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themetallikid

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Everything posted by themetallikid

  1. The answer would be no, sorta. I believe he is asking if you can assign a specific tempo (bpm) to a footswitch. While the basic answer is no, I believe. You could however set the bpm to something generic that works for you. Then change the time parameter to what works for you. If you work with milliseconds then you could assign footswitches to certain timings (500ms, 355ms, etc) or set it to 120bpm at a 1/1 setting, and set up footswitches to change it to 1/2 or 1/8 dotted. However, you can only assign one footswitch to make that change per delay block. So if you had 4 delay times, you would be better off with snapshots making that change rather than 2 delay blocks with 2 footswitches change between which ones are bypassed and which setting. Seems overly confusing.
  2. I think the only way to do this would be to have both delays in the preset (you can't toggle the 'type' of delay), and then a footswitch would alternate the bypass state of each
  3. I could see this as a first stop fix to give you an idea of what to tweak when you do have time. If you boost +6db in the mids, and then sweep the range to find where it sits right. I'd then make note of that boost and frequency you settled on. Maybe you just need to raise the mids in the amp block or even adding a Parametric EQ between Amp/Cab (or post cab if you use the combined block) to apply that Global EQ into each preset then. I would then zero out the global eq and next practice repeat it again if its still not quite there. Thats just how you learn about EQ and what works. I did this at practice on Monday. New amp/IR/effects combos in my presets and I over compensated for my headphones. Had to adjust using the global EQ at practice to make it tolerable. When I hook it up tonight, I have a reference of what I need to add to all my presets to get them where I'm happy.
  4. I 100% agree with what your posting. For me, I'm pretty similar with designing presets and them transferring to FOH. The biggest part, to me, is to know your monitoring situation, and how that compares to the FOH situation. For example, my headphones are a bit boomy or muffled on the high end. If I dial things in to sound good in headphones then its usually pretty thin at FOH for the show. I've learned to accept that if I'm just slightly not happy with the clarity in my sound through headphones, it should translate well to FOH.
  5. Incorrect, my path 1 splits in to A (Essex 30) and B (Revv Red). Those leave as Path 1a and 1b going to 2a and 2b respectively. On path 2, they maintain their seperate lines with seperate IR's. I have the dynamic room reverb on the Revv Red path (2B) which then both path's merge back before going into my Delay/Retro blocks and then the output block. This makes sense. I have limited time being able to hook a live wedge at home, darn apartment living, but could do this sometime this week. Makes sense. Appreciate the info.
  6. I remember reading about that bug you posted about, noted if I go that route. Follow ups: Monitor - Would there be any real difference between doing the Mono out route vs just running the L and R outs to my monitor? It's minimal work to do so...I guess I'm more worried about any weird phasing on the snapshots/presets that utilize that chorus up front pre-amp and when its summed being weird on my end. FOH - I really dont use much for actual stereo seperation like your talking. my delays are only stereo for the sake of keeping the output signal stereo. About the only effect that is stereo I could see would be the chorus pre-amp. I have the Essex 30 on my 'left/top' side and the Revv Red on the 'right/bottom'. The A/B split is 50/50 after the chorus and the output is center panned. If he runs Left/Right channels panned 50% L/R, then the left side would be getting all of that sides amp sound and only a smaller mix of the other side right? I would think that would be not as pleasant as its a less gainier sound. I would think keeping the board center panned would give the best amp sound/mix.... would the chorus when active still give you that thicker sound like he has? I apologize for my newness questions...I get a lot of the individual elements, but as they add up and then reach the board, I get confused on the end result.
