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Heavyville

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Posts posted by Heavyville

  1. I don't know the answer, but I heard they are working on being able to hit a button and it will order your pizza and change videos on youtube.... 

    still waiting for beer button announcement.   3.0 maybe...

     

    why not buy one from one of those fancy american music stores, try it out, if you don't like it, return it...

  2. Dirty Shirley sounds like a cannabis strain name....i like it.     but, isn't dirty shirley associated with Friedman amps?

     

    Single Channel - 40 Watts - Handwired;

    Dave Friedman’s Dirty Shirley open-back 1×12” combo was designed for guitarists that want a Vintage Classic Rock tone inspired by British tube amps from the 60’s and 70’s.

    It is based on a modified JTM 45 but still delivers the signature high gain tone for which Friedman is best known. The Dirty Shirley is a 40-watt, 5881 powered, single channel amp that will give you that vintage crunch and also clean up nicely by merely backing off the guitar’s volume knob. Extremely versatile, it is capable of producing many styles of music from blues to rock and country by just adjusting the gain and master controls.

    This handcrafted in the USA combo utilizes tongue and groove Baltic Birch construction and houses a 16 ohm, 12” Celestion G12M Creamback speaker that deliver the bass, mid response and signature sound you would expect from a Friedman amplifier.

    The Dirty Shirley 1×12 combo was designed to take pedal and loves boosts, OD’s, phasers, flangers, tremolos and wahs, while the brand new ultra-transparent series effects loop handles your time-based effects pedals and rack units. The Dirty Shirley from Friedman Amplification, a real screamer that fits in your backseat!

  3. Not to hijack this thread....

    If your into IR's, get Mikko and be done with it.    Every IR or stock cab I was using got blown out of the water once I made IR's for my patches.   

    stock cabs are nothing compared to Mikko generated IRs IF you know what you are doing.   IMHO....

     

    Of course there are those that may be completely happy with stock cabs and IRs.  and that's totally awesome and respect that. 

     

     

     

    I made my IR's by sending my signal out of the helix into Logic with no IR/Cab block.   Then I insert Mikko as the plugin and dial away until I get the tone that cuts in the mix the right way. 

    I always have a mix going when I'm dialing in.     Cabs make a bigger difference to tone than switching out between amps imo.   Once i'm happy with the IR, i save, export and import into the helix and apply it to the patch.   Down the hatch.   tasty tones all night long. 

     

    its more work to this, but the ROI on my soul being happy is worth it. 

  4. why not use 8 snapshots?    that gives you 8 options during a single performance.   Not an expert on it...but snaps are the ultimate way to get around and toggling between sounds. 

    Clean channel snap 

    Hi gain snap 

    Lead snap 

    you've got 5 snapshots left to make noise. 

     

    seems more than enough to cover a song. 

  5. to record  wet  using the Helix, make sure the output is set to Multi output. 

    as for the noise. 

    i don't understand you patch design, you have a split path doubling up to path 2A. there is a distortion block after the amp.....try turning off and on the different patches. 

    good luck. 

  6. MIkko (ML sound lab)  looks to be an amazing platform for fine tuning/creating IR's exactly how you want them to sound.    That's what I'll be doing.     STL tones Libra is another cool platform for mixing IR's.   Both platforms utilize advance studio techniques, so the results can be outstanding relative to the static IR's available., which are still awesome. 

     

    The best thing you can do for IR's is understanding the recording side of guitars /cabs and speakers and why different mics / distances are used and why mics sound different etc....(its a rabbit hole)   

    AND always audition at the intended volume and preferably with a track going on in the back ground, this will ensue your tone cuts in a mix. 

     

    my 2 cents..... 

  7. 22 hours ago, kringle said:

     

    Helix helps with all this, but we're talking hundreds of hours to build these... and when I grab something off the community it doesn't fit with whatever my base level is, because the person who built that uses a while different base for how they approach patches, So I need to drastically alter their patch or build from scratch.

