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Everything posted by arkieboy

  1. For 1 from a technical perspective I think you're spot on, Peter. I'm thinking from a marketing angle here - there are a bunch of pros who use the Helix, and Line 6 (possibly) lose out to Fractal from that 'word of mouth cool' perspective. Something at the £2k price point would put them right in that game: maybe as a Floor+ in addition to the current models; maybe they just upgrade the Rack. It just feels like there is still money on the table ... And as for 2 - absolutely. I've gigged/rehearsed/recorded with my LT for well over a year now from orchestra pit work through jam-oriented music to a prog three piece where it not only provides all my guitars but mixes in a VG99 for COSM synths/acoustics and acts as an audio/midi interface for MainStage and my Midi Bass pedals. Probably the best bit of guitar kit I've ever bought.
  2. depends where you put the flux capacitor. you did use green gaffer tape?
  3. I think we're due a refresh of the Helix Floor and Rack relatively soon. To me there seems to be not enough clear distinction between the high end units and the LT - yes there are oodles of outputs and inputs but no processing power difference, and no sound difference either. If you could (say) double the DSP to allow (optional?) seamless patch changing together with maybe some super high-res models, or something with serious DSP requirements like an answer to the Melo9/Synth9/SY300 you might be able to push the price up to 2k and then compete with Fractal head on for the aspirational market. Simultaneously a 'for dummies' mode UI would hit the Headrush. At least from the outside it seems to me Line 6 are in a pretty good place.
  4. Top thread here guys. I'm looking into options for a couple of shows to come sometime later this year, where we'll rehearse traditionally off backline, but where I'd like to work off monitors for the gigs. I'm budgeting for a FRFR speaker but this will make a nice backstop if I can't put aside enough money.
  5. arkieboy

    frfr speakers

    I try to use whatever rig I have as a side fill. Makes it real easy for the FoH guy to get a good sound. My regular guitar speakers are a pair of Marshall 1x12"s so I'll either balance one on another in a mini stack to get one to near chest height, or use a few beer crates with a black curtain over them to raise them both to the right height. If I'm FRFR on monitors, I try to get a monitor just for my guitar if possible, if not I'll use a PA wedge I take around with me directly out of one of the helix' alternate outputs so I can get 'more me'.
  6. I do this with my VG99 for COSM synths and acoustic guitars. Stereo out from VG->Helix LT return. Works a charm. Take a little time out to work out what is unity gain - i.e. the signal going into your helix is at the same level that your guitar would be. On a VG this is where the volume knob is set to 12 O'Clock. YMMV obviously ;-) Steve
  7. You can route guitar audio from the Helix to a laptop running JamOrigin already. Personally I think guitar-to-midi is a bit of a dead end - having owned a GR700/G707, GM70, GR50 an AX100 Mk II and a VG99, wave shaping of the guitar signal like in the SY300 or the VG99, or for that matter the EHX Mel/Synth pedals, is more than capable of producing pretty much all of the basic analogue synth sounds you might want.
  8. you're right. apologies. trying to answer at work!
  9. So here's a delay patch with left set to note sync (tap tempo) and the right side set to a fixed delay time. Just click on the clock to toggle between note sync and time
  10. You can set the delay to be either a millisecond time or a beat fraction (which takes its tempo from the global setting). Not at my studio computer so can't do a screenshot. My LT manual says SHORTCUT: For most time-based parameters such as delay time or modu- lation speed, press the knob to toggle between setting the value in ms or Hz and note divisions (1/4-note, dotted 1/8-note, etc.).
  11. It would be perfect if it were colour coded to go with your footswitch assignments. One day, I suppose ...
  12. As a LT owner I have to say I'm more than happy with the build quality. Can't say that the scribble strips make much of a difference to me either - the snapshot display is fine and I do most of my editing from my Mac so being able to see preset names =and= signal path is not an issue. The extra audio/control inputs and outputs feel like the real difference to me - and thus how it integrates with the rest of your gear. If you're doing four cable that's half of the send/returns gone already on the LT; the digital in can be pretty useful too, a fair few people on VGuitarForum use it as the input from their VG99, I have to use my returns. Occasionally I've felt like I could have done with the extra controller input for my VG or for the soft synths in MainStage.
