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waymda

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Everything posted by waymda

  1. Its someone's truth. Only you will know what works for you as this is entirely subjective, and it sounds like you're looking for affirmation on your need to satisfy GAS. May your pedal choices be sound ones!
  2. I reckon I know less than both of you put together about the genre, but the freebie's of these have to be worth a shot. https://line6.com/customtone/search/?submitted=1&family=&sort=rating&sort_dir=desc&search_term=black+metal+helix If they don't use lots of blocks/DSP the Helix ones might work in the stomp - you can check them here https://dbagchee.github.io/helix-preset-viewer/ or in Helix Native, which you can use to edit them to fit the stomp.
  3. Thanks everybody. TheYoulean Loudness meter plugin would only work with Helix native, right? No - the assumption is you are routing hardware outputs to a DAW or stand alone version of YouLean. If you have a Helix you can do this direct via USB or through a audio interface. Whilst you can use Native and share presets between Native and hardware there are lopts of gotcha's with input levels, impedance, etc Still a little confused about power amps. So, back in the day, the old Fenders and Marshalls had no gain knob or master volume. That would imply that the power section was always maxed, right? Yes Most Helix models have a drive knob, a channel volume knob and a master knob, although a couple don't have a master volume. So does the master volume of the amp model have any effect on the tone? Yes - it simulates the impact on power sections as opposed to pre-amps. Some amps are great flat out, some distinctly not (IMHO). Or are you saying that the channel volume affects the tone but not the master volume of the model? No - the Channel volume only changes the output levels. You will perceive tones differently as they are louder/softer but that's a percepton issue and won't translate across playback devices. I have an Egnater MTS amp that uses the synergy tube preamps. I am trying to compare the helix to that and maybe that is unfair. Each preamp has a drive and a Master and then the amp itself has a master volume. Would that be similar to the Helix models? It is weird that there is a channel volume and then a master and then the Helix itself has a master and then the power amp also has a volume. I am just struggling to get my head around all of these volumes so please be patient with my questions.... Each Helix amp has a models a single pre-amp (unless jumped versions) and poweramp combination. The drive affects the pre-amp, the master the output section and the channel parameter the overall volume. Think of channel as the leveling tool you wished you always had on and amp. In the context of useing external power amps with the Helix, the external power amp should be as transparent as possible and only add volume (unless you deliberately want a specific colouration of tone) rick
  4. It really depends on the bass combo, how you set it up and how much volume you need. Why not just try it? I'm assuming the send is not powered - that'll blow the amp.
  5. I use a UI24R and linked stereo channels with my Helix. No problems to date, but depending on the age of the UI24R see reports of chanels failing in the Farcebook communities. I find I run very little channel gain as the UI see's the Helix as hot, even with mic output levels. I've also seen reports of maxing out the UI input gain levels causing system reboots - so its a sensitive thing. I'd test using: different linked chanels a fresh/clear scene (have seen references to chanel programming getting messed up over time) the bottom row of inputs vs the top noting the top row has combi inputs the Helix XLRs into a phatom power filter (even if the UI says phantom is off) the Helix 1/4 inch outputs into a DI
  6. This path is likely your problem. I do this as Guitar >> Helix >> Mixer (XLR) Laptop (with audio) >> Mixer (USB) Mixer >> Heaphones Set the mixer as the USB playback device in Windows, and trim inputs from the Laptop and use the faders to set the over relative volume - then use Patch changes to adjust the Helix output levels. I normally do this with both my mixer and Helix connected via USB but the Helix USB only being used for edit. This approach allows both the channel input levels to be monitored and the relativities of patches to pre-rec music - noting that pre-rec audio may vary in loudness as well.
  7. I'm not near my gear atm, and haven't run speaker models for quite a while. However, when I did I ran through the multi output. Worth a try?
  8. Does the label say dryclean only? But, no I don't know for sure and would be concerned about damaging my washing machine with its size and external zips, along with how the internal padding would come out the other side once it got wet.
