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zolko60 last won the day on July 20 2019

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About zolko60

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  1. ...also, some users happen to be unaware of toe switch existence or can not switch it.
  2. Yes. You are playing for yourself and for your audience so there is no need to show any respect for the author's level intensions.
  3. The volume knob does not matter with leveling patches. Its purpose is setting global monitoring volume. The unity is also irrelevant to leveling patches. The guitar can be a factor. The brigde PAF style humbucker gives about -30LUFS unpadded. How the output loudness is dependent on the guitar is not researched yet. Still some measurements and setting some reference patches solves the problem.
  4. If you measure once or believe me that 01A, 01C, 03D are about -20LUFS no matter what you play then you can make a similar volume on any patch. ...and Helixes released so far have no leds to indicate the levels.
  5. I see the second topic of this thread is the idea of implementing metering in Helix hardware. I can imagine such a need but please consider: - we do not know what is the screen refresh or if a display GPU (if any) can handle such a task, - we do not know if and what DSP resources would be required, also Helix Floor has 7 analog and 12 digital inputs, 8 analog and 10 digital outputs - that is a plenty of meters! OK, but if you keep -20LUFS at output, your headroom is quite safe.
  6. No. Rationalizing things that make no sense makes no sense.
  7. There is no unity gain in case of amp modeling. After the amp peak level is likely reduced and rms level is rised. You put about -30LUFS (integrated) signal from a guitar and get -20LUFS at the output. Sometimes you need to be +/-5LUFS louder/quieter in the song context and loudness is heavy playing style dependent, so thinking of the absolute loudness equality hardly makes sense. Hx Native can mimic Helix hardware when input and output are set the same. Guitar Input +11dBu full scale (+17dBu with pad) and +11dBu full scale instrument level (+19dBu line level). -20LUFS output target is safe, it gives you a reasonable headroom. You can learn to target such a loudness level using any type of metering your DAW or mixer has or even your ears and compare it eg. to the factory patches of the same type. The volume knob is just a digital attenuator used to set the monitoring volume. The main reason of using it set clockwise at building patches is to prevent clipping, but if you keep -20LUFS output loudness level whatever method you develop or choose, it is unlikely to happen. There is a thread people present various methods of dealing with their loudness:
  8. You can just turn off everything else and use the Volume Knob to control only the headphones. No need to keep your mixing desk and amp on late at night. LT has no dedicated headphone volume knob for a reason - it is cheaper than FL.
  9. I thought if you have your method of balancing patches and it works in 100% cases, you can demonstrate it on those three patches and somebody can check if it works for him. For the remote checking it is important to provide dB value of the correction. Saving the output block volume value is of course more convinient way of leveling patches than using the volume knob with no scale. This is definitely the idea worth spreading.
  10. Balance to what reference on what playing? If the difference is 8 LUFS on loudness metering you can expect even more difference on RMS or peak metering. So if the patches of the different kind can be leveled by perception (ears) please propose the output block volume corrections of those three patches I tested.
  11. I am just a sunday scientist... I believe the loudness measurement algorithm is immune even to drastic compression/limiting but the guitar distortion is apparently in some pathological ballpark. :D My conclusion is strong but if you play "Chugga chuggah" you probably do not play "House of the Raising Sun" on the same patch, so LUFS measurement may be still usefull for comparing the same kind of patches or/and the same kind of playing. This is why I think absolute leveling to equal loudness is not necessary/possible at all. My question is still valid: Can anybody prove that leveling (to equal loudness) those three patches makes sense and can be done by ear better regardless different playing?
  12. I have done some research on leveling patches by loudness metering using Youlean Loudness Meter 2 set to read EBU R128 integrated loudness value. I have recorded three pieces of guitar playing (about 30s, DI track and then reamped tracks): House Of The Rising Sun (HORS) Smoke On The Water (SOTW) D drop Chugga Chuggah (DDRP) I have used three 2.81 firmware factory patches: 01A US Double Norm 01C Brit Plexi Brt 03D Revv Gen Red Absolute Measurements: Title DI 01A 01C 03D (LUFS) HORS -30.7 -17.4 -19.0 -21.0 SOTW -31.9 -23.3 -20.2 -21.9 DDRP -33.9 -24.7 -20.3 -20.3 Loudness differences with 01A as the reference: Title 01A 01C 03D (LUFS) HORS 0.0 -1.6 -3.6 SOTW 0.0 +3.1 +1.4 DDRP 0.0 +4.4 +4.4 As you may notice on "House of the Rising Sun" patch "Revv" is 3.6 LUFS quieter and 4.4 LUFS louder on "D Drop" with respect to the patch "US Double Norm" with different playing. 8dB (LUFS) difference is the serious issue. Conclusion Using the loudness metering (EBU R128 integrated) for leveling very different patches with very different input material may not be the accurate method or require some additional "weightning". Ouestion: How do you judge the loudness of those three patches with your ears?
  13. I guess your main problem is midi controller usage with your computer software then HxN responce to properly setup midi controll. For the second issue you will find some guide there:
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