themetallikid

"However, it sounds like you want to keep the preset amps rather uniform? Is this for cutting and pasting possibilities?" - yes... I typically have to take my 'Crunch' preset and then add my clean blocks in as needed to get that sound for the song. and when I do, the amp levels do not match my single amp presets. The settings are the same, but there is a noticeable output difference. So single amp channel volume may be at 5.0, but to match volumes with a dual amp preset it might have to be 7.6 for the dirty amp. However (my other question I asked if its uniform across all amp models) is that for my clean it might be a difference of 5.0/8.7. so its hard to consistently know which amp/setting needs to be where when its copied pasted. If I could adjust the volume matching somewhere else that makes sense it would make tweaking later when I hear something that's off easier than having to decipher the ch volumes

Your right it does...However I usually don't have enough horizontal blocks in 1A to be able to accomplish that (on most presets, on some I can, but then again, I run into the OCD inconsistency of presets needing to be set to different levels to be 'matched, which I'm trying to avoid to simplify tweaking to smooth out things I hear live). I may be able to utilize the 1-2 spaces I have (horizontally) on paths 1-2A and spread it out, but I honestly don't think its an approach I can apply over all 60+ presets I have. The ones that I run into this issue the most are going to be songs like Every Rose-Poison, Crazy Train-Ozzy, Slither-Velvet Revolver. 3 different scenarios where utilizing the '1B' path is necessary for different reasons. Every Rose - Clean/Gritty/Crunch/Lead tones all needed (use 2 amps, each with their own OD in front to take the Clean/Dirty amps to the next level), Crazy Train - I have duplicates of my lead blocks (OD/Script Phase/EQ) one set for my Lead Snapshot and one set attached to a Momentary Stomp, Slither is a similar issue to Crazy Train, I have a stomp attached to all my lead block additions, as well as another set attached to my Exp pedal/Wah as the whole solo is utilizing the wah. (on that note, my wah is actually 2 blocks....OD-Valve Drive/Wah simultaneously as it just makes the wah that much more aggressive sounding). So I get in most peoples setups your scenario makes sense and all...but for me to take the single amp versions I have as my core presets and implement them into Song specific ones and need to rematch volume from the signal splits...it doesn't work for me. I just need to know that if my core presets have the channel volumes on say 5.0, when I make a dual path and split the signal to an A/B path...how do I compensate and where so that when I hear something that needs to be adjusted live, its easier to know that my amp should be on 5.0 (or whatever that amp is set to) as opposed to 2 different numbers. I know its complicated to ask, but it should be a simple answer.

no help? I'm really just looking for how to compensate best when I split a preset into two paths....so that I can just drop in my amps and then adjust somewhere else to get it back to matching the single amp presets.

Ok, so I have about 6 'core' sounds and their lead counterparts I'm happy with. I much prefer to run my shows using a Song/preset with snapshots making any changes for parts of songs. Core presets are great for random audibles on stage I don't have a preset for or learning songs. However, of course some songs require a Clean/Dirty arrangement, which I usually will setup on Path 1A & 1B. But this brings a few questions that I seem to have been able to self teach how to get around...however I want to know I'm doing it the 'right' way or maybe I can do something more efficient. 1) The split point when created starts as a crossover, which I change to the A/B split, and then pan 100% towards whichever amp I want on that snapshot, usually clean>A, dirty>B, then they rejoin (no changes made here). 2) My core presets are balanced nice between them, however when I create the dual presets I get different volumes which need to be adjusted to match the single amp presets. Now, there are a few questions I have under this topic... 2a) I assume that the 'Channel Volume' creates the same increases/decreases across all amp models. So the difference in changing from 3-5, is the same output difference as 5-7....on all amp models. Now I understand (please don't me up on this point) that gain structure/Master volume and such will affect possibly the loudness of the amp block at different Channel Volume settings. I have some amps that are loud at 5.5, and some that have to be near 9 to be equal....I get that part. But looking to verify, that if I move one amp from 3-5, that the other amp could be moved 5-7, and it would be the same or is that getting messed with the equation of the gain/master settings? 2b) Is there a 'standard' adjustment I should make when splitting my signal to keep the preset volume equal to the other presets and retain my mix between amp types? If I have clean at 6.5, and dirty at 7.5....can I move both up 1.5 notches to 8/9 respectively to keep the same mix, but just raise the preset volume? 2c) if 2b is applicable, is there a way to do this at the split or return points so I can keep the amp blocks at the same levels as the singular amp preset settings. That way when I have to adjustments or tweak things I don't have the same amp at potential 2 or more channel volume settings and get confused. This is where I start to go mad over time. I hear things I don't like and I tweak one songs settings, but then that amp doesn't match other presets that have the same amp sound and then my volumes start to get out of whack as I make adjustments and I ultimately start over in frustration. So if I can keep the channel volumes the same and adjust it elsewhere or make a uniform adjustment on each amp type for single/dual presets then I'd like t know how. Thank you for your time, you gurus are always great.

