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About emagli

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  1. Does this problem really happen when using multiple mics in a Helix dual cab block? If the mics in Helix are all "simulated" at cab center (or anyways at the same position) I guess there should be no phase issues. I combined dual mics in the dual cab block with variable results, but never had the impression of having phase issues.
  2. That's interesting. How's the high cut effect of tilt eq different from using the low/hi cut eq block, soundwise? It looks like the tilt eq has a different frequency response with respect to a high cut filter.
  3. Just a curiosity -- Besides high cut, does this explanation also apply to low frequency and low cuts? I.e., does the miking process typically generate a low end that is different from what one would hear in a room? With tube amps it is known that a low cut will tighten the tone (a la tube screamer), but in Helix I find this to be necessary even on crunch rhythm tones, whereas with a tube amp I'd only do it for leads.
  4. Hi Metallikid, I had the same issue on 2.92 (tuner having a lag of several seconds), and when it happened I also had a backing track coming through USB. Reboot solves it, but it will happen again. I opened a ticket and Line6 suggested an FS9/FS10 reset. I did that and that worked for me until now. As a side note, I had a TC polytune pedal and put it on the pedalboard I keep next to Helix. I like the fact that I do not need to keep the footswitch pressed in order to engage the tuner. I often use the tuner to mute the guitar, and it is handy to do it with a quick press.
  5. emagli

    fuzz off blanket on

    If the fuzz is the first pedal in the chain (like it usually is), it may set the input impedance to a low value. When on "auto", the input impedance is set by the first block in the chain, whether it is active or bypassed. The vast majority of blocks sets the impedance to 1 MOhm, but a few blocks (and notably a few fuzz blocks) set it to a lower value. This will indeed make your tone darker if the fuzz is off. You can verify whether this is the problem by putting another (bypassed) block before the fuzz and see if the tone changes.
  6. This started happening to my LT this week under 2.92. Never had a firmware problem of any sort before... Tech support suggested the procedure you mentioned, I haven’t had time to do it yet.
  7. Nevermind, I found the answer on dshowmusic. I'll give it a try!
  8. I do exactly the same, for the same reasons. It provides some sustain without the need of increasing the amp gain too much (if at all), which preserves the attack. I add some pre-amp mid boost and output volume boost, and that's my lead tone. I use the LA comp for this, never tried the Vetta (I see it's in the legacy, so I never got to test it). Does the Vetta model any specific pedal? I Googled but could not find specific info.
  9. Just a quick report from rehearsing with the band, putting the DXR10 on a short stand at ear level. It really makes all the difference. The tone is better and more textured; all boominess is gone and the tone is less harsh and less honky. It's one of those things that seem obvious and yet for some reason I had never done before...
  10. What? You buy gear for FUN??? I thought you NEEDED it! ;-) Another thing I forgot to mention... it helps to keep reverb to a minimum and use modulation effects sparingly at least on crunch/drive tones, as they tend to wash out the pick attack and put the guitar in the back of the mix. I just use early reflections in the cab and keep them relatively low, around 15%.
  11. Thanks for the tip. I have found this one shipped from Europe (shipping from US would be too inconvenient for me). It is here, just in case anyone is interested.
  12. I think everyone has their own definition of this :-) My own one is that low mids add body (say 300-700 Hz) and high mids add articulation (e.g. 700 up to 2-3 kHz). Not too far from gunpointmetal's definition after all, for what these definitions are worth. For solos I usually set the mid boost around 1100 Hz for a classic rock tone, but it is mostly a matter of preference and the specific tone one is seeking (fatter, more airy, ...). Many like to boost around 700 Hz for solos, e.g. employing a tubescreamer or minotaur; I happily do that with a strat, but not with a guitar that already has a lot of low mids. Just to say that there is not a recipe that is valid for all cases.
  13. I think this is a good point. For now, I have built a very small wood stand that keeps the DXR10 vertical and pointed slightly upwards and reduces coupling with the floor. I'd like to try a medium height pole, I think it would indeed project the sound better. Problem is that they seem hard to find, most poles are rather high as they are intended for PA speakers. I'll search more.
  14. To be more precise, I keep the mids low only on the Bogner amp because that amp is strong on low-mids and same for the guitar. On most amps I keep the mids between 5 and 8 for rhythm tones; essentially I keep the mids as high as possible before the tone gets too honky, plus I use a healthy dose of mid boost for solos. Yes, I do this at rehearsal. I do not use the D-contour during rehearsal; I use it live if the DXR10 serves as my wedge monitor. On solos, I find that cutting the low end actually helps making the tone more clear and articulated in the mix (after all, that's part of what tubescreamers do). Frankly, I never had the impression that I needed more low end (nor does that the other guitar overpowers me there). Exactly this. As I mentioned, I've got the problem sorted out when we are on even volumes; I found a combination of eq (mid-heavy overall), cab and mic that cuts through without being harsh. If it becomes a battle of volumes, the loudest wins, no contest. That's not a kind of battle I like to be engaged in, however. At this stage, it is a communication issue more than anything else.
  15. Sure. In the attached preset, snapshot 1 is one of my crunch rhythm tones and snapshot 2 is the corresponding lead tone (there might still be an IR block in the preset but it is not used -- I don't have the Helix in front of me to check. The basic tone is with all stomp footswitches in the off position). I use this for AC/DC or Kiss style songs. Keep in mind that the amp, eq and mic/cab have been chosen to play well with a PRS CU24 with HFS/VB pickups. The guitar already provides a lot of low mids, so I can afford keeping the mids low on the Bogner Amp; moreover, the guitar has high output (for passive pickups) and my input pad is off, so the gain control is also on the low side. I would make somewhat different choices of amp/cab/mic/eq for another guitar. For me this does still not cut through quite like a real cab, but it keeps up. Crunch Bogner.hlx
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