than the port states, so 300 works fine for 350 - as long as your total pedals don't go over the grand total possible).

  4. FIZZ

    43 minutes ago, Nightsky1376 said:



    I do hope Yamaha (Line 6) read these posts. They could design EQ curves and IR's for folks like me. 

    All the best..


    How can you claim your experience and make statements like the above with a straight face?

  5. 2 hours ago, mjc009 said:

    The other FR (full range) is also misleading. You don't really need a Full Range system for guitar. You need something that will operate from like 60Hz to like 12kHz. I think this is just to drive home the point that whatever comes out of the Helix is accurately reproduced by the loudspeaker.



    It kind of depends on what you intend to use them for. A lot of us buy the FRFR systems for a multitude of options. So, for example, when practicing we want to jam to the real song coming out of the same speaker, and so we want a wider range than what a guitar amp would do. Or we want to plug in acoustic guitar into it which needs a wider range than an electric. 


    Or you plan on running all types of instruments through it. The one I use has a frequency response of 50Hz to 20 kHz. 

    • Like 1

  6. There's no doubt a way to get things to work with Audacity, but I have to admit I don't have a clue how that one works. 


    What I can say is that Reaper's free trial worked right out of the box for me.  


    So . . . you might want to give that free program a try? Or an Audacity user can chime in . . .

  7. Well for that question I don't have an easy answer. Because you want to split up the bass signal and keep them split up there's no easy way for your bass player to hear it through monitors since no where in the signal path do you recombine them. 

    At least, none that I can see.  


    If you want it that complex you'd be better off having your bass player buy their own LT. An expensive proposition for a bass player, to be sure, but something has to give. Either budget or the complexity of the routing has to give somewhere. 

  8. It's a good idea to try the stock IRs first before you decide they're garbage.


    I own a closetful of IRs. I almost never touch them. Some people swear they're the bee's knees.


    If you have money to burn, buy some of the big names and see if you fall in love. However, with the Stomp, if you can get by with just the stock cabs it will always be a plus because of the 6 block limitation. 

  9. 1 hour ago, thisperishedmind said:

    I read time and time again that "FRFR wont get amp in the room sound" - but I'm just not sure I agree. Maybe its my particular "FRFR" - but I've found that I can get close enough for my purposes.


    I see it as needing 3 main things if you want FRFR to feel "amp in the room":

    • Volume.
      • I would guess most people associate "amp in the room" with "loud".
      • Specifically meaning, 5" Studio monitors on stands simply wont recreate the effect like a guitar cab (or FRFR) on the ground moving air.
    • Good cab IR that matches whatever you're "expecting"
      • There are a million companies making them now. Take your pick
      • Personally, I use a single Orange IR from OwnHammer on almost EVERYTHING now...just because thats the cab I was most "used to"
      • You can probably do just fine with the built in Cab blocks - I just have no interest in exploring since I found a set of IRs I'm very happy with.
    • EQ accordingly.
      • That is, Parallel EQ with what feels like an agressive high pass and low pass
      • The IR does a lot of work here - but its still my experience that an FRFR will be a little "boomier" low, and still project WAY more high frequencies.
      • Anything from a high pass up to 130hz and low pass as low as 4k or as high as 14k. Maybe use the P-EQ to scoop a little 4-6k?


    Of course, this is all done with the intent of emulating an "amp in the room". I have little idea how it would work if I ran this exact patch FOH, but I don't think it would be disastrous by any stretch. (After all, at worst its an unmic'd cab sound?).


    I'm able to make myself happy and shake the walls just the same as I used to with amp and cabs... only with the added perk of being able to play at talking volume and still enjoy the experience. (I never liked my analog / tube stuff quiet).


    I don't miss having an analog amp and cab anymore. Occasionally I'll think "that would be fun!" - but quickly realize I wont use it much, or it would be a passing novelty I end up selling again eventually anyway. I already made the change once when I got the Helix.



    I think a lot of us are with you on this, but I can't dismiss the fact that there are "amp in the room" people who have tried all of these things and it still doesn't work for them. 


    I have to accept, though, that I'm wired differently than a lot of those guys. For example, WHY do they need all high frequencies to ALWAYS be nerfed?  


    Just because traditionally guitar cabs sucked with highs doesn't mean that once we figure out how to have them we keep them toast. I think it's just that they're used to them being toast. If we'd started out with full range speakers instead of the limited range cabs of the 50's, I have to assume we'd largely use fuller range guitar sounds in our modern era.


    Yet, those frequencies often weird out old school players . . . so they get cut. I EVEN CUT THEM SO THEY DON'T lollipop ABOUT MY TONE, BUT THERE'S TIMES I THINK THEY SOUNDED BETTER THAT WAY. 


    We all have our preferences on how things should sound, and I guess there's just no getting around that. I've never found an FRFR that sounded like a tube amp in the room . . . so if you can hear that difference, and you vastly prefer the tube, an FRFR just won't do it no matter how hard you try. 

  10. 13 minutes ago, bob808 said:

    Thank you for your guidance...

    Yes, its max out the hx stomp blocks , this will be my other consideration.

    Actually, i don’t buy hx stomp yet, i am still on gathering informations.

    My plan that, in our band which contains 1 guitarist & 1 bassist, we plan to do processing on modelling like helix line products.