  7. I've had great experiences so far with running mono....but wanted to explore running stereo. I get the idea that most the crowd could miss something if they aren't in the right spot. But most the venues I play are small enough that the 'happy zone' should cover most of the crowd, lol. However, I'm having difficulty in my head preparing for what I will hear differently. Looking for some guidance for things I can instruct FOH and expect in my own monitor feed. I run a split amp preset on Path 1 being sent to 2A & 2B, that remains split until post IR where I add my stereo delay (leads mostly) and a stereo Retro Reel. The split on Path 1 is done with a stereo chorus feeding the A/B Split (set to 50/50). First, my monitor - I run into a powered 15" wedge. It has two inputs that I can run my 1/4" outs to, which will help me avoid the sum to mono and any weirdness from that (correct?), however being one speaker..I know I will not get the stereo seperation needed, I just dont want any weird stereo>mono stuff happening by sending one signal. Anything I can be corrected on here? FOH - I'll be sending 2 XLR's. Now the merge block is before the delay/retro reel blocks (those are both stereo blocks) then to a single output. That output is panned in the middle. So when I send the L/R XLR's, are they getting a 100% panned difference? If that is the case, should the sound guy run both L/R board channels in the middle or pan them slightly 30%/50%/100%? I know its whatever makes it sound good, but I dont know how well he is versed with this and want to recommend the best starting point as I'm new at this too. FOH - Question 2 - should I be running to 2 outputs and panning them myself? I wont have enough DSP to add my delay/Retro to both output lines then, but if I did that I could just use mono versions then? as the outputs are panned already right? I have more questions by my mind is tapping out until I hear answers from this.
  8. Do you have a preset that you can share? I run direct to FOH for the last 3 years and my last gig was told by the sound guy that he literally ran my channel flat, and didnt have to touch thing once he got a line level on me. Not saying my stuff is perfect, but it'd be a good reference to compare what your doing verses me EQ wise, as more than likely its Eqing for a live situation vs what sounds good at home.
  9. While this definately is not 'creative', going through my presets and updating the blocks for the show this Friday...I started trying different wahs. Of course this was in a preset that my path 1 is pretty maxed out DSP wise, so after I settled on a wah choice, I had limited OD options. One of those was the Compusive drive. I decided on the blocks below OD > Wah for my presets. I've never tried the conductor wah before. I guess its a model of the Maestro Boomerang from what I could find. Dont know much about that, but it seems to have a more aggressive 'breaking' point between the heel/toe areas. The drive just helps that a touch. In my presets, then, instead of boosting the amp (Wah > OD > Amp) like a traditional....I swapped the wah/od order and just adding a bit more OD gain to the signal. Sounds great in my headphones, we will see at practice tomorrow. STP Wah 2.fav STP Wah Drive 2.fav
  10. Round 2 of tweaking today.... Revisited the preset, played through the song. Turned things on and GO! Played perfectly.... Heard a few things I wanted to tweak. I only adjusted channel volumes of the clean/dirty amps.....and was gonna have another run...and there is the noise again. All the same parameters I outlined in the previous post are present. Makes 0 sense. The USB audio would not be going through the preset or the audio would be f'd up every time you had a distorted sound for your guitar. I'll have to open a case and see what they say. I'm really curious why its only after making tweaks to the preset and the clipping is only on the Spotify audio, nothing with my guitar sound.
  11. Ok, and its back. Exact same scenario as in my OP,exact same song/preset. However... This preset I attached is a brand new preset build. From scratch.....using brand new favorite blocks (I redid my whole STP sound/preset list). We varied our setlist order, this song is now song 18 in our setlist. What has happened? I am again getting a digital clipping/static type sound over the Spotify audio. Here is what changed or changes as I tried to figure out what is causing this: 1) I have worked 2 nights updating my presets for songs 1-17....0 issues. Played along to every song, let every song play as I was editing via HX Edit....0 issues 2) This preset was a fresh build and is even routed/structured different than the original I posted. 3) While it was going on, I bypassed/engaged every block in my preset one by one - no change. 4) While it was going on, I bypassed all of the blocks in the preset - no change. Audio was still clipping 5) I played with the input settings (Gate, In-Z settings), output settings, Path 1>Path 2 settings....nothing changed the audio clipping I'm hearing. 6) I changed Helix presets - Audio is clear as it should be. Back to this preset, clipping/static. Change songs in Spotify, clear as it should be. 7) Here is the damn stranger part. I have played this song a few times this morning, and it was fine. I didnt like something in my clean sound, made a change in the treble/presence/bright settings (maybe a .5 adjustment at most) and saved it and then the issue came back. 8) Again confirmed that changing presets or mp3 songs clears the audio issue. It really seems to be only when I play Fall To Pieces in Spotify and have the Fall To Pieces preset chosen. However, it was working literally the previous 35 minutes while I created this preset. I have 0 clue what is happening, or what fixes this.....super annoying. Good thing its a song I don't really need to practice as I've got it down. But it sucks not being able to practice the mechanics of navigating the performance in real time with the song at home. I agree with Duned, that it seems like it'd be a buffer type issue, however, the previous 2/3 nights I have recreated presets (using the same favorites) across 6-8 presets and had 0 issues. This is song 3 or 4 that worked on this morning. So I dont see how a buffering issue would play out with less information being used in total during my sessions.
