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bassbene

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About bassbene

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  1. bassbene

    limiter

    Basically you can use any compressor that offers a ratio parameter. You can use the Deluxe comp, set it to 20:1, shorten the attack time and you are entering limiter territory. The new Rochester comp allows even higher ratios, but might color the sound a bit more.
  2. Only option for an "internal" solution might be duplication of presets. One for your dual output setup, one for single output. As an "outboard" solution you could use a mini-mixer or similar device between the Helix and the amp to merge both signals.
  3. You can rename them on the LT as well. One way is by using HX Edit, it is also possible to do it on the device directly: Push the "preset" rotator knob, the display will show you options on the bottom. The most right option is "Rename Snapshot".
  4. As far as I understood IRs, they just capture the reaction of a "system" (room, cab...) to a defined impulse. You can't cover the Fletcher/Munson curve with this, because the "system" - the EQ curve in this case - is based on the volume. You could only cover an IR/Correction curve for one specific level... ending up as a simpel EQ. Possible Workaround to get in the direction: - Measure the level in db you use to rehearse with your band - Measure the level in db you use at home - Lookup the EQ curves for these levels in the Fletcher/Munson chart - Substract them from each other lower-level minus higher-level - Mimic that curve with an EQ Block. ... Hm, could be covered by some excel-sheet or online tool, let me think about it ;)
  5. There is no general advice, but If you take a look at the usual approach PA/FOH guys use, you will see that they set the poweramps to the max desired output and control the volume with the preamp (=mixing console faders). I would approach this the same way: Set the headrush to the max needed volume depending on the location and control the volume with the Helix.
  6. There is no way around using a parallel path (which you can't because you already use it for other parallel processing) or the FX send you mentioned, which consumes one block.
  7. The problem is the FX Loop block: It adds a small delay due to D/A and D/A conversion. This will delay the signal by a certain extend and Helix will not compensate for that in parallel paths. This could result in some phase cancellation issues. A "fix" - no, let's call it workaround - would be to add another FX Loop in PathB and just connect FX Send to FX Return with a patch cable. This would add the DAC conversions to this path as well, so that theoretically both paths should be in sync again.
  8. It's amazingamusing how people think (software) engineering works. If a company would react to every small lollipopstorm, they would have a hard time doing real development on a product.
  9. Go for 2.91. You just started using Helix, so start with the latest features and build your presets based on them. You will find a bunch of bad news for every update after it was published. That might leave the impression that the latest update is unstable or not reliable. At least from my experience, no version felt unstable so far. There will always be the 20 people having trouble with an update or having a very special use case that is blocked by an update... but the thousands of users that update successfully will never write a forum post about it.
  10. I don't know for sure, but it sounds a lot like a "stereo link" option. I guess this parameter is not available when using the mono version of the 3 band comp. Meaning: If you select "link", I would expect that the detection circuit of the compressor reads both stereo channels and if one of them is hitting a threshold, BOTH signals are effect by the compression, no matter, which of the two channels triggered the compression.
  11. A noise gate might be the cause for your sustain cut off. Is the noise gate activated in the input block? Which firmware are you using?
  12. TL;DR: No, not with the HX Stomp. Long version: There is no option to route a path to a certain output directly. On the "bigger" members of the HX family you could choose which output type (XLR, 1/4") should be used as source for the headphone out. This allows you to route the dirty path to XLR only... but well. I guess this would also not fit into your pedalboard layout ;-) Besides that: On the bigger Helixes, the stereo separation is disabled at the moment when only one output jack is used. You might have to plug at least a dummy plug into the other output jack.. Perhaps its easier to find some millimeters of space to just go for the normal R/L outs on the top.
  13. Did you achieve the desired sound with the same bass on some other platform? The bass guitar should have fresh roundwound strings and a low action to get enough fret buzz. Your approach appears good to me. It is all about separating the fundamental lows, keeping them controlled. The highs can be distorted to taste, most of the time a certain amount of clean, punchy highs are preserved. The Obsidian/Darkglass pedal is a good tool for that job. It might also be a good idea to cut the lows AFTER the distortion, supplying a fullrange signal to the effect to preseve its "natural" response.
  14. It depends on the type of cabs you are using. I am using a similar setup with very transparent cabs (Glockenklang) which are similar to FRFR cabs. With "character cabs" like a Ampeg810 or something similar, it might be hard. One approach is to use an EQ to compensate for the cabs frequency response: Pull out some mids (that are likely to be emphasized by the cab) and crank the highs (which are killed by the cabs). Another option would be adding subtle distortion which will add more highs and high mids - and through the cab it might not sound like "distorted". Can you describe the kind of sound you are after?
  15. In general, the following parameters can be used to clean up an amp: - reduce Gain (obvious I guess) - reduce Master volume (reduce/avoid power amp saturation, effect depends on Amp model) - increase Bias & BiasX (prevents power amp saturation) - reduce Sag (prevents power amp saturation, maintains dynamics) - reduce Ripple & Hum (this is more to reduce subtle noise) In extremes, this might lead to a harsh and crisp sound. Does not sound like what you are looking for, but "fatness" can be added by some EQ and sustain by a compressor.
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