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Posts posted by Axxxeman

  1. Well, I am no expert, but I heard that it is possible to set an EQ in a way that a standard recording is turned into a karaoke version by just filtering out the voices' frequencies. If this is possible, filtering out deep notes should be possible, too, shouldn't it? I just have no idea how to set an EQ like this ...

  2. Folks, I got a special problem. I am a guitarist (mostly rhythm guitar) and since several months our band cannot find a good bassist. I am considering the following idea:

    • signal path A should go by 4cm into the amp (standard guitar amp)
    • signal path B is used to produce a bass sound (octaver, compressor, bass amp simulation --> directly into FOH)

    Problem is: I would want only the low notes of the guitar going into the bass signal path to not mudden the bass sound up. So I would need some filter that is letting through only the notes I play on the low E- and A-string in the range of little more than an octave. Meaning, every note that is played, that is higher than let's say f# should be filtered out. So I still could play chords, while signal path B would only process single line bass notes. That's about the idea.


    My question is: Can that be realized with a Helix and if so ... HOW?


  3. 12 minutes ago, HonestOpinion said:


    Glad you got this figured out! You can happily mark this topic solved. Now that you mention it I have had similar issues pop up where, for example, after examination it turned out there was a critical EQ block bypassed in only one snapshot within a preset that never seemed to sound as good as the rest of the snapshots. This will be helpful to someone else if this sort of scenario pops up again.

    Glad, you tell me. I was already looking for a possibility to mark it as solved, I just can't find one. Seems well hidden. Can you tell me, where this option can be found?

  4. Okay, here is the pic ... AND the solution. With a hint from the facebook group I found the problem: The A/B-switch was - on some snapshots - set to "off". I never would have thought that you can bypass the switch at all, because the bypass option here is completely illogical. Bypassing has the same effect as "A/B even" and is therefore not needed. I must have hit the bypass button accidently and so deactivated the path switch. Problem is, you hardly can see the difference onscreen :-/.


    Well now it is working exactly as intended. Thanks for all your comments and help!


    • Upvote 1

  5. Well, I have set it on "discard", because I tend to fool around with my snapshots and don't want the result saved most of the time. So I got used to use the "save"-button many, many times when editing. I doublechecked, that every snapshot was saved manually and permanently, when having a better result than before. After each saving I even go back to snapshot 1 and save again even without having changed anything, to make sure that the preset starts with snapshot 1. So I am pretty sure, that this error possibility can be ruled out.

  6. Thank you for your suggestion. Unfortunately it opens new questions for someone like me, who is definitely not a Helix nerd:

    • How can a parameter, which is explicitely programmed, NOT be in the snapshot, when saved? How can I check / correct this problem?
    • How can this special parameter show up correctly in the Helix' display, but the sound output comes out differently?
    • How could it be possible, that a snapshot works correctly when used for the first time (1-2-3) and falsely, when used after a different snapshot (1-2-3-2)??? I understand that it could be a problem of initialization, but how to diagnose this?

  7. Just now, phil_m said:

    I'm going to need some photographic help for this one. Can you put a screenshot of your preset up, or even just upload your preset? I get lost in these long text descriptions of stuff like this.


    Unfortunately not or not yet. Problem is, that the HELIX is located in our rehearsal room. Due to my absence from town I will not have access to it for a while. Unfortunately my settings can be programmed and tested only with the PA and amp at hand, so I have it rarely at home. I'll try to get to it within a week.

  8. On 14.4.2018 at 2:36 PM, Verne-Bunsen said:

    I’m not sure if you are interested in out-board gear, but that sound is exactly what the Earthquaker Devices Rainbow Machine  does:


    Yep, that's the effect, nice find. But meanwhile - see statement above - I have found the solution within the Helix without using an external pedal. Thanks a lot!

  9. Dear Helix (floor) experts, I need your help, having an issue on the A/B-switch.

    I'll describe my setup first: I am using the helix (2.53) in dual mode: 1 signal path goes usually directly into FOH, the other one is used to feed my amp by 4-cable-method (4CM). That gives a nice, fat sound, like 3 rhythm guitarists playing unisono. In my setlist I use a preset for every single song we play and do the in-song-changing (amp channel and master volume [MIDI], FX etc.) with snapshots.


    Task & solution:
    I am supposed to play the opener and I have 3 signal paths planned for this to get huge, spacey sounds out of my guitar and helix. One (path 2) is used for a synthesizer pad sound (no guitar signal in) by 3 OSC synth (XLR out into FOH). This one should not concern us anymore, works exactly as it should. The other signal path 1 (guitar input) is split up (A/B switch): Path 1A (above) is feeding the signal into a FX chain, the output goes directly into FOH (XLR left/right). Works fine, too. Path 1B of this signal path is going by SEND/RETURN 1 and some FX into my amp (1/4" out). This one works as well.