Can you just use the Pitch Block, shifted down -12, adjust the mix to taste. You'll wanna play the riff in the higher notes then and let the pitch do the lower one (that sounds better to my ears) I'd put it first in the chain, but use your own judgement with what sounds good.

Sounds like maybe my issues I had with the LT expression pedal. Search my threads and see if it compares. In regards to the lighting on the LT in dark stages....do you have your buttons set to 'dim/bright'? as opposed to 'off/on' (forget the exact name in global settings)

download a audio db meter on a smartphone, it'll vary in your proximity to the source and all...but still useful at best. Best thing is what was mentioned that I did, set volume knob to max, and readjust the output block setting to compensate what you need. Takes they physical knob guessing out of it.

I've done this, different approach, unless I read something wrong. I like my whammy to be auto engage on Exp 1, as having to click the whammy throws off my timing. So EXP 1 Whammy, auto engage at 97% (toe down off). I dont mind clicking to activate the wah (like regular wah) so I assign this to be controlled by Exp 2. I also setup the toe switch to trigger the bypass state of the Whammy/Wah together, and just make sure that the wah is set to off and the whammy on, then save the preset. When you call it up, you should have access to the whammy, then click the wah on, click the wah off and the whammy effect will return in the its auto engage 'off' status. I have a few presets like this....or sometimes if I need a wah for a rhythm part (Enter Sandman Intro) but also use the wah for the whole lead part (Enter Sandman Solo), I'll use two wah blocks the same way. First one is auto engage at 97% toe down = off. Thats for the clean wah during the intro, then when I click the toe switch, it will activate the 2nd Wah (also paired with the valve drive to give some more expression/bite to the wah) and also my drive/delay/volume boost blocks to boost my solo as well. Same concept.

I had 2 ME pedals, but sold them when I could not resolve my original expression pedal issues with my first/second LT...I'll consider that option as well though...I really dont need more than one expression pedal however.

I see what your saying JWS....basically what my guitar player was suggesting, but using the 3m hooks is a less permanent solution and removable to still use the Helix pack.... I'll have to look into that. Cruisin....yes I agree, physics will never lose a battle... and I'm not coming down too much off center to the pedal, but the way my leg is angled out, when I put any weight on it, it it is pushing towards the arc'd side of the helix not on the rubber feet underneath.

All you smart/creative people may be able to help. My buddy had a solution, but I'd prefer to not go that route as it wont work with the Helix backpack I'm afraid. So I've noticed that while I sing and play at the same time, I position my Helix not directly in front of me but more to the side/front. Think of a clock, my mic stand comes from the left side about 10-11:00 and my helix is on the right about 1-2:00, but rotated so there is sort of a semi-circle around my feet. it makes it much easier to sing, and see the buttons for switching if I'm not trying to look around a mic or under my guitar essentially. HOWEVER...I've noticed a few times when I try to use the wah and I'm laying a good solo down, sometimes I'll put a bit too much weight to the outside of my foot and will actually 'roll' the helix a bit to the right, lifting the left edge off the ground for a split second. This was a concern when I saw that the bottom plate of the Full helix was different than the LT's more square shape. My buddy suggested just mounting a plate to the bottom, but I'm afraid that would tear the Helix pack or not make it fit right... Any creative ideas how to solve that from happening?