  12. I have the resource you mentioned, and I'll have to look into these options and play around a bit. Listened to some clips of that EMB Audio Wah and I think that is the sound I'm gonna aim for.
  13. He did use the Crybaby Rack wah...and as far as I read, I dont think it was modded. I've seen settings he used and I had one for awhile cause I thought Slash did the same thing as he had wah's all over the stage...but I read he didnt use one of those it was something else. I'll have to do some digging and see what I can find. I'm sure there are specs of that Parachute wah somewhere that would give you at least the minimum/maximum of the frequency ranges. It'd be nice to control the Q, but thats where my suggestion of using the Para EQ could come into play, unless we get some additional options in the Wah Block area.
  14. I've asked about that wah on several forums over the years and if I remember right, I believe Slash on the UYI tour and Kirk on the Load/Reload tours (maybe the black album??) were using a Chicago Iron Parachute Wah. I think that's what it was called.
  15. Yeah, I've done that, just playing around, not seriously dialing anything in. I know for awhile I used the Valve Driver OD block in front of the Wah. Just enough gain to boost the signal and add some dirt, but didn't know if anyone else strayed off the path further than me? Or if someone knew how best to implement those boost/drive circuits. I'd love to see a more comprehensive wah section with switches and such like the signature wahs have. Even a signature wah-like name: Symbol Wah (Slash) Money Wah (Dimebag) Metalli-wah (Hammet Rack Cry Baby) Alice/Chain Wah - Alice In Chains (higher/darker queued via a switch) Skydive Wah - Parachute Wah (I think this is what Kirk/Slash used in the 90's on the Use Your Illusion/Black Album tours) etc... I know they are all variations, and the sweep ranges are different, but the additional boosts/drive options would be great. *This by no means I'm unhappy with my current wah settings, but would love to see a more in depth section.
  16. I have to split the blocks (AMP & Cab/IR) usually because together they are too much for either my pre/post paths. Usually I run the top as my Pre section with the amp being the last in line, Path 2 will usually start with an EQ for leads then the Cab and post effects. I think your suggestion would work if I used basic presets overall, but I do a preset per song approach, and to keep my workflows similar and presets looking similar (for easy editing...I dont have to search for where the amp block is...I know where to look in my chain)...its just easier for me. I dont really use stereo at all, other than a chorus occaisionally.....which..... now that I'm thinking about it.... I use the 70's chorus (stereo) to split my signal between two amps. If my paths merge post cab blocks, and there are mono blocks after (maybe a modulation, delay, Retro Reel).....is the stereo chorus doing anything that a mono version wouldnt be doing? I get confused on how that all sums/splits/re-sums etc.
  17. Sorry for the thread spam....slow work day I guess. I seem to remember back in the Boss GT3 days that the wahs in that unit were passable at best, but you could assign a Parametric EQ to the expression pedal and 'create' a wah that was much more vocal and better than the stock wahs. I dont remember specifically how it was done, but its got me curious to try. Just wondering if anyone has tried to create different wah approaches. I know some wahs have a fuzz/OD/Boost function built into them....anyone replicated that? Thinking of the Slash Wah in particular, or ways to mimic the Crybaby Rack Wah setting. I know thats just a 5 band (?) para EQ in the rack brain, but not sure where it would fall in relation to the wah block in the Helix. Could you use a para EQ with static settings to help mimic a better/stronger Q response in the wah at all?