    The 4 snapshots and their sequence would be:

    • 1: start with path 1A (FX - A/B switch = [A100%] - of course, with the brackets!!)
    • 2: add path 2 (synth pad - identical to snapshot 1, just turning on the 3 OSC synth)
    • 3: add path 1B (amp - identical to snapshot 2, just A/B switch turned to [even])
    • 4: finishing the opener with just path 1B active (only amp, nothing else - like snapshot 1, just with A/B switch adjusted to [B100%]).


    The problem:
    Helix does not seem to be consistent with this A/B switch. It all works as intended until I get to reach snapshot 3. Once the A/B-switch has changed to [A/B even], it won't accept any other setting anymore (exception: snapshot 1). Means, it stays on [even], ignoring the individual path programming in snapshot 2 and 4. The display DOES show the original programming, but the DSP is simply ignoring it.


    Anyone got any idea, what exactly is the problem behind this and how it can be solved??? I am really puzzled here ...

  10. Why bother? Set your sounds as you love them and it's the technician's job to fit it into the band's overall sound with the mixer's EQ. IF he knows, what he's doing, you'll be fine. You have no real chance to adapt your sound blindly to a band, you cannot hear and to a room full of people, whose acoustic you don't know. All you can do, if you have lots of time for sound check, is, to adapt your sound with the help of the general EQ in the Helix.

  11. I am pretty sure that Line6 will never deliver an amp simulation of the famous Deaky amp, which was constructed by John Deacon from crap found in the bin and used by Brian May for his special violin-like sounds. But has anyone found a way to get a comparable sound with equalizer, compressor etc. within the Helix?

  12. Our band has a PA from the 70ies and the Helix does sound crap, surely due to a passive frequency filter. A man who knows what he's doing on the parametric EQ might be able to cure it, but I tried in vain so far. Problem might not come up with modern PA, but then on the other side, it just might ... It all depends on the man on the mixer, so: do you trust him?? I would at least bring along the tube amp in case that the results are suboptimal.

    XLR is the cable of the soundman's choice. Go in stereo for all the options available. If the FOH mixdown will be in mono, no harm done.

  13. Meanwhile I found a solution that comes pretty close to the intended effect. First I didn't see it, because it's "hidden" exclusively in the stereo section of the Pitch/Synth effect list. As user who mainly goes by 4CM directly into an amp, I am used to the mono part only ...

    All I had to do, is opening a second signal line with output XLR from which cables run directly into the mixer. In this line there are just 2 effects: Pitch/Synth - 3 OSC Synth and a compressor. I had to fool around a bit with the OSC settings but now I got a real fat sound by doubling the guitar strumming with a kinda syntheziser sound. Cool!


    I would have marked this question as answered, but could not find the option, how to do this ...

  14. Feedback could be related to the guitar (as I write this, I realize.. duh)... Unpotted pickups will feedback on pretty much on command, or all the time depending on stage volume... It's all about the volume and sympathetic vibration of the strings at natural frequencies.

    Exactly my thoughts. But it's obviously just a theory. I am using the Brian May guitar on this one and I know no other guitar which goes so fast into controlled feedback as this one does, even with low amp volume. So changing the guitar won't help. Raising the stage volume? Well, we ARE one of the loudest bands I know (because our drummer plays very hard and he has a GIANT drumset). Raising the volume even more just would strike us all def like the leppard. The core of the problem lies probably in the harmonized frequencies that may not be considered "natural" by the pickup ... So I get no feedback which is essential for what Brian does. Wonder, how he does it. This guy is a fu...ing genius ...


    Edit: I just wanted to give you a positive rating, but my fingers seem to be too thick and the forum engin interpreted it as negative :o Sooo sorry!!!!! No undo seems possible

  15. Exactly my problem with the Marshall JVM410H, even if I still have no idea, whether the reason for the hum is the same one as in your case. I am using 2 noise gates in the signal chain, one at the input (general settings) and one in the S/R path of the amp, but with much lower treshold (about 20) on the second one. I got something close to silence now but at the prize that now I can forget dynamic playing :-(. With your solution that should be still possible. I'm going to test it right away ... Thanks so far for sharing your experiences!!

  16. I know that Helix SHOULD be able to do this ... just can't work it out by myself ...
    I am preparing a Brian May tribute that should be opener to my band's show. And I would love to start with something close to the sounds, Brian May came up with and which up to now, nowone I know was able to copy. It is these sound games that start in this video at about 2:40 ...


    In the 80ies I had the luck to meet Brian himself and ask him, how he did this and he answered: with an Eventide Harmonizer, whose output was going directly into the PA (NOT into his AC-30s!). Well, obviously there's more to this. For instance he seems to do some pitch shifting with a pedal and there seems to be a decent portion of delay included either.