  9. If I read this correctly, you're expecting the Helix to change to the USB input mode, AND retain the settings for the Multi/Helix input mode for when you switch back. Whilst I understand why you want to do this I can't think of a way the Helix would achieve this, short of retaining parameter settings independent of selected input choice, which would require some sort of input mode related memory provisioning and management. I suspect its dropping all parameters not relevant to the selected mode (ie Variax model settings) as it no longer 'needs' or can use those parameters. I would also expect that the output block behaves the same way with any patch specific settings for PowerCab and DT amps when USB is selected as well as the Multi block output levels. This would explain why the other snapshot parameters remain in place - nothing has changed to wipe them. Think of these blocks as behaving like any other block and the input/output sources as being a new model dropped into the block. To do what you want, Multi input would accept any of the USB inputs (not just 1/2) as well as guitar/variax, and Multi output would allow selection of USB 7/8 within the DAW, but it doesn't look like its engineered that way. This might be worth putting onto IdeaScale, after checking it hasn't been done already.
  10. Well yes and no, as you'll need to consider stage real estate, not getting in peoples way etc. Having undertaken a long journey of using IEMs and other monitoring since using a Pod HD500x, my experience is: all monitoring is a compromise adding ambient stage sound to direct IEM mix is much harder to control/manage than you expect - and can have perverse results (for example being flooded by bass through conduction) that are really hard to track down. Its just not as obvious as you might think when you're sound checking etc I used stereo condensers for a while, and franky they made it more problematic than not having them Good IEMs make all the difference, and the amount of bleed you want/need varies from stage to stage (event) I have good molded 64 ears and the Sensaphonics and each is different (not better just different) and I vary what I use depending on the event controlling my IEM mix has proven more important that adding ambience to get the sweet spot I want/need But finding what works for you is the real challenge.
  11. That sounds like a recipe for a feedback loop. Bass >> HX >> mains to Desk >> Desk FB to HX in >> HX mains..... you can see where that's going. To achieve HX to desk without a loop would require an output pre the return of mix from desk that is routed to your IEMs. I have a Helix but I'm sure there's a way of sorting that routing for the HX at the expense of blocks. TBH - even with the full Helix I run the IEMs from the desk back to a dedicated headphone amp with my guit in the mix. I have a strong preference for separation of hardware functions reducing decencies and complexity, and allowing fallback solutions. But YMMV.
  12. I'm not sure it is. The kicker will be the low range frequencies from the Nord and the bass. Getting them loud and clean takes a lot and most FRFRs and not designed for truly full range. I'd be guessing that's what craps out the QSC10.2. A single 10inch speaker (with horn) can't cover that frequency range AND volume for a sustained period. Guitar targeting FRFRs will likely be worse as they are designed for a narrower band of frequencies. A reasonable compact powered sub with appropriate crossover could give you that range with the addition of one box for keys and/or bass gigs. Alternatively a compact bass combo sitting under the QSC.
  13. Get a set of these and hear the stage sound properly as you move around. https://www.sensaphonics.com/products/3dme-custom-tour-gen2-music-enhancement-iem-system Easily supplements a proper IEM mix (which your suggested solution will not obviate the need for).
  14. Now I'm gonna have to test that. For a while I was having issues with patches before realising I'd dropped mono gain blocks at the end instead of stereo (I run dual amp setups). I don't do it anymore, but now you have me wondering if they were all turned on when they caused the issue.
  15. waymda

    3.71 Issue

    Following - can you please confirm if you fixed this. I'm still on 3.70, but if what your describing is a bug in 3.71 it would break me (well lots of my patches).
  16. So DC plays back your entitled BS line that demonstrates that you don't read the manual and you want to have a shot. There's no exchange of views to be had on this topic, it's a technical answer to a technical issue on some highly technical hardware. You made your view very clear, it's the manufacturer's problem that you don't understand the product. My view, I wish to exchange, is RTFM so you have at least a minimal understanding of what you're talking about. A quick look at your previous posts suggests doing your own homework is an anathema to you, and you think an end-user forum should be your personalised help desk. Best of luck with that.