If you scour the forum quite a bit, you can find lots of free IR's and free presets (some just amps some full presets). A lot will have to do with your monitoring situation, and your gear you play through with it as those are variables that will dramatically affect the end result of any preset you download. Of course you can pay for presets and IRs as well, I haven't really liked a lot of the paid presets I bought, but I do typically retain the presets for referrals back if I like a certain amp sound or something. With the Boss series (I came from there and Fractals) you can save your amp settings as a 'user' setting. THe Helix can't, but I hope it will someday....but what I have done is create a 'setlist' where I save presets that I like certain things on and then rename them. So if I find a David Gilmourish style amp sound, but I don't like the rest of the preset, I will save it as David Gilmour OD or something as a reference for when I want to create my own stuff to save time.

on an added note, I generally have my presets pretty well dialed in volume-matching wise, there are occasionally the random ones that fly under the radar...and looking to try and control those in the simplest matter quickly. Once I trust everything live is good, i probably wouldnt need it.

I didnt see a way to do this in HX Edit, maybe im not thinking outside the box enough.... In my Fractal years ago, on my midi footcontroller I could assign 2 buttons to function as 'stomps' (to use Helix language) that would allow me to increase/decrease the 'Master Preset Volume'. I think this can be done with the Helix's 'on the fly' editing, but its a few too many buttons for me to try and think/play/sing/edit at once. I'd rather just pause for 3 seconds and do it manually (thank you Helix for being that easy to adjust by hand).... ...However, I was thinking how Stomps are used, is there a way to assign a stomp to my Lead Boost Gain block at the end or the Master preset volume in the output and assign a button each for increase/decrease?

I've been fighting my own input signal issues, but wonder if turning the pad on would help as well. Is there a way to find typical JC120 settings that someone would use on the real Amp? I know that is a fave of Metallica's clean tones....I'm curious where the gain knob is on the real thing for those tones vs where I have it set. I definitely have 'headroom' to turn the gain up if I put the pad on....I just typically leave it off and keep the gain lower. I do like the 'tone' on the crunchier presets with the pad on, but the amps tend to lose some of their bite then.

I apologize, there is just more traffic here than over on the wireless forum... Considering the G10S, however I'm worried about how the transmitter plugs into the guitar for a couple reasons: 1) Does it get in the way when moving around on stage? I'm worried about breaking it off or it becoming 'loose' and dangling/swinging around.... 2) I've read about issues with wireless's not playing nice with EMG/Active pickups....I don't know much about that, but it was all the talk with the Boss wireless that came out awhile back....does that concern apply here? I never considered it when I bought my last wireless Sennheiser EW172 (about 10 years ago) 3) Is it worth going up to the G50 if I want the battery pack...what else would I really be gaining? Thanks in advance...I've recently determined that my Sennheiser is killing my input signal and affecting how I dial patches in on my Helix

Considering the G10S, however I'm worried about how the transmitter plugs into the guitar for a couple reasons: 1) Does it get in the way when moving around on stage? I'm worried about breaking it off or it becoming 'loose' and dangling/swinging around.... 2) I've read about issues with wireless's not playing nice with EMG/Active pickups....I don't know much about that, but it was all the talk with the Boss wireless that came out awhile back....does that concern apply here? I never considered it when I bought my last wireless Sennheiser EW172 (about 10 years ago) 3) Is it worth going up to the G50 if I want the battery pack...what else would I really be gaining? Thanks in advance...I've recently determined that my Sennheiser is killing my input signal and affecting how I dial patches in on my Helix