    All of this equipment IS included in the helix, the delay, the eventide and the possibility to separate the signal and route it through a special output going directly to the FOH mix ... Still I can't work it out how to even get close to this sound. One problem that baffles me is for instance: how does Brian get a feedback without using his AC-30s?? Whenever I am playing the HELIX directly over FOH with monitors I NEVER get any feedback at all ... And mind, he's doing it live as well, not only in studio.

    Any help here would highly be appreciated.

  17. Helix-folks, I need some inspiration, maybe one of you experts can help me. On a song we play, there is some 1-note-strumming (like taka-taka-taka-taka ...) I play now on electric guitar.

    I would like to double it up with a kind of minimoog sound (like in this version of Hush). Of course I do not want a real synth sound, but something close to it. It should be an octave lower and alienated in a way to resemble that sound of a mini-moog. The general idea would be a split signal with this kinda-minimoog-sound going by XLR directly into the PA (the "real" signal goes by 4CM into my tube amp).

    Is this possible with a helix? What knobs have to be turned to achieve this?


  18. I was testing the Helix through PA and, so sorry, it is not the same thing as running a tube amp. For one thing: with thebgain of my Marshall every note immediately starts to "sing" (controlled feedback). In the same volume with a Helix nor by PA speakers (FOH), neither with monitor, I can get any feedback at all. It's simply not the same ...

  19. Update on the issue: the Marshall JVM410H has a defect serial loop, which I verified with the testing method, described by RicksterUK and - to be sure - by cables in the S/R-Loops that led nowhere. So I could be sure that the sound coming was not a rest signal running through the turned-off Helix. The amp is heading back to Marshall now. I really do hope that this will solve the problem. The dealer said, it might not, because this special head amp was highly overbred for gain and too much gain could as well be part of the problem ... I will report once I got the amp back.


    You could test your Marshall for this by plugging the guitar into the front of the amp and then running the Marshall's Series/Parallel at 100% with Helix in the loop - but turned off so that no signal comes through Helix.  Then if you can hear any sound through the Marshall you know there is a leakage.



    Ah, good idea. I'll try that first thing next time in rehearsal room. And if there is a leakage, might that eventually be a reason for a  repairing by Marshall on warranty? Anyone with experience in this field?


    And if there is no leakage ... what else could be the possible reason for such a strange feedback loop?


    Once you've decided on how to plug it all in - the next step is setting levels.  Choosing instrument / line level on Helix and -10/+4 on the Marshall, as well as setting the send and return block levels in Helix so that the overall signal level / gain through the Marshall remains exactly the same as it was before adding Helix.  I can talk you through this if you need help. 



    That's very nice from you. When I finally get rid of the main problem and I do not succeed to get the levels straight myself, this will surely help. Thank you!



    I do not own a 410h, but have used cable. I would used the serial only loop on the 410 set at -10. Use a single send/return block. Be sure mix is set to 100%.


    Always start with a blank preset in the Helix. Just some thoughts


    All of this I have already done / tried. So far in vain unfortunately ... Thanks! :-)

  21. Dear Spikey, it's not about volume or at least not about volume alone. On stage / in rehearsal room I have "my" space that extends from my amp a few feet from the drummers right hand side (seen from the audience) to the center of the stage. I will have a monitor box directly in front of my Helix and my mic. One only, we are no pros. If I do not want to be stuck there, I need to hear myself in "my" other areas, too. That job will be done my the amp. BTW, live we use full stacks each. One speaker box sends out my own signal, the other one comes from the other guitarist's amp (who has the same setup on his side beside the bass amp. This way it works great. And volume cannot be sooo high on monitor speakers on stage for avoiding microphone feedback. If I could hear me only by the monitor box, it would be a pretty stationary gig ...  ;)  Maybe, one day, with in-ear-monitoring ...  B)


     It's ok bud, but I still believe you are incorrect about not being a pro unless you have a tube amp on stage.



    You might be surprised, but I don't think that way. Modelling WILL become accepted live in the same way as it is now in the studio. Still I don't think that it will take a little bit time until this will be mainstream. "Pro" to me does not depend on what equipment you use, but how good you succeed to entertain your audience. Not less, no more. Still I always will come back to my own experience:

    • I want my tube amp in my back for practicability. (AND sound reasons - I am so happy with my Marshall's sound) reasons
    • All concerts I heard so far from bands without a classical backline had a bad sound, at least a bad FOH sound. This might have reasons that are way beyond the question of backline or not, but ... suspicion stays on ...  B)

    Well, thanks for your compliment on my "language", but it is partly leo.org ... and I did by far not understand all you were stating, because leo does not know all of your expressions. But I definetely DID understand "PEACE"! So I say, too. What a great complete agreement  :lol: