themetallikid

yeah that's a great endorsement and detail for what I'm looking for. I'll look into that one. Not sure if that model is the same one I was looking at. What kind of range do you see with it, realistically? When I got my Sennheiser I currently have (again, its overkill) I set it up in my dads basement, went out side, walked down the street about 4 houses and when I got back, was told it never dropped out.

Sorry for cross posting, please delete if its out of line...but I posed on the Relay forum for wireless and after 53 views....no responses. I'm having a custom pedalboard built to finish up my live rig. It'll consist of Helix, Digitech Drop, Digitech Freqout, Mission Engineering L6 expression pedal, MXR Talkbox and ultimately a pedal version wireless. I'm looking for wireless options...as the wireless I'm coming from has been rock solid for about 10 years. I like to wander in the clubs we play, and when we play outside I'll go out walking around as well. I've never had a drop out with my Sennheiser....so I'm spoiled in how well it works, but its clearly overkill for the clubs we play (50-300ish most times). It is nice during some outdoor festivals to have the range to go out about 60+ feet and play in front of people though...and Id like to not lose those. So I know L6 makes one, Shure, even Sennheiser....but reviews always leave me questioning my purchase regarding battery life and range. ideas? recommendations?

and it sounds fine? Is it possible one of the split/merge sections has something weird with it. don't remember the options for those.

You've probably already checked this, but if your using stock cabs, with the last update they have a high cut at 8k, seems weird that would give you nothing above 7k though. As that isn't the situation with mine. Is there a different global setting that is on the input that lets you cut it down that far? either on the input block of the preset or globall?

Ok, so I'm coming from a Sennheiser ew172 system that has been rock solid (setup in the basement, walked outside 4 houses down - no dropouts - rock solid). its overkill for what I need, as I mostly play 75-200 person clubs...but I like reliability.....less stress/worry = more fun playing at shows (we, read: I, run out own sound...so lots of stuff going on already). Im about 60/40 in going with a pedal wireless system vs. rack mounted....I have a 2 space rack now with a power strip in one slot that I like, however, I'm probably going to be getting some additional pedals for my Helix and if I can eliminate extra gear for load in/out and setup time. Basically my rig is going to be plug and go....put pedal board down, run my XLR to the board.....done. Run XLR for my mic and monitor......done. run a single power cord to my board and it powers the board and my monitor as well. So in regards to wireless.....what will be my best pedal and rack option? What bugs or issues does each present? I do like ot move around on stage...especially when we have a full time singer, but lately i'm mostly stuck behind a mic, and when I get my chances I wander through the crowds and up on the bars (trashy, but entertaining, I get paid to entertain....no one pays me for my guitar prowess, lol)

while I generally agree with you, my helix is an all in one when it comes to amp tones there are some things it does not do, that would make my life easier (hauling stuff and potentially just make me enjoy the Helix tones even more. Digitech Drop - I could get a variax, sure...but that will cost more than the total of the pedals and such I'm looking at, also will cause additional tweaking time/headaches. All I would really use it for is to simplify shifting down 1/2 step, maybe down a whole step. In a live band context any artifacts will be lost on most of my crowds anyway, and any tone altering can be adjusted for. Also, this would allow me to play one guitar all night, except for breaking a string which I can switch to my backup no issues. This makes my tone creation much simpler as I'm not having to craft presets for different guitar/pickups when I prefer consistency. Also a variax would not solve my next issue of it being tuned to E but outputting an Eb/D tuning structure will not lead to feedback when I want it.....which leads to... Freqout Pedal - This can at least help create the illusion of feedback on those nice long drawn out bends or moments. My band runs direct mostly, so to get my wedge to the point where I can get the feedback I need in spots is hard cause my wedge is blaringly loud compared to other onstage noise. its a simpler, sound efficient solution that again, most my crowd wont even know the difference. Talkbox pedal - Plan and simple, Helix doesn't have one, and most of the 'automated' I've tried just don't do the effect justice. Also, the visual curiousity people have when they see the tube and hear the sound is worth its novelty effect when applied correctly and we play a few songs that feature that sound....or ones that don't and its used creatively. Wireless - I've been looking at the G10 as well, but if I get a pedalboard setup, I'll still need to keep my rack for the power strip aspect more than likely, so I'll probably stick with a rack mounted wireless. This point is debatable for me and may change my approach when searching for power solutions. Guitars - adding these pedals would lighten one guitar from my load times and again allow for more consistency. I'll be able to turn the Drop's loop on/off as needed for songs in those keys, same with the FreqOut, I can have it off on the snapshots that I don't need it and incorporate it when I need it. Talkbox just the same. Leave the talkbox on and incorporate it in one of the loops to allow the Helix Amp sound through the box. I appreciate the concept, but I've done my homework.

very curious to hear this tonight when I get home from practice.

Yeah I just went through and spec'd out what I'd need D x W x H wise and not finding a lot of options initially. I came up with 31"w x 19"d x 5"h (leaves about 1.5" of clearance. Looked just briefly on my phone and I'll definitely have to look into some options and see. Being that I've never run an actual pedal board. I assume that I could install a power strip (if nothing is provided built into the board) to plug the 3 pedals into underneath? and also allow the helix and my powered wedge to run off of?

Yeah that sounds like more than I need, but I'd like to have something all in one including the helix, which would make the footprint much larger.

Ok, I have some clearing in my extra funds account and am looking to add to my Helix rig potentially, but I'll have to do it in pieces. Right now I have the Helix and bring it to my gigs/practices in the Helix backpack. I love it. BUT....I'm needing to replace my Sennheiser wireless, and would like to do a 'pedal' version wireless I believe and that makes me want to look into a pedal board to mount everything to and have an all in one carrying setup. Wants: 1) large enough size to allow an external pedal if I decide I need or want to add one back on the right side. Also allow enough space at the top for potentially adding an external pedal or 2 (thinking possibly a talkbox style pedal, Mimic, Freqout, Digitech Drop). 2) being I'd be getting away from my rack wireless, which also has a power strip in it. I'd need a power source hub of some sort. I've never been a pedalboard guy so not sure what options are there that would allow me to expand in the future with the pedals I mentioned. I also power my powered wedge as a monitor at our shows. So what you using that may fit some needs or get me close and maybe I compromise on some things....Thanks!

your best option is to put a Gain Block wherever before your out to the amp and set it to whatever boost you want. I don't play with external amps but I'd imagine that would be the cleanest boost you could get, unless you like the 0 Drive, ? Level settings of a certain pedal.

yes the helix. I dont do any recording so Ive never listened through my laptop. either headphones or XLR and either the big knob or headphones knob (full Helix) to adjust my overall level.

I simply connect USB cable between the 2 and use headphones when learning songs and jamming at home. If I want to 'move some air', i just run an XLR out to my powered wedge. I control the 'mix' by using the volume on Spotify/Laptop. I'll set my overall volume with the big knob for my guitar volume, then add in spotify as I like.

these last couple of updates have gotten me excited enough that I've researched online how things sound or how they are used. I've never in the past done that (Boss/Fractal units), always just waited, then played around with stuff. But there are some quality names of gear that have been coming through that get me interested in researching prior to the drop date.

I agree, this is no 'small' update with what its bringing. And if they are dropping this much in 2.9, 3.0 is gonna be phonemonal

don't think there is an option to 'view' all setlists. Workaround: Export all the presets in a setlist to separate folders in Windows/Mac OS, and then open up those folders side by side. doesn't help for moving or keeping files neat and tidy, but other than that I don't see how to do it. I suppose you could export one setlist and compare to whats in HX Edit in the other setlist, but still not the easiest workflow.

is there a place I can read some details about what was mentioned in the OP? I keep hearing people talk about details and I don't know where they are getting them.

yeah that's the same process I've been using.

and you did 'import'? not a drag and drop?

Yes, no dice.....tried looking in properties and it shows the name I've resaved them as with my output block notifications. Also tried opening in a different program and doing a save as and it doesnt work either. Disappointing. not a deal breaker, but there must be a way to import the proper name I've saved it as.