     

    I see that with some audio management tools, starting with simple leveling throughout the chain - could greatly improve Helix.

     

    what patches you make for your studio monitors, generally will not translate to IEM's, AT ALL.  unless you're an actual mixer using really expensive IEM's and you know them well.  

     

    you seems to be very particular about your sound, yet your applying a one size fits all mentality.    Not sure that is ever going to work for critical listening.... 

     

    I do studio mixing, i have to balance my plugins with gain staging ALL the time.   I see the Helix as the same amount of work, the final product is always worth it to me. 

     

    if an essential variable changes, so do the settings, that's a cold hard fact. 

     

     

    oh yeah, your audience gives no ducks about how you sound in reality. 

     

    • Like 2
  8. 22 hours ago, themetallikid said:

    I read that too, haven't tried it.  Seems weird you'd want your dry signal coming through at all with it.  Unless i'm understanding what happens with that adjustment?

    i don't understand it either, but if it sounds good and it is good.    let the sleeping dog .....

  9. not sure if this will help....turn the mix down on the effect...75% or so and try that.... 

    i don't use Wah a lot, but on the one song i did, i did this trick and it made it sound way better. 

  10. 11 minutes ago, kringle said:

    For context, I use the helix for live play and occasional recording, and to codamendia's point - it's more than a pedal board, it's my entire signal chain which includes mixing.  Live, I run to mixes of monitors, PAs, house sound, and send outputs to two different pedals for singers for additional key tracking on their vocal fx pedals.

     

    Live I find that I might be spot on for a few songs, and then one is completely overblown and unbalanced.  I also find that what sounds really good running through my PowerCab or into my home interface, mixer or DAW sounds completely different going to house sound or our live sound board (using the exact same patches, output and master volume) and I find it's been an enormous amount of hours/effort spent trying to get 60ish usable patches.  Through all of that work, I don't feel I learned a valuable skill of modeling, I've just figured out how to endlessly tweak to reach "good enough".   I wish there were leveling tools to build quality usable patches that work no matter the input/output or require just simply adjusting the input/output (which helix is easy to do with master control, or easy adjustment)  what's missing is throughout the entire chain there is no way to ensure good levels.

     

    If there were "no wrong way" to build a patch - then I get it, my point is moot.  but I find so many patches that are build WRONG, levels are off, there's clipping, excessive noise, tones washed out, something off I can't figure out. The probability of making a bad sound is far greater than probability of finding a great sound.

     

    I still love the helix, it has made my gigging better with having my per-song tone change so easily - I just find that it takes many many hours to make one patch that matches and fits into the rest of my setlist. it's exhausting and I don't feel it should be that time consuming - I think having some "tools" to help build quality balanced patches (one being ability to see level) would greatly improve this experience and thus, make me happier, let me play/practice more and ultimately find more value in the helix.   

     

     

    There is a lot going on here. 

    how are you currently doing volume checks?     if you have a daw, set up a recording channel when making a patch.... now you have a output meter.    I;d rather not give up any possible DSP to a level meter. 

    what volumes are  you making these patches at?   should be gig volume on the device you are going to use live. 

    Live should have specific patches for live, imo.

    recording should have another set, imo.  

     

    60 patches is a lot imo.    what are they for?    cover band with different genres?   

    try to start with basic patches -   

    1 clean 

    1 clean boosted

    1 classic rock

    1 modern rock 

    1 Metal or hi gain.   

    then populate 60 patches from there.    I used to have 50 patches set up individually for different songs....does not have a good return on investment.  I have 4-5 patches that I'm happy with and cover the songs for the most part, if one has a funky effect, then I'll set up another patch to include it.... 

     

     

    good luck.   

    • Like 1
  11. my advice - 

    settle on one tone at a time and learn to adjust parameters in time.  The helix can be adjusted on the fly using the expression pedal.  Do this at rehearsal.  

    complete one tone, move on to the next.   Also schedule it with your mates to do tone checking for 15 min before rehearsal.   It's a good habit imo.  