Yeah I think I've found that trick as well, I (for myself) like a very narrow boost at 125hz (helix only has 120 available, but it works)....but to counter act some of that boomyness I do usually usually find something between 300-450 depending on the amp/cab combination.

hooked up to the mixer...into the EV Wedge...and it sounded great....for the sake of creating my patches I took the mixer out of the equation and actually lost some low end lol....not enough to matter. In the mixer I had the low cut on my channel just to help clean up the boomyness of the guitar...the frequency was at 95, but there is some rolloff above that frequency a touch and it sounded good there. Im thinking the loss of low end may be from using the Low/Hi cuts on the IR blocks as opposed to a PEQ block as I think those have the steepest slope....so I may just have to tweak them a bit to get the same response I had before....but that saves me an EQ block as well.

yeah I went over last night and plugged in direct to main speakers and it sounded pretty exact to my EV wedge, so once I get some time later today, going to hook up to Xair mixer and from there into my wedge and see how it sounds....that should be the final piece of the puzzle...we'll see.

ugh so annoying, please nevermind I'm 6 beers in, lol....but I plugged in and our new speakers sounded exactly like they should have....so...that only leaves the Xair18 mixer as a culprit or my ears....which its looking more and more like my ears that night.....although logical, its annoying, lol.

Yeah I agree...we really have tried to not 'abuse' the abilities of each channel, on every channel. We have some stuff setup for the drums/bass channels to help them punch and not 'ring' where they shouldnt. But both me and the other guitar player run direct with stuff, and he needs to adjust his a touch as well, but his seemed more ballpark than mine did. The Xair series allows for presets to be applied per channel, but I have left our channels for guitar 'naked' if you will. I only used them as a template on the channels that need it. The ones I went with were ones from a soundguy that runs at the Whiskey in LA, so I figure they probably know what they are doing, lol. It was a great starting point, but we still had to adapt to all the variables that we add at the input stage. Anyway, sounds like I'm heading over to his place tonight to spend about 20 min testing my EQ Snapshots out....We'll see. Thanks for the help Duned, CHeers as always.

Yea the bass coupling effect is something i'm 'aware' of, and thats something i've accounted for with the 'current' PA situation....I do have an extra pole stand here at home, maybe I should get that setup and mount the speaker...maybe that will help. I've always just mentally adjusted where the tone needed to be....but it makes sense. I'm hoping to take my helix over to my guitar players house and set it up to run through those presets I setup with the EQ Snapshots to see what makes sense.....but I agree with your other post about they should be pretty in the ballpark of each other and shouldnt need to much additional tweaking. The only other factor I can't really A/B test is the difference between the mixer channels (like I mentioned)...I can't imagine the mixer preamps between the x32 and xair 18 would be that much different they would sound that drastically different....but thats the only variables I can't experiment with. I'm sure I can find settings to get where I need, but was just shocked between what I heard and what I thought I'd hear. With setting everyone else up though, I'm sure I was mentally distracted and maybe not listening fully too....who knows.

Yes, our configuration in the new PA will be a powered top/sub on each side, with a pole between them. The ELX is being setup as full range (no sub), that is really the only option I have with it. Our PA consists of the DSR115/DSR118w per side. There is a contour switch, but it is not on.

I think one point you missed Duned is that my 'soon to be' past sound guy was running the Behringer X32 mixer, we are running the smaller Xair 18. Basically the same thing, just some minor differences we shouldnt run into. The wedge I have at home is the EV ELX 115p, i've been using this as a vocal monitor, and made a swap with him for my IEM's as i could not survive with the IEM's and my guitar. I need that 'live' sound.... I believe the tops we are using are a pair of Yamaha's....I'll have to ask the other guitar player tomorrow.... right now I'm reeling from another disappointing night of bowling....damn hobbies