For your name suggestion, yes I tried that as well. Tried importing to a new slot, even resaved the IR into a different folder and imported from there. I think the properties name is probably whats up with that. I am adjusting in the IR block, your right they do load at -18db. But my guitar when compared to most of these IR's seems to need the IR output level to be set between -12 and -6db, though there are the extremes of -18 through +6db to match the dry sound. Your 'downchain' comment is exactly why i'm doing what i'm doing. I like my core tones as they are designed...when its 'my' tone I want. But for my cover band, sometimes I want a single coil flavor, or for GNR I want that neck LP sound...while its not pefect, its closer than my EMG sets will get me on their own. So I don't want the different gain structure to my core tones, more so just the elaborate EQ structure.

yeah that thought dawned on me this morning when I left for work. That maybe its reading the file name inside the properties menu instead of the display file name. Meters wouldn't solve my issue. Though they will aid in some leveling, my presets are done fairly well by ear all ready. Where I'm having issues is that if my baseline dry/bypassed guitar signal is at 0.0db and I want to maintain a unity gain when I implement one of the 24 guitar IR's I have, I need to know what the IR (as its been saved/recorded) is doing to the input level it receives vs. the output level its putting out. otherwise the premise of me having consistent core tones/settings is all for nothing if I have to start adjusting the amp/od drives and channel volumes to compensate. Right now the IR's I've found range from -18db to +6.0db to keep my signal strength the same when its bypassed or active. That all affects blocks down the chain. I'm after the guitar/pickup tone, not interested in the 'less output of a single coil'. This is all just how I work, and the approach i'm taking to create tones that will be consistent, and easy to maintain/update when new amps come out or we learn a new song. I can then take my core preset (already volume matched, already dialed in), import it into my Master Songs Setlist under the song title, and update any affects/snapshots (guitar specific IR sound, strat single coil or LP neck position) needed to perform the song live. Export it as a saved copy (noting in my excel sheet what core tone was used on that song. Then when I make a setlist I import the saved song preset and my setlist should also be volume matched cause I started with a solid foundation. If L6 comes out with a new amp that fills a gap for me, I can drop that amp/od whatever into my core tone preset, save it....but then also reference my excel library cheat sheet to see what songs utilize that amp/core tone and copy/paste the amp block into those and import/export as needed. it's been a lot of work up front, but once I have an established library....learning a new song, and creating a balanced preset will take mere minutes and much less tweaking than before for me.

So I'm matching output levels of some IR blocks I have (3Sigma guitar IRs). I'm comparing my dry guitar signal to the IR processed signal and setting the output block to help achieve matching signal level. I'm then renaming the IR files in the method of: PRS 1H 0.0db PRS 3H -3.0db Les Paul 5H +3.0db thus displaying the guitar type, pickup type/position, and where I determined the output level to match unity. I have renamed the files on my cpu....deleted the IR's from my library in Helix, and then tried to reimport them into the same slots...however, they are still displaying the file name as previous as a few minutes ago. Any idea why it wont update the display name? When going through and dropping one of these blocks in, it'd be nice to now where the output level should be on a consistent basis.

I'm the same way, I my go-to is a cab/mic that I'm not even sure what it is. its a 4x12 labeled as 'creamy'. there are others that just seem to move the mic position around that are labelled Aggressive or something descriptive.....Not even sure where I got them, but I love the thick but not muddy sound it gives me. I only use that IR, so that probably explains why I struggle with some of the amps as I know some of the speaker IR's I've tried with some of those 'picky' amps you mentioned just don't sound right. Its amazing to me that some of those iconic amps really work 'well' with only certain speakers. But I agree on the 50% tone thing...there are a few amps I just couldn't get along with, kept trying and trying.....until I change the cab/mic type I couldn't EQ them right. A good IR can help eliminate the need for EQ at times, freeing up signal chain space.

Here is my approach, I have my 'Go-To' IR's in the first slot. I only use one Speaker/Cab IR....it has a sound that I like. I have some 3Sigmas guitar IR's that I have those loaded from Slots 10-25 I think. If I want to audition any additional IR's I'll utilize 50-?? I'll import them, I have a template preset already setup with a signal chain consisting of FX/Amp stuff that I like as a base test tone. I have the Looper Block at the beginning of the chain, so I can Loop a phrase from the tone/song i'm wanting to get....then let the Looper do its thing and repeat the phrase..... as its doing so, I can then focus on the IR block and cycle through the IR slots until I find one that gives me what I need. I'll then copy that IR into slots 2-10 to compare more closely with my 'Go To' IR to see if I like it better or if I want to start utilizing different ones.