  18. Ok, just thinking out side the box a bit on how to squeeze more goodness out of my black box. Utilizing it mainly as a pre-amp section (Poly Shift, Wah, Comp, maybe an OD or two) depending on the preset could really free up some space in routing in a way. Or even utilizing it for a cab/IR section. Not the best use probably, and maybe there are better/cheaper alternatives, but could also make a decent backup rig in a pinch with some stock presets too. Appreciate the info
  19. I know they are a single processor, but is that processor the same as one of the Helix Floor's? So even with less blocks in that path the DSP would be the same? Debating about picking one up to sublet some of my blocks in presets that could be switched on/off and inserted into the chain via FX Send/Return. How is the hiss/noise floor between them? I know when I had a pedal in the loop before it was quite noisy.
  20. Here are two presets, Dead and Bloated is the first song we start with...so I noticed it right away. Dead and Bloated - THe first snapshot is the main sound, and I go to snapshot 2 for the chorus of the song. That is where the 70's chorus kicks in. In this preset the 70's chorus is the first block in the path, but there is something weird when I turn it on. Sin/Plush - This preset has 3 snapshots really. Snapshots 1 and 4 are the same sound, snapshots 2/5 are the same sound, just labelled differently cause we combine these songs. But 1/4 are the ones with the chorus. Snapshots 2/5 have boost before the amp and also lose the IR at the beginning. But this preset is one of the few where the chorus is used and its not the first block. Sin _ Plush.hlx Dead and Bloated.hlx
  21. Yes the dumbed-down version of the preset (core sound) comes from: 70's stereo chorus > Split Block > >Path A > Ventoux Amp block > Mesa EQ > Cab Block >Path B > Rockerverb Amp block > Mesa EQ > Cab Block > Merge Block > Output The split/merge blocks are left stock, I do not set standard mixes there at all. The Rockerverb is the more prominent of the amp sounds, the Ventoux is there just to had some bite/clarity on the high end notes. I'll post the one of the presets tonight.
  22. interesting.... I've thought about swapping to a different chorus. I'll have to experiment with what you say. I have presets where its first and others where its not. I'll have to check that as well. appreciate the information
  23. I will attach it tonight. Could be related, however wouldnt the 70's chorus have to be first in my chain anyway for this to be the issue? Its most times 2nd or 3rd. I'm thinking this is whats happening. As its not just a loss of 'girth' as I call it, it seems to wash out the clarity a bit. I know how chorus works, and I get that it will have somewhat that effect anyway on a distorted/dual amp type tone, but its almost like the tone was put in a box and the girthier lows and clarity highs chopped off. Its not a horrible tone, its just different than applying chorus to the tone thats there without it. I noticed it before when I had the mix only around 30% but to get a more drastic chorus tone I raised it to around 50% and it was much more prominent. So my brain cant figure out if that is natural for that sound or if because of the split amp thing if its causing issues otherwise that I dont understand.
  24. As the title reads..... you're thinking 'Duh!' right? However, not having real world or geeky type knowledge of things makes me wonder if I'm doing something 'wrong' or if this is just a byproduct of this effect. I'm using the 70's chorus in classic mode to stereo split my signal into a dual amp sound. Path A is a lower gain amp for clarity and Path B is a thicker gainier type sound for the girth. When the chorus us bypassed I'm happy with the tone. When the chorus is active, I'm happy with the the amount of chorus I'm getting....however I seem to lose quite a bit of the 'girth'. My question for the more knowledge peeps here... 1) Is this just natural of how the chorus is being used? 2) Is this a result of the chorus being stereo, and maybe some sort of phasing when the paths join back up after the cabs? 3) Is there possibly something I'm doing wrong? I know there isnt really a 'wrong', however maybe something I'm doing that is losing part of the sound I had when its bypassed.
  25. I'm not sure if you read both my posts, but the blocks in this preset, are saved favorites that are used in my other 24 presets for this project. They all sound fine in the those presets. Also it doesn't change or stop regardless of which snapshot I have engaged, and the static is on the actual Spotify audio, not my preset's sound. Again, the static goes away from the Spotify audio when I change presets to any other STP preset, it comes back when I come back to Fall To pieces. I can stop the Spotify audio and it goes away and my guitar sounds fine. But again, it was fine this morning, Saturday night was not the first time this situation came up between Spotify/preset static.
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