  13. So my approach to getting to grips with my Helix was to stop thinking about presets as individual sounds - instead think of them as a virtual rig and use snapshots to dial the sounds you want out of that rig. Take a preset and configure it with everything you would have in a dream rig if you only had the roadies; pick stuff you're familiar with because you'll be relying on your notion of what sounds right to guide you when setting things up. I've never got on with Boogies and I've never owned a tweed Fender, but I have owned several Marshalls, a Vox AC30 and a blackface Twin so I started off using those. If you route the top path to the bottom you can get two amp/cab combinations into your preset - and if you use IRs instead of cabs will help save resources if you're struggling. Remember if a block is switched off, its does not effect the signal so you can alternate between the two amps really easily. You'll then need to go through each block and assign the parameters you want to tweak to "[snapshots]" so they will be saved per snapshot rather than being constant throughout the whole preset: for stomp pedals you normally switch them either in or out so don't worry about these so much; for your amps you should set drive, EQ, channel volume and master volume. For reverb and delay you'll want to select delay/decay times an mixes. Now having assembled your virtual rig, turn on/tweak the bits you need for your clean sound and save it as a snapshot. Ditto chorus + compressor clean - bring the FX in and out as you need them. Forget you have a helix and pretend you actually have the gear and when you dial in a useful sound, save it. Make 8 configurations that you would realistically use in a live set. And then play it lots, tweaking as you go until you think you're on top of it. I said two amps because I don't know how you could =not= get through any gig's worth of sounds with two different amps on stage with you. Personally I have an AC30 and a JCM800 in my preset. Don't be afraid to go to Ownhammer or RedWire to buy some IRs - I can tell you that Brit 2204 into the RedWire Marshall1960B-T75s with a SM57 Cap Edge Off Axis IR is exactly how a JCM800 should sound on a classic/hard rock record. You can get good sounds out of the cab blocks, but its not anywhere near as easy to do so. Once you're on top of your rig, then copy it somewhere safe and start to change bits. Experiment with the fuzz boxes, the wah pedals, a different amp sim. But get something straightforward that sounds good first - you are now both the guitarist, a guitar tech, a studio engineer and a producer - take a little time to expand into those new roles.
  14. Long time Sennheiser HD600 user here. Brilliant cans - I've had mine nearly 20 years. Regardless of preference, a replaceable cable is IMO essential on any serious purchase. I think I'm on my third set of cables for my 600s
  15. IIRC the base - as shipped, I modded mine over a decade ago - FCB is simply programme change + two expression pedals. If you want programme change and stomps, then that comes with the UNO firmware https://www.fcb1010.eu. The UNO upgrade pretty much redefines the hardware. I UNO chipped my FCB - its not difficult - and the unit and firmware has served me well for a long, long time controlling a JMP1/GMajor rig across countless UK dates and two European tours, and a much more demanding Axon AX100mkII based rig for a few dates in the UK. I stopped using it three or four years ago when I was loaned a FC300 to go with my VG99, and I now have a Helix LT so it lives in my attic along with the FC300. You don't say if you've chipped your FCB. IDK if you can persuade the Stomp and a UNO chipped FCB to play nicely with each other, but I suspect you're not going to get what you want from a vanilla FCB, so I would start looking at what control signals change stomps/snapshots - if they're mapped to incoming CC signals, I suspect the FCB can send them.
  16. How about you use your power cab as a sidefill rather than as backline. Not as pretty and not as rock and roll, but it means you're not pushing out your sound to the FoH and messing with the PA guy's balance. Get an amp stand to get it to chest high and angle it back a bit so you can hear it clearly without disturbing the rest of the band too much.
