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craiganderton

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craiganderton last won the day on June 21

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  1. The linked post shows the settings - it's cranked up to +20, but the ideal value for your setup depends on the input level going into the EQ, and the input level/drive setting on your amp. I don't hit inputs all that hard, I need the extra gain. Unfortunately, there's no "one-size-fits all" setting...which come to think of it, pretty much applies to anything involving amp sims :)
  2. I thought some of you might find this helpful...boosting EQ around 3 kHz will make an overdriven amp more responsive to leads. The screenshot below shows four identical riffs. The first is played starting on low E, the second an octave above, another octave above that (i.e., starting on the open first string), and finally, the octave starting on the first string, twelfth fret. The lower image shows the same file, but processed with a major boost around 3 kHz. The level of the lowest frequency’s riff is essentially unaffected, the second one is boosted somewhat, but the two higher riffs have considerably more level. This makes for a more even, sustained sound with solos played on the higher frets. If you want more info, I wrote this up originally about Guitar Rig for a Native Instruments blog post.
  3. You're correct that a de-esser uses compression to clamp down on the highs. It's basically dynamic equalization. However, most commercial de-essers use a notch filter, to zero in on the offending frequency. Clamping down on the entire high end could (but not necessarily!) cause the audio to sound dull. With Helix, using a parametric stage set to a notch that's tuned to the ess frequency may be more effective. The problem is you lose those frequencies regardless of whether or not there's an ess sound, but the frequencies above it remain intact, which may be good enough. In the studio, I use Helix Native quite a bit as a vocal processor. It has "guitar" functionality that other vocal processors don't have.
  4. At least with a reverse delay, you can have delayed sound only. The mental gymnastics required to play 1 bar earlier what you want to hear 1 bar later isn't easy, but it's not too horrible if there aren't a lot of chord changes.
  5. Totally agree, after I got Helix I sold my Mutron. I'll have to try your post-cab idea, I haven't done that but it sounds promising. Another option is split early in the chain to a path with compressor and octave divider. For Wes Montgomery-type jazz octaves, delay the dry sound by about 20 ms to emulate hitting the higher string later than the lower string.
  6. Don't forget about IRs. Also, the equalizer modules are quite flexible. I use quite a few cabinets that were fashioned out of multiple stages of EQ. They won't emulate a physical cabinet exactly, but you can tailor the response any way you want.
  7. Unfortunately, the problem with all reverse effects is that they can't go into the future and find out how a note is going to decay, so the reversed sound will always be delayed. AFAIK it pretty much requires a non-real-time process to get it right. However...if you end up doing it with in the studio with a DAW in non-real-time, here's a hint. Make a premix, reverse it, and play along with that. Then when the guitar is reversed, it at least follows along with the song.
  8. Thanks very much for the props on the eBook, but I couldn't have written it if I hadn't "committed" to the Helix back in 2015. That book is the result of 7 years of familiarity, coupled with the (superb!) updates that have extended what Helix does. I expect there will be more updates that extend its "new product" lifetime further, but frankly, I can get pretty much any sound I want now. I just wish it had a four-way crossover module... BTW because the book is a download, it comes with over 200 presets. The intention was to give users a shortcut to playing with the new features, but any time there's a new update, it's worth treating Helix like a new product. Several "workarounds" I did in the past for my presets were no longer necessary when an update appeared. Helix may not be "perfect," but neiither am I, so we make a good team :)
  9. It depends if you want an exact duplicate of a 12-string, or something that sounds very much like a 12-string, and can substitute for parts using a 12-string. (I can't help but wonder if it was physically possible to bump the 1st and 2nd strings up an octave, whether physical 12-strings would do that!). There are two main ways to help the authenticity. One is a delay on the "octave" strings, because with a physical 12-string, there's a slight delay between hitting the main string and its associated octave string. The other is an EQ to pull back some highs so that the octave-higher 1st and 2nd strings aren't quite so bright. The following excerpt from my Helix eBook describes one of the presets included with the book. It's intended to create an electric 12-string sound, not an acoustic one. The obvious downside is that it uses up all the blocks, but I hope this helps. This preset is optimized for the bridge pickup, but other pickup positions work too. The sound is more like one guitar than layered guitars, because the second EQ (Low/High Shelf) doesn’t emphasize the highs as much. Also, to give a 12-string’s characteristic shimmer, the Dual Delay toward the output adds subtle modulation. However, the crucial difference is the Simple Delay that precedes the Poly Capo. With a physical 12-string, there’s a slight delay (around 20-25 ms) between hitting the main string and its associated octave string. The Simple Delay emulates this effect, which your ears identify as part of a 12-string’s characteristic sound. For live performance, only some blocks are suitable for footswitching. All the blocks before the Mixer are essential parts of the 12-string sound. The only processors to which I’d add footswitches are the post-Mixer Delay, the Reverb, and perhaps a footswitch for one (or both) compressors so you can call up a more or less compressed sound.