    85 db is not as loud as you'd think.   That's a pretty standard volume for mix engineers as well.  Even if you hit the tone's for ten min.  Force yourself to make quick decisions, those first thoughts are probably the right ones.  stick to ten min, the deadline will force you to make decisions.  

    good luck. 

     

     

  12. IR's are simply snapshots of mic positions /distances / angles / of different speakers using different mics, etc.   You purchased OH, which is a thoroughly professional company that provides all the  snapshots or  choices one would need for  finding a "mic'd speaker cab" for the particular application you are doing right now. 

    For those that know, carry on.   

    For those that are overwhelmed, stick to the folders that are pre-mixed etc, until you gain an understanding of WHY there are a million choices. 

    I prefer companies that offer the gamete of positions / mics / mixes etc.     TO me, they understand the IR business the best.  It seems the majority of users talk about what IR to use live, but I think the studio environment is where all of the options are required and geared towards initially.   

    this rabbit hole is a big one,  its a good one though, make sure you pack a lunch too.    

    • Like 1
  13. I try not to let this drive me nuts, whenever I do shows, I show up at the last min and leave right away, to avoid "those people" who just can't keep the cork soaker shut on tone, because of what they saw.     

    I usually reply with a "i saw your GF/wife dancing her panties off in front me"...I'd say the tone is working perfectly as intended. 

     

    • Like 1
  14. i'm asking simply because i do not know, and i'm too lazy to research the WWW for it. 

    can you use a helix floor and power cab+ in the following configuration. 

     

    Helix sends a none cab'd signal to the PC+ ( PC plus set to whatever "amp in the room is" or whatever you desire per patch ) 

    a separate signal from the helix sent to FOH with an IR or Cab? 

    I understand this would be a giving up DSP and a parallel path to achieve as well as potentially EQ'ing different paths. 

  15. 51 minutes ago, kylotan said:

     

    I've said it before on this forum, but if you look at the worldwide metal scene there are a ton of popular amp models that are just not represented here: Engl Powerball, Engl E530, Engl Savage, Diezel VH4, Diezel Herbert, Orange Rockerverb, Orange Thunderverb, Laney Ironheart, Peavey Invective, etc. I mean, the Diezel VH4 is so versatile that the Axe FX 2 has 6 different models of it. But nothing from Line 6 for the Helix.

     

     

    If you look at the worldwide metal community you will notice Kemper / Axe / Helix imo.

     

    When you trace back to the root of these high gain amps, you'll find they are all born essentially from one of two....a Marshall or a Fender imo.   

    all these high gain amps are essentially modded versions of one of the two at the base core.     

    its pretty clear to me, the majority of the users are not high gainers, or that would dominate the releases consistently. seems simple. 

    I like the diversity the Helix has to offer, I can find an amp model to cover almost anything.  I mean its just saturated white noise and an eq in the end.    

     

    For marketing reasons I agree the absence of a Diezel product is odd, but I also think those are difficult to model component to component considering the internals are vast compared to other models. that's what I understand of the schematics of Diezels.  

    I'm still giving blood, keeping the faith.   

     

  16. On 11/4/2019 at 8:42 AM, MGW-Alberta said:

    What about people who did not think to come here and read about all this hassle before attempting to update?

    What about people who just thought they would update and never expected to have their device become unusable?

    What will Line-6 do for these people?

     

     

    @MGW-AlbertaYou end up where you ended up,....seems pretty simple  and you couldn't figure that out.

     

    you're at fault for not educating yourself ahead of time, so is everyone else that put themselves in that boat buds.  

    you're lucky to have the support of this community and line 6 to resolve your short comings on being prepared. 

  17. If you know what your doing these days with modelers and tube gear, the only people "who can tell" are musicians ruled by their ego's and they are the very last people anyone should ever be trying to please with tone.   #biggestbitchesaround     

     

    They base their egos and comments generally on what they see behind you too...... nothing to see hear. 

     

     

     

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