waymda

..... and it looked like a great fallback option for Helix failure, until I saw it has no VDI

On 9/18/2018 at 11:53 PM, SteveFrance said:

 

 

Where did you have it ????            Please !!!!!!!!!

https://www.vguitarforums.com/smf/index.php?board=138.0

I had a JTV 59, having played fenders forever.  Loved it for the sounds once I loaded a custom set,  2 years later got a standard as back-up, had to use it one night and kept using it and got another as the spare.

Had some weird 'resonating' issues with both the 59 and the standards. Fixed them with, thick hairband behind the nut to stop sympathetic string resonance, a bit like heavy players use (could probably use something more elegant but it works and no one has noticed), and lowering the magnetic pickups to reduce interaction with the strings. 

I seem to recall having some issues making sure all my patches used the right inputs on the helix as well as forcing tunings and models to make sure they worked consistently/as expected.  But that's now just part of my standard template/workflow.

I don't use the mags (ever) but use pretty much every sound the variax has to offer along with custom tunings.

I know nothing about Aviom, but I do something similar using a cheap unit called a POSSE to blend, headphone out from Helix, foldback send from FoH (Vox only) and ambient from the onstand unit of the POSSE.

If you got a stereo mixer with stereo 1/4 inch inputs you could use a single cable, I use a stereo Y cable (insert) rather than an adaptor for simplicity.  Like so https://www.swamp.net.au/insert-cable

To answer the OP.

L6 Link will detect whether you are running one or two cabs and configure them as a mono or stereo set-up accordingly, in addition if they are placed relatively close together you can minimise the cable run between them, and not have to run 2 longer leads from the Helix.

If you wish to send to FoH from there use the XLR out from each cab.

I had a JTV 59 as my main guit.  Dropped a bigsby on it to have a trem.  Got a Standard as a spare.  Broke a string at gig and used the Standard for the rest of the gig.  Left the 59 in the case every gig after, and ended up selling the 59 to get another standard as a spare.

Got both the Standards Plek'd, and the spec sheet came off them as being better set-up pre-Plek'd than other high end guits the guy works on (or so he says), but both play really really good now (they were good before). 

I only use modelled sounds.

This may seem obvious/stupid, but check that the behringer channel doesn't have any inserts such as compression or gate turned on, and that the input gain stage is set correctly.

We had someone play with the kick channel at a gig and accidentally turn on gate and compression, and it took ages to realise that was why it sounded so crap.

12 hours ago, rd2rk said:

To repeat, the FRFR-112 sounds VERY good. YMMV, caveat emptor.

Hi rd2rk

I read the thread and it seems no-one ever answered whether the FRFR-112 sounds different/better than the  Alto TS312.  Did you ever get a sense they do sound different?

I ask as there's the FRFR sells for about 10% more than the TS312 here in Australia.

Oh, you're right about IEMS.  I use what I think is a low-mid cost solution:

• IEMs  (64 ears, A3s) for my monitoring with
• a Posse (http://posseaudio.com/) providing onstage ambient sound as well as controlling the level of vocal monitor mix for the best balance/sound I've ever had - having ambient sound was really important to me feeling part of the band/audience and I couldn't afford the in-ears that have built in ambient mics.  That and none of them seem to have the gain I require to hear the ambient properly.

It's a set-up that allows me to work with very simple monitoring arrangements (just a vocal send) through to nice independent mix set-ups and still make sure I hear enough of me (vox or guitar) without bugging the sound person.  I've also gone from being the loudest person in my band to the quietest with the Helix running running through FoH to compliment the on stage sound.  I've even been told to turn up!  Best decision I ever made.  I'd also note that I have bi-lateral conductive deafness (about 60db defeat) which means I like things very loud and I run the Posse about half volume at the master.

I'm just interested in different on stage monitoring that sounds more 'ampish' for my band members.  I currently use a pair of laney  IRT-x, which are good, but well you know there's always something else to try.

thanks

I use a pair of IRT-x for stage monitoring and they've never sounded muddy/muffled, so a few thoughts:

• are they running 'full range' or with one of their built in cab sims?
• is the input gain optimal? - ie hitting them it so the peak light just comes on then turn back just a smidge
• have you played with the tone controls? - I did one gig where the tops had been wound right back, not so great, another where the drummer pushed up the bass by accident on one and made it meh
• are the wet sounds/signals from the helix ones that are 'damped' or lacking top end - they certainly won't sound like an 'amp in the room' if they're 100% wet signal
• picking up on the dispersion issue - does it work better with them on the ground as wedges directing more top end at your ears, and with a better bass response through acoustic coupling? 

RTFM

Cheap, but fits almost perfectly with room for leads etc - maybe a bit extra padding would be nice - been using one for a year and a half, and place the connectors of the helix at the carry handle end and no hassles so far.

https://www.ebay.com.au/itm/MOEN-Guitar-Effects-Accessories-Pedal-Board-Hard-Case-/111298125269

If its anything like these, but in a guit cab with a 12 it should be great https://www.musiciansfriend.com/amplifiers-effects/laney-irt-x-200w-rms-powered-expansion-guitar-cabinet

I run a pair of these on stage for the band's benefit, with in-ears for myself and Helix through FoH, and they love them.