  17. I have a bag for my LT, but I do have the Swan case for my VG99. Very well made - can't imagine you'd go wrong with the Helix one. Good price too ...
  18. And I definitely need to listen carefully to the bottom end and see if I can notice the difference here. I have some great cans that should be able to reveal the difference - pity my ears are shot from 35 years of rock and roll!
  19. (about the hybrid cabs) I didn't know that. Cool. Makes sense. Having said that I still think they use slightly more resource than the 1024 block: one day I'll be bored enough to devise an experiment that could confirm or deny it! :-) I do think its about time I properly got to grips with the cab blocks though. It is also my understanding that if the IR is longer than required to mimic the frequency response of the cab, it would begin to add reverberation to the signal. And to IR switching, it was pointed out to me by someone on VGuitarforums. 1x1024 IR block switched by snapshot is =definitely= less resources than two cab blocks!!
  20. I'm a bit of a purist when it comes to cabs and mic positions - which is why I feel like I've really fallen on my feet with Rewirez, they take an traditional engineer's approach to their IRs which suits me down to the ground - but I really should give some of these a go ...
  21. My experience is that a 1024 IR block - which my ears say is more than enough to reproduce the frequency response of a speaker cabinet* - uses less resources than a cab block. Moreover, if you have multiple amps in your preset, you can swap out the IR loaded into your IR block on a snapshot-by-snapshot basis. Which is a huge saving over having two cab blocks. ---- *if you dig into the interwebs you can find the physics to back this up.
  22. (JMP1/EL84 20-20/GMajor/2x1912 user here) The comments about the Helix not being 'amp in the room' are well made. The Helix is a 'studio in a box' for guitars, and by that I mean the whole thing - before amp effects, amp, cab, mic, channel strip on the desk, studio fx ... what it produces for you is the sound you would commit to tape/disk, not the sound you'd get standing in front of 2 4x12 cabs. So that's the downside. The upside is it's waaaay lighter and smaller than your current rig, it's not going to destroy your hearing, your audience are going to hear the mix of your band much better than if you're essentially on backline because the PA can't cope with your rig, and the engineer at your next gig is so much less likely to screw up your sound. If you're recording you can just plug the USB into your computer and play. I was struggling to get the sound I wanted until I headed over to the redwirez site and bought the 1960B T75 IR pack. Dial in your 2204, pick the SM57 Cap Edge off axis IR set and look for the distance you need - I like 0.5" or 1" - and you will nail your Marshall sound. For live, unless you can count on a PA with good monitors you're going to need some kind of FRFR cab. Being a Black Country lad, I'd recommend the Laney LFR-112 (a pair would be perfect), but there is the Headrush unit and Line 6 do some neat cabs, as do Matrix amplification.
  23. I wonder if the cab blocks aren't too much choice ... Don't get me wrong, I'm really happy that we have these blocks with lots of parameters, and they may be examples of wonderful audio programming, but there are a bunch of sweet spots for particular mics - usually at the cap-edge, 2" from the speaker for condenser mics, frequently closer for dynamic mics which you may also angle off axis - and 99% of the time these are what you use. IR blocks use less resources, you only need a 1024 block for a cabinet IR and you can switch them out per snapshot in a preset. I have a bunch of Redwirez IRs for the typical cabs for my favourite amps and I seldom stray from those. It's not as if I'm not adventurous - my live rig has a Roland VG99 and I've been doing guitar synths for 35 years near enough - but I wonder if they're a significant barrier to people getting to grips with the box. (shrugs)
  24. Fairly sure I read that if you want your IR simply to provide the frequency response imprint of your cab, then a 1024 IR encodes frequencies well out of the range of human hearing. Certainly I can’t tell the difference between 1024 and 2048 on my Redwirez IRs
  25. I don't have a PK5 but I do run bass pedals into the helix, and then helix->usb->Apple MainStage with no issues. I'll try to take a note of any global settings tonight. Have you tried both midi over usb and midi thru on at the same time - that seems to be the most reasonable combination
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