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Everything posted by Heavyville

  1. IMO. the intent of the naming system is for those users who completely understand how the recording process of "paper cones" pushing air works at different lengths with different mics. Some even provide a blend of mics at the same points. The idea of mixing (LIBRA) IR's for a more suitable tone for your ears is great. I highly encourage it. I do it... so do the pros. I do it all the time in my studio, I generally make new IRs for every recording too... I can generally start in the same area but I let my ears judge. this creates something unique every time. All my IRs, I've gone with always carry a second track of IR's that are room mic specific too. I shy away from IR companies that do not provide a million options as you are being fed an objective opinion on what a good IR is. and that is my opinion though. A lot of people find it convenient and easy and that is cool too.......i like options.
  2. i don't have a PC. But what i know is this. Anytime an "essential variable" changes, so must the settings. going from a raw speaker mode to an FRFR mode, changes the variable.
  3. great news!!! i'm 1.5 years in, studio wise , its fantastic with amazing results. live, I still struggle to get what i want, but i know i'll get there eventually.
  4. you cannot go wrong with Yamaha HS 8's fpr the price. Its more than you mentioned....but.... 6.5" are decent, not sure if the low end drops out on them. the HS5s require a sub. JBLs seem to get a lot of love. I haven't heard them personally. But I've never seen them on a pro mix desk. While I have watched the machine mix lamb of god on HS8's.
  5. Understood, but its important to understand what else is plugged in to your "signal". I also get a ground loop issue when USB is connected and i'm also routing a signal to a physical amp at the same time. The USB is the culprit that's causing it for me. so when i'm adjusting my physical amp i cannot have the USB connected. i can resolve it with a hum eliminator device, but unplugging it is way cheaper.
  6. What else is hooked up to the Stomp? this is definitely a ground loop issue. start unplugging other things to see if it goes away. Try other plug sockets. you can try and chase it down or do what @rd2rk mention with a hum destroyer type device. good luck.
  7. I generally use the Cali V30 cab and the Hiwatt cab if I'm using the cabs, they've become my defaults to go to.
  8. One very last thought. I look at the IR/ Cab thing as tools in my tool box of tones. its awesome place to be but also generates a lot of varying opinions among all the humans involved in digital manipulation units. I take the stance on this is a great place to be for creating tones.
  9. This is a rabbit hole for most of us. my current stance on Cabs vs IRs is IR's have worked better for me for getting the tones where I want them in studio recordings. Cabs seem to be more "forward" so I use them for solos or single string work. I always use 2 cabs generally the 57 on the grill and ribbon pulled away. this is just something I noticed in my studio and to my ears and current tastes. Ultimately, I still have a preference for IR's, but it takes a lot to find the ones that work for each patch etc. It really pays off to already know about mic choice and positioning. The Hiwatt cab is big and bold, I use it sometimes with an 87 pulled way back to give some depth as the second cab. the more i write this, the more i'm inclined to say experiment with them all, the variables are immense, and if it sounds good, it is good, lollipop the settings.
  10. it may be a good idea to post up your signal path? do you apply high and low cuts to the Cabs / IRs?
  11. When playing Metallica, you need James right hand to do it. Check out Seacow cabs, he has some metallica IR's. I use some of his other IR's and they pretty damn good.
  12. You can easily set up the Helix to do this is Pedal mode. it also has snap shot mode which is far more powerful for changing setting per patch. I'm sure in reality, you can do far more with the Helix than your current unit could ever do.
  13. When mixing music at that level and you pile on the double tracks along with the distorted bass it starts to sound more distorted or saturated than when soloed, plus all the mixing magic that gets applied. Trust me, they still have gain, its just not what you would think. One of the coolest guitar tracks on the last album was this Randall modded MTS module call the C_WATT and all the dials where set to attempt to "break" the amp and it sounded so thick and meaty that it was crazy. Most of the perceived low end on that record come from this track floating in the background with the bass. less is more. I don't use the 5150 Panama, imo, its not an amp that L6 did a good job with. I could never get it to sound good. Try the Rev Gen, it reminds me of what a 5150 should sound like.
  14. I guarantee that the gain on the amps during recording where lower than you'd think. Less is more. I've had Meshuggah stems from new and old music in my studio ( not for me to mix for them as part of NTM) and those guitars in solo are not as gained as what you hear in the end. they even had all the double parts done with the volume on the guitar at half to reduce gain. I'd just play with the gain until it sounds good, and if you still get weird lollipop, its most likely fleshy bits of hand skin rubbing the strings that aren't quite muted out the right way.
  15. you need godly hand technique to minimize that stuff on palm mutes. I see a lot of palyers use that "muffle" thing up by the nut. do you have a noise gate? also, turn the gain down is a very good rule.
  16. Need to keep the front page of this forum balanced. Lots of "issues" and bitching. which is still entertaining, but........ so after more than a month Grammitico brt amp, made it into my top 10 amps to use regularly. the Rev Gen is still cool, did not crack my top 10 though. the over drives are ridiculously awesome. i went from 2.6 to 2.8 so i got a bit more as the GUI and features of the tuner where upgraded plus whatever else was in 2.7 I found after this update i'm less concerned about what i want in the next update in favour of should be an interesting experience when the next one comes out. I found the addition and audition of an amp i don't know about to be more satisfying then getting an amp i want and it disappointing me due to have a preconceived notion of what it should sound like to me. Keep it coming team.
  17. the lower you drop the less gain you should use. your tone will sponge or loosen, its the law of how that crap works. you wanna punch through, lower your gain and boost the mids. Do it while your at rehearsal.
  18. I believe even in snapshot mode you need to set your time based FX to spill over or not to spill over, which is an awesome option. you can switch between amps and cabs, but you'll only get so far as the DSP allows, generally speaking you might be able to have 2 amps and 2 cabs/IRs between both paths. There is a trade off as you loose dsp power for other FX etc. its a balancing game.
  19. Heavyville