9 hours ago, cruisinon2 said:

 

Stuffing a Corvette engine into a Ford Festiva doesn't make it a sports car...;)

 

Yes, in the modeling world, we can theoretically do just about anything....and if that works for you, then have at it. But if I want a Fender Twin sound, then I want a Fender Twin sound....don't see much point in front-loading it with a Marshall. 

Someone better tell a bunch of players in the analog world to stop using amps/preamps as feeders into their main amp to get their unique tones then.

End of the day this has been done in the real world for a long time, by various people, and a modeler just makes it easier to play with a ton of combinations to create 'that sound'.

I'd have to hear it in person, but I'm glad its working for you! I heard the same thing about the Gemini stuff and in person it was anemic compared to a pair of Mackie powered speakers that cost 1/2 as much.

How about, before you post a condescending response with feigned happiness about other's actual experiences, you try the product in question.  

I'm pretty sure you'll struggle to find Mackies 1/2 the price of the Laney's but hey, I'm sure you can back pedal and say you meant the Gemini stuff.

Opinions offered without even trying the products in question simply don't help the OP at all other than demonstrating existing biases.

If its 200W w/DSP and all that routing, its probably about 130W (maybe). Unless you're also playing through 8" guitar cabs, there is no way its keeping up with a full rig in W/D/W set-up. 

 

I'm the wrong guy to look into this, though. Pretty much all of the "guitar-centric" FRFR stuff (Gemini, Atomic, Friedman) 'cept for the FireHawk 1500 seems overpriced, underpowered, and over-advertised. 

As an owner of a pair of these that I use for onstage monitoring in stereo with a Helix you are straight out wrong.  They compete with a hard hitting drummer, bass and a loud Vox AC30 player no problem.  I had to roll back the levels for the band.  They are very loud and do not sound like you are playing through an 8" guitar cab.  They sound like a sub-less but nearly full range system and, as they are wedge shaped, don't kill your audience in reaching very solid stage levels.  Personally I'd run them louder, but hey I went to in-ears for my monitoring to stop being the loudest person on stage.

Hi

I was a long time user of a HD500x and a couple of variations of the DT series.

I was going to say the reason they say the Helix will won't and shouldn't work like the HD series is that the DTs used the same pre-amp modelling so why bother. Then I remembered my frustration that the HD didn't hand over pre-amp modelling duties to the DT, thereby not reducing processor overheads. However, I don't think the Helix does a amp pre mode (from what I've seen) so you'd always end up with a modelled power section + the valves being reconfigured (unless pre's only came out).

That said, I personally found the benefit of switching power output modes on the valves in the DT wasn't sufficient to offset the horror of volume matching patches using DTs and went back to power amp and speaker combinations. I also hate to think of the noise you'd get if you were changing models using snapshots, and the additional lag slowing things down. It was bad enough moving between patches with the HD unit.

Overall I'm finding the Helix and Variax combination through FRFR's more if a dream rig than anything I got from a variax + HD + DT setup.

Not sure what your comment about alt tunings on the Helix is. I use them extensively to match keys for singers, for open tunings etc, and have no issues.

If you'd like a low cost, yet very sophisticated IEM solution have a look at the POSSE personal monitoring system.

I run one and it allows me to blend:

• Helix outputs (stereo 1/4 inch sends set to amp level)
• A send from the desk (just vox and mono but could be stereo)
• My vocal mic (dry and direct - pre-desk)
• A stereo pair of condensor mics on the unit

All balanced from a small unit on my mic stand with a small box on the floor next to the Helix, whilst sending the balanced outputs to a pair of small wedges for stage monitoring for the band, then onto FoH.  

I run this up a long stereo 3.5mm extension lead gaffered to my Variax lead allowing a pick up point for my in ears at the guitar.

This allows me to have fully sealed IEMs (I use 1964 triple drivers), and still hear the band and audience without needing to mic anyone else up.  We just run vocals and kick (and now Helix) for most gigs.

I have bi-lateral conductive deafness with about 60 db defeat requiring hearing aids to work in the real world and they can't supply the level of clean clear volume I get from my IEM solution and it runs at about half.  So I hear better on stage than off - how many of you can say that?  I can be as quiet as anyone wants on stage and still have a roaring loud energetic sound hitting my ears - which is how I always ran real amps, yes I was always the guy getting told to turn down.

The POSSE cost me about half what the IEMs did, and I couldn't be happier.  I had some minor issues early on using an OEM PSU that didn't supply enough amperage, but that's fixed easily.

Sorry if this sounds like an advert - it just seems a very good solution for lots of pro-am guys.  

Has anyone been (would they be?) game enough to pull the neck off and measure the pocket?

And thanks for the Stewmac info - freights no so bad for light things so long as you're prepared to wait.

The 69 has a thick neck. That might make you happy.

Maybe - but I really don't like the electronics layout, which is why I didn't pursue one initially.  It just looks wrong to me having the tuning knob on the upper bout.

As per the title.

I'm in Australia and they're not here yet.

I currently have a JTV-59.

Whilst I love what it can do I really, really miss my Fender feel - long time (30+ years) strat and tele tragic.

What draws me to the standard is the control layout and strat shape - but not so much the rosewood fingerboard and fret size.

My ideal would be a slab like tele maple neck with jumbo frets.  Yep I apply way to much sting pressure.

So, whats the prognosis?  Any chance I make my dream rig run with my dream guitar?  (currently line 6 end-to-end)