  10. I've discovered over the years that eating one's hat is best complemented by a good Cabernet Sauvignon :) All I could really do to replicate your setup was to test whether "That means THIS EQ IS NOT AFFECTING THOSE FREQUENCIES." There are a lot of variables in your setup and I don't know what they are. If I get the time I'll take a pink noise generator, blast it into an interface direct and look at the spectrum, then blast it through a bypassed Helix and see what happens. I suspect the frequency responses will be the same.
  11. This got me curious because I've done a lot of spectral analysis with Helix (some would say a disturbing amount, LOL), and never noticed these kinds of anomalies. So I double-checked, just in case. The top image is pink noise going through the high shelf at 2.2 kHz, with maximum cut. The lower image is of the hi/low cut at 5 kHz with maximum cut. It looks like they're doing what they're supposed to be doing - cutting high frequencies when you set them to cut high frequencies. I don't know how Logic's EQ matching works, but here's a wild guess...if there's EQ involved, they're probably not using phase linear filters, so there could be phase shifts that alter the response when summed. Higher frequencies would be more susceptible to phase issues. But let me emphasize this is 100% a guess. All I can vouch for is that pink noise and spectrum analyzers are designed specifically to show frequency response, and what they show is what I would expect to see.
  12. IMHO if all you need to do is transpose, Poly Capo is the best option. The reason for the multiple options is to be able to choose the right algorithm for the right functionality. Although you can do some pretty amazing things with bass slides :) Have fun!
  13. Here's an excerpt from Chapter 4 on "Poly Block Techniques" from my Helix book: The poly processor has four different personalities: Poly Pitch. When enabled, the pitch slides from the non-transposed pitch (i.e., the effect’s bypassed state) to a transposed pitch you specify. You can edit the slide’s duration, as well as a separate time to slide back to the non-transposed pitch after bypassing the Poly Pitch. (The sliding is like a synthesizer’s polyphonic glide or portamento.) My favorite application is steel guitar-like bending effects. Poly Wham. Use this for pedal-controlled pitch shifts. If your guitar doesn’t have a vibrato tailpiece…now it does. Poly Capo. For simply transposing your guitar, polyphonic capo is the best choice. 12-String. This gives a 12-string guitar’s personality, although I prefer to make my own 12-string presets based on the Poly Capo. Here's some more info specifically about Poly Pitch: This effect can give pseudo-steel guitar effects, by sliding from one pitch to another over a specified period of time, and then sliding back down again. Poly Pitch is also useful in situations with out-of-tune instruments. Poly Pitch doesn’t do anything unless you enable or bypass it. When enabled, the pitch slides up based on the Interval parameter (fig. 4.5). For example, if Interval is +12 and you enable the effect, the pitch changes to an octave higher. It’s like hitting a chord on a steel guitar, and then moving the bar up an octave. The slide’s duration depends on the Shift Time parameter (0.0 to 8.00 seconds). So, a 500 ms setting would take half a second to transpose from the original pitch to the new one.
  14. How often does it fail to stay connected, and does it happen out of nowhere in the middle of being used, or only when coming out of sleep or during power-on? If the power saving function is on for the USB port that Helix uses, that could have something to do with it.
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