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themetallikid last won the day on November 25 2017

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  1. themetallikid

    Delay settings

    I like ducked delays, just horrible at setting them up...again either too much or none at all. I have a hard time setting the threshold/release on the ducking parameters..
  2. themetallikid

    Delay settings

    I AGREE!!! I recently got turned on to the Bandhelper app...and have loaded all our songs and such into there. I researched the song length as recorded and BPM's. Its nice when building setlists cause you can enter pauses in the set for talking, and also time between songs. I have 1 minute for pauses and 3 seconds for between songs, but then when you add songs to a set it gives you the length of the set/night in total. We even have 'extra' sets in case the audience favors one style of music over another and it can exclude those from the total nights sets. Its really a useful tool to help you be consistent....tons of other features in there as well....for $6.00 a month, I can enter all our gigs and contacts into it and everyone has access to everything....sends notifications of gigs and you can set them up that each member has to accept it. its pretty slick, but like most quality things, its only as good as the information you put into it what your going to get out. sorry got sidetracked....
  3. themetallikid

    Delay settings

    That will help me as well Duned, I'm in the same boat as the OP, either seems like too much or too little. I typically set my feedback around 10-20% (usually 15%) and my mix around 30% and only turn it on for my solo's. I just use the mono delay and also set mine to BPM. I think I stomp my BPM differently than I'm supposed to though, I usually end up with either 1/2 or 1/4 regular/dotted notes for my time based setting. When I set up my recent presets I looked up the BPM's of the songs in our sets and saved them to my song presets....and noticed that I had to adjust my time setting from the usuals to more of the 1/4 or 1/8 dotted. I usually tap the main kick/snare beats in a 1,2,3,4 beat...I've always struggled with this simple concept, lol.
  4. themetallikid

    Decode the names of stock sounds and "pedals"

    One of the features I've been waiting for is ability to save 'blocks' as individual presets of that effect/amp.....Then I can pull up a boosted JCM800 and save the Amp as Boosted JCM800, and also save the Drive block as Boosted JCM800. Then when I create a preset, I only need to load the 'core blocks' for the sound I've saved. You could potentially do this with presets....have one of your setlists be dedicated to presets with specific sounds....but then copying/pasting is a bit tedious depending onw hat your trying to move....rather than just right click>Load block>(drop down menu amps/cabs/effects>sub menu>sub menu if needed) click on the block you want and its there. I sometimes get frustrated and quit trying to reconfigure settings from scratch all the time for specific effects.
  5. themetallikid

    changing file types .hir > .wav

    Yeah, seems the same conundrum
  6. themetallikid

    changing file types .hir > .wav

    I dont see how.....I mean I do in a way I guess....but I can provide proof of the files that I have, and paid for but am not able to mix. I get protecting the distribution of the files from being freely shared across the internet and preventing the sales of the IR's to the company that created them.....but I'm trying to do something that is freely something that can be done....if the same product was purchased another method.
  7. themetallikid

    changing file types .hir > .wav

    Does anyone have the Friedman IR's and be willing to mix a few for me? Being that I have the L6 ones that can't be changed/mixed apparently....I have a list of the ones I'm looking for, they are the Mix, V30 and VNT speaker/cabs...but I'm specifically looking for 3 versions of each of those the Full/Cut/Rear ones....and looking to mix different combos. If someone has these and can do it....or is willing to share the non DRM versions please pm me. In the meantime I seem to be stuck unless they release stereo IR block. Otherwise I found this entry in the HX Edit manual in the FAQ area.....hilarious.... Can I buy dog food, tequila, or 19th-century expressionist paintings via Marketplace? What? No.
  8. themetallikid

    changing file types .hir > .wav

    right and at the time I was all good with that. But I'm trying to mix IR's into a single file/block use...and I can't cause of the DRM, which I understand....to a point. Unless they come out with a stereo IR block....I hate having to 'burn' my parallel path on 2 IR blocks instead of seperating delays/reverbs. or whatever....
  9. themetallikid

    changing file types .hir > .wav

    Is there a way to do this so I can mix the IR's? I think that is the issue I'm running into at this point.
  10. themetallikid

    Helix Firmware Upgrade 2.8 - Blues :(

    EQ your lollipop wrong and you'll get the new Lawnboy 2.5hp tone...lol. EQ it correctly and you'll get the nice Marshall Chainsaw ready to mow down anything.
  11. themetallikid

    MixIR is really awesome....

    Ok, so I played with both....sorta....in the Valdemar program I can't seem to load my Ownhammer IR's, they are a different filetype and it doesnt recognize them to open....the lancaster one, I can't seem to get the program to load at all....i'm sure I'm just being stupid about it again....
  12. themetallikid

    low cut settings..

    For the Pre/Post Eq's, I will generally keep them the same. My reasoning for that is to set a solid foundation at the beginning, and send a solid spectrum of frequencies to the board on the output. For my 'lead' boosts, I use a combination of EQ/Drive blocks before most my amps. Which drive block changes based on the amp I'm using and how it interacts with the amp feel wise. I have another Parametric EQ setup (leaving the low/high cuts alone this time) and I usually boost somewhere between 800hz-1.5khz to help push the mids before the amp, which are then carried forward throughout the sound. I may boost the mids on the amp a bit more as well, but usually just slamming the front end of the amp with a mid boost into a drive is good enough for rock patches. So typically my chain is: Path A: PEQ - (Drive - Wah) - [PEQ - Drive] - AMP in this line the (Drive - Wah) combo are auto engaged with the EXP Pedal and the [PEQ - Drive] are my lead boost Path B: Speaker IR's - Reverb/Delay - PEQ - Compressor (Sadites LA Comp Style) - Volume - Output Theres some splitting of the IR's into parallel paths and only one of them gets the Reverb which then joins back before the PEQ in the chain. If I remember correctly. I could do that same boost in the 'pre-eq' block, but I haven't experimented to know if I get the same response. I'm sure I would as there usually isn't a lot between the 2 EQ blocks really, except my drive/wah combination.
  13. themetallikid

    low cut settings..

    Yes, I have the Pre EQ as the first block in my chain as it will help 'clean up' the signal's low end for further processing by the blocks down the line. I think I read that the Parametric EQ has the steepest slopes on the low/hi cuts.....which means if you set it to 120hz, it rolls off pretty quickly <120hz. WHere as some of the other style EQ's have a more gradual rolloff, so there is more of the frequencies you are trying to cut out. For the Pre Eq portion I leave the parametric frequencies alone, other than the Low Cut one. in the preset I will again add in the bass to just short of being too much, then in the Post EQ Parametric block, I will add my 120hz spike that I like for some good chunky/percussive palm mutes, and then adjust the low cut there as well....that can range anywhere from 80-200 hz as well. Depends on the amp, but usually I end up around 100-120. It just helps retain the low cut you set earlier in the preset, but allows the amp's bass parameter to do what it should be doing, and then retaming the muddy bass stuff before being pushed out......if that makes sense. I know it sounds counter intuitive, but don't be afraid to (in my case, yours may differ) raise that low cut....as long as it counds good. I have some presets where I do my 120hz spike thing, but have the low cut up closer to 200hz. Bonus trick: this is where the 'looper trick' really helps. Put the looper in the front of your chain, and record something you intend to play through that preset/snapshot.....then as its playing back what you recorded you can edit the preset without having to play, edit, play edit, play edit, etc.....easier to really fine tune the cuts in the EQ's so you can hear them real time with the recorded playing. Once I'm there with that, I'll stop the looper and play and listen to make sure I didn't dial out any sort of 'feel' from the preset. I'm not at home right now, but if you want, I can shoot you a preset I have that's just sort of a template so you can see what I'm explaining.....if not, that's ok too. :)
  14. themetallikid

    low cut settings..

    Yeah I always struggled with flubby bass on some amps until I gave this a try. I read someone on a post explain: To tame flubby bass - Pre EQ To tame ice pick highs- Post EQ I typically will overcut the lows a touch....pre EQ, and then raise the bass parameter to where it gets out of control again, and then back it down to just below freaking out level.....then in my post EQ I use a Parametric EQ and will dial in the specific frequency/Q that I want for the low end. I myself love a very sharp spike at 125hz, however the Helix does 120 or 130, so I add the 120hz in between 0.5 - 2.0db with a really high Q of above 7.0. Adjust it to the amp I'm using and how much chunk I want.
  15. themetallikid

    low cut settings..

    Depending on the amp, it can vary. Also are you Pre-EQing or is this a post EQ. in relation to the Amp Block? I typically will 'low cut' before the amp and my post EQ will be more for high cut. I have low cuts as low as 100hz, but some get close to 200hz. Just depends on the flubbyness of the bass in the amp for me. usually I settle around 150hz and that is now my starting point. if I can't get enough of the right bass reaction in the amp block I'll knock it down or raise it up and then compensate with the Amp block or Post EQ blocks to get me there. Where you are doing the cuts can make a difference.