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Optimist

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About Optimist

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    Munich, Germany
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  1. Thanks brue58ski, I’ll dive into your suggestions. But I would not use the Double Take but just record an additional guitar track in my DAW (Cubase 11 Pro), which is always better than »artificial« double tracking, right? BTW … another example of a nearly similar sound ist this (yes, this is obviously electric, and picked not strummed, and a phaser does it’s job here, too) … and one of my favourite all-timers: … but on both examples (Page, Hillage), there’s heavy compression used, I presume … Best regards from Munich, Germany Alex
  2. Hi there, can anybody give me some hints how to achieve a similar sound as Jimmy Page in the acoustic (?) intro of that song: I have the following: Helix Floor 3.10 (tried different compressors, choruses, not really coming near) James Tyler Variax JTV59 (tried acoustic models with Helix, not really coming near) Fender Nashville Power Tele w/ Fishman piezos (piezo sound comes near with Helix, but not quite well) Yes, I hear that the guitar track is doubled, but does that make the effect? Think no, just sounds more spacey. Would I need a »real« acoustic? Don’t think so … this must be somehow achieveable with the above … ;-) Any suggestions anybody? Thanks in advance, Alex
  3. Optimist

    Big Sur

    You’re running a MacOS on a PC? How’s that? :-) Apart from that, on the same day Big Sur came out, I got an email from Line6 NOT to install it yet. Admittedly, they should have sent this mail a few days before the Big Sur release. I would reinstall Catalina if possible … Line6 didn’t say when they’ll be ready with Big Sur (like A LOT of other companies).
  4. Could you provide more info on your system? Win? Mac? Operating system? USB Hub od direct connection?
  5. Check the humidity in your room. If it’s too low (i.e. below 20%) you will get tiny electric shocks from everything you touch that is connected to a power line. Also check your shoes! Chucks or any kind of sneakers with rubber soles are very bad! Leather boots are better. This is no joke! I have those problems here in my Studio all the time in winter, when the heating is on. In Summer it gets better.
  6. Great work, very handy, many thanks! BUT: if you want to print this, it uses a LOT of black toner/ink. A »positive« Version (with white background and black text) would be more economical …
  7. Yeah I forgot the volume pedal. It’s essential. Interesting approach by fiveways using it after the Triangle. Will try that out!
  8. You will need a guitar with good sustain. Les Paul or anything else with set neck (or neck through even better), mahogany body, humbuckers etc. Fripp used a Tokai LP copy in those days as far as I know. Use the neck humbucker with tone way down. On the HELIX side I use a simple setup like this: Input > Triangle Fuzz [Sustain: 8.3, Tone 0.7, Level 8.1] > Jazz Rivet [Drive 2.8, Bass 5.6, Mid 2.7, Treble 4.7, Pres 5.0, Ch Vol 8.5, Master 10, Bright off]. That’s the naked tone. Then add different LONG delays like Transistor Tape, Reverse etc. to taste (Fripp used two Revox tape machines for delay and looping). Thats half the battle already. Of course endless sustain using an E-Bow is helpful, but not essential if your guitar itself provides enough for semi-long solo lines. For my fripp-alike sounds I use a Fernandes Ravelle Elite with a Sustainer in the neck-humbucker, works like an E-Bow but you have the right hand free. Cheers Opti
  9. Hi everybody, not sure if this is the right forum, but anyway: I have been trying to remote my Helix with Cubase (Pro, 9.5) an ran into different problems. My setup is like that: We are a band with guitar (me), keyboards, and bass. Drums are programmed in Cubase with Addictive Drums and the like (on an iMac in the studio, on a MacBook Pro when playing live). Everything is nearly complete »virtual«, guitar via Helix, bass via POD X3, and keyboards all into the mixer into an 6x headphone amp. So we can practice nearly silent alltogether except the vocals anyway. In Cubase I have not only the drum tracks but also some playbacks for vocals, guitars, fx etc. For live playing, I have set up »long« Cubase tracks which contain up to 9 songs each, one after the other. I can navigate between those different segments by using »cycle markers«, which are mapped to keyboard numbers 1-9. So if I press »4« on the keyboard, Cubase jumps to the beginning of song 4, pressing »space« starts the playback. This is very, very handy. See picture. Now I had been thinking of remote controlling my Helix (connected via USB) by setting up an extra MIDI-part for every »song-segment« going out to the Helix. In this part I have (momentarily) only two controllers: one »Program Change« that sends a PC message to switch between Helix presets, and one controller »cc57« that toggles footswitch 10 in stomp mode on the Helix. Footswitch 10 is always assigned to a kind of distortion/boost fx on the Helix, used for guitar solos etc. So, when I jump to a »song« via keyboard, the Helix should the select the correct preset at first, and when it comes to my solo part and »cc57« jumps from somewhere below 64 to somewhere over 64, footswitch 10 should be activated … and when my solo part is over (and »cc57« jumps under 64) it should be de-activated. So all I send to the Helix is a Program Change and a controller message. AND IT WORKS! BUT the following problems occur: 1. When I press the space bar (start/stop) inbetween a song segment, footswitch 10 toggles as well, regardless of the »cc57« value. So it inverts the state of the footswitch, making it »de-activated« when it should be activated. 2. When I press the space bar inbetween two songs, the Helix becomes completely MUTED (no sound). When I jump to the next (or another) song start, Helix gets unmuted and live again. This might by useful for live situations but is not wanted here. What am I doing wrong? Footswitch 10 is set to »toggle« … »latching« does not work anyway. Cubase is set up to use continuous controlling and event following. Thanks in advance, best regards Opti/Alex
  10. OK … so these are just »handles«, right? I mean, normally Split/Merge blocks are invisible unless you need them. But the red color just indicates »something wrong«, I think … anyway thanks!
  11. Hey everybody, while waiting for 2.50 I am fiddling around with a »Cocteau Twinish« (say »Robin Guthrieish«) Dream Pop/Ambient preset. A single coil Fernandez Revolver Classic Guitar (with Sustainer) runs thru Vol (Swell), EQ, Comp into a clean Jazz Rivet (JC120). After a Cosmos Echo (Stereo) Path A is splitted into 1A and 1B. 1A runs into 