    Guitar will need an overdrive, amp block (send dry to on-stage amp’s return for monitoring purpose), 2 ir (for thicknes & lil bit of wide) & eq on each before send those to FOH.

    Bass’es will also have parallel processing begin with split crossover to low (<200hz) and compress it quite hard and out to 1 dedicated output. The high (>200hz) will need a b7k block, amp block, ir block & eq block also go out to 1 dedicated output. So in total i need 4 output and 2 send (helix dry amp signal into on-stage amp returns).

    I think of 2 hx stomp or a helix LT, which one can handle this processing. Do you have any suggestion?


    The tough answer to these questions is always "it depends."


    The big advantage to an LT is that it can use A LOT more blocks. However, in your case you'd be cutting the DSP down somewhat because you'd be sharing it between two players. Making things even worse, the two players would have to keep from tripping each other or messing each other up if any type of changes were needed during or in between songs. 


    My feeling is that as long as you are certain you can live on six blocks, you'd each be better off getting Stomp. This assumes that money doesn't allow for two LTs, or one LT and one Stomp. 


    I loved my Stomp, and six blocks allows for a lot of possibilities (and who knows, in the future they might improve upon that six block limitation just a bit - but buy it for what it is now, now what it might be). Plus, the advantage of each player having their own controller with the HX Stomp, and not bumping into the other player, for outweighs the larger DSP advantage of the LT, IMO. 

  11. 10 minutes ago, phil_m said:


    This behavior is determined by the EXP # Position setting in Global Settings>EXP Pedals. If you set to Global, the value of the parameters controlled by the expression pedal will always reflect the current position of the pedal. If you set it to Per Preset, the a specific value will be recalled with the preset, but if you switch snapshots, the parameter values will track the pedal position. If you switch it to Per Snapshot, the parameter value saved with the snapshot will be recalled and stay that way until you move the pedal.


    Thanks for the clarification Phil.


    You're basically the God of all things HX. 


    That's a cool global setting. 

    • Like 1
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  12. 19 minutes ago, bob808 said:

    After the fx send block, does hx stomp still capable of doing those 2 ir parallel? After each ir block in that parallel chain i plan to add an eq for some little tweak before send to foh.



    Yes. The chain would go: Amp Block >>>>> FX Send to real Amp >>>>> Split Paths to A and B >>>>> IR Block in Path A/IR Block in Path B  >>>>> EQ Block in Path A/EQ Block in Path B. 


    This will max you out of your six blocks, but it will work. 

  13. 2 hours ago, bob808 said:

    Thank you for sharing this routing way, for single guitarist in the band have 1 amp model + 2 ir send to the foh is enough, or if capable i still can add eq after ir block on each path before merged.

    But i still courious to know how if i also want a dry/amp only signal for monitoring, like from hx stomp send going into on-stage amp’s return?


    All you'd do is use an FX send block placed after the amp block on the Stomp. Then connect the Stomp's "Send Stereo" port to the amp. 

  14. 5 hours ago, rudomat said:


    question: when changing presets, does the hx read the current expression pedal setting....? or can i store a value it should go to after recalling and then only jump to the expression pedal value after moving it...?


    p.s.: i not sure yet, but sometimes i think hx doesn´t react to the expression peal movement...then i move it again and it works...i can´t really calibrate it, right? does this "expression pedal 2 active" always show up, when the pedal is moved...?


    I'm not sure I understand what your question is on that last part.


    In terms of the HX, if you save a preset with specific minimums and maximums all of those things will load when you reload that preset. It won't immediately determine what position the expression pedal is in, but when you go to move it it will then react to that and adjust the expression pedal position based on where it is. 


    I believe when you load a preset it assumes the pedal is floored. I'm going off memory though but I'm pretty sure that's how it worked. 


    "Expression pedal 2 active" isn't what shows up if expression pedal 1 is active . . . is that what you mean? 

    • Like 1

  15. 1 hour ago, godfather_77 said:

    I'm using a 1/8 trs to 1/4" ts mono split cable to connect my mp3 to the stomp. The TS plugs have different coloured rings one white and one red, does it make a difference which colour goes into the AUX IN l/mono or right sockets?


    53 minutes ago, chasingMango said:

    It does not... one is the left channel, one is the right channel.  If you swap the cables between L/R input, the L/R output will swap accordingly.  Only matters if you expect certain sounds to be panned left or right.


    While it is largely true that it doesn't matter, particularly with two channel stereo music, sometimes it does matter (such as surround sound scenarios, though often now those are simple plug and play hdmi), but in case it ever DOES matter, red is typically the right channel.

  16. 1 hour ago, Findlasse said:

    I am lost somewhere. It sounded ok yesterday at very low volume with only 1 amp. Found out I had it set for stereo, so today it did not sound right. Guess I was dreaming yesterday! :-)
    Tried to make it real simple today trying to get to the bottom of it - but I got lost anyway. Maybe it is just not possible!?.
    What I tried was:
    Uni-vibe in signal path A - Teemah drive in signal path B
    The goal is - with expression pedal - to have only path A (or B) open with heel down - and to have only path B (or A) open with toe down. Without dropout or sudden cuts. Fading in A and B out.
    The split can't be controlled to route to either A or B - at least I don't get it working. And the same with the mixer, I guess.
    Is it possible, do you think?. Anything I have missed?


    It sure doesn't sound crazy to me. I'll try to get some time tonight to dink around with it. 

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