    Input impedancia

    I'm interested in learning more about this subject. in the meantime, I just leave it on auto or whatever its called, sounds great to me, until i can educate myself on it.
  20. Put it all over the place, go for it, I dare you. It won't break. I purposely put FX all over the place just to see what sounds it creates. the glory of the helix and this technology..... nothing breaks.
  21. So are you indicating you cannot find or create a tone in the helix that smashes that old tone out of the park? Keep digging in, you'll get it. in the meantime, up vote like Codamedia mentioned.
  22. This works well for me. 1 playlist for Studio patches 1 playlist for Live patches 1 playlist for patches used to play along (tone matched to a degree, you still need a difference in order to tell your own guitar from the song). 1 playlist for development patches.
  23. The only difference is how you connect your guitar to get sound going. That matters. A lot. The out come after that is null in void imo. If I record a track wet using Helix hardware and send the DI signal through and then insert Native on the DI channel with the patch I was using, it will sound and feel identical on playback. the difference is what you plug your guitar into and how you monitor it and a preference.
  24. You cannot objectively compare Native against the hardware unit going to a powercab vs your monitoring methods. its 2 different worlds and has been debated endlessly with generally the same outcome every time. they are the same inherently but with different inputs / outputs, you need to adjust gain staging and learn how to use all the tools provided to get the tone you want. I don't know a lot about the JBL monitors, but a power cab is a professional device made with intention....the price points between the two will assure that. You have a very large gap to overcome before you will convince yourself how good this unit really is. Native or hardware. I don't believe helix in my mind, was a turn key device or just plug and play....this is an expansive device that is a tool and is set generally wide open and needs to be "reeled" back in to where it makes your ears happy... regardless, enjoy the journey, its a good one, if you should so choose to enter that rabbit pill or red one...the choice is yours.
  25. This is a very good topic with a plenty of debated ideas that all great to dive into. OP, thanks for taking the time to post it!!! I haven't sorted out how to use Helix volume optimally yet or settled into what i'm comfortable with. But what I have sorted out is understanding sweetspots and gain staging within all the blocks that I use regularly. THEY all have a sweetspot depending on the variables of the other knobs your tweeking, its 100% garaunteed, thats why it got modeled, because some setting(s) was so juicy and tasty. If you think something sounds like lollipop, reality is, you messed up gain staging right of the hop or don't understand anything about the major components you are meddling with .... AMP manufacture and model CAB vs IR, then all your add ons like FX and sound manipulation fx. Take a look at famous pedals boards an amps, an you will see taped dials and pencil marks indicating where all the sweet spots are..... that also why some amzing amps are called a one trick pony...they have one tiny sweet spot that is unbelivable, but you to find it then tape Gain staging is one of the most misunderstood techniques in the audio industry when you enter it, it either makes the tone or destroys it, and there are plenty of evidence, both ways in these forums alone. GAIN staging as an audio engineer at a mixing board is where you start before you do anything to the sound. this is not like playing an amp in the room with a few knobs to turn, this is a complicated device that requires understanding before you become the wise wizard of tone. I'm interestied in trying out some of the ideas posted in the future around the final volume setting.
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