  17. An alternate approach to the routing is us a send block before the cab block as a tap for the poweramp/cab. Set it with 100% passthrough so signal still goes the cab block. You could assign a pedal to turn the send off for recording, stopping any signal to the power amp with a single click. It does mean you need to use effects you want in you amp/cab pre-speaker block, but it can also provide a really versatile solution for post-cab-block effects being recorded and not impacting on the amp/cab, which could then be mic'd up and added to the recording/mix. For example room reverb and/or compression. Another suggestion is as you get your routing as you want it, save as a template so you just change component blocks for future patches. Your approach may change over time, but many templates is possible. My standard routing has amps and effects that run before amps on path A, effects that are post amp and/or cabs on path B (A routes to B). This seems to give me the best balance of CPU load across the 2 CPU and allows for complex patches, ymmv.
  18. A thought - if you can establish the optimal input gain for Native you could normalise the recorded dry tracks in the DAW to that level. I'm not Reaper user, but my DAW allows selection of individual tracks and normalisation to predetermined levels.
  19. Maybe - Unity means exactly what you've said no gain added (or removed) the maybe is because different elements of DAWs may add or remove gain at what appears to be a 0 setting. They shouldn't, but....... This might be a useful reference for recording and levels https://mojosarmy.medium.com/recording-and-mixing-levels-demystified-151ec65705fa
  20. Some observations: the I/O with Native vs the Helix as described is fundamentally different so I would expect different sounds the Helix is being fed an unamplified instrument level guitar signal, your DAW is recording a line level signal which is then being 'reamped' this is not the same as recording the dry output from the Helix via USB - those levels are very low and often a cause of consternation for new users hence, the input levels for the hardware and software versions is not the same - at the very least you'd need to match the input levels you mention setting parameters and gain leveling to 0DB, but this has nothing to do with the recorded level - you should be aiming for -13dbu (if not less, many aim for -18dbu@peak) for any digital recording to ensure no digital clipping in the recorded signal - the digital signal can be increased without increasing the noise floor so no need to record hot there are both input and output gain settings on native that are independent of the patches created on the hardware - these will be your friend is there a single simple rule/approach to use across all DAWs and hardware/DA scenarios? No, you're adding complexity/hardware/driver/software layers so the solution will be complex and bespoke.
  21. This is the only way I can think of as changes to the Variax model on either path are applied to both input paths (the Helix is forcing the Variax to apply settings not processing the Variax within the Helix). No idea how precedence is achieved but you can't (for example) have Path A having a variax with every string at full volume and Path B with just the 6th string at full with an octaver applied.
  22. Have you adjusted the Hum and Ripple parameters of the amps to zero? They both introduce modelled 'noise'. I hate them and always make them zero. From the manual Hum & Ripple: Controls how much heater hum and AC ripple interacts with your tone. At higher settings, things get freaky.
  23. Just on this, if you get your patches sounding great for in-ears they may not sound good in FoH (any in-ears). Unfortunately the compromises of each reproduction system means you need to target patches for a primary source and live with what you get in secondary sources. Having EQ over your monitor send may help.
  24. OMG mime is more than money, its a life suck. Can you tell I'm not a fan :)
  25. My modelling journey has been long and everything is a compromise. I came from a multi-amp/cab and effects rig and was loud on stage. I moved to modelling and tried: SS amps to guitar cabs Tube amps to guitar cabs Combos Wedges FRFR PA speakers Powercabs Various iterations of IEMs Any use of guitar cabs limited the palette as speakers and cabs are so fundamental. Using tube amps meant I was inherently loud for them to sound good and to hear myself as I want. Cheap IEMs, are just that. Good IEMs are molded, seal well and are expensive and you need to tune whats sent to them to work well. My (current) ideal is a quiet stage, not silent, (good edrums, and bass through wedges to the others) and my guitar and vox (and full mix) in high quality IEMs. I don't miss "moving air" at all and hear a better mix than the audience will. Its a highly portable set-up, easy to set-up, consistent and I'm not fighting to hear what I want/need. And I know what the audience will hear, and can verify it through multi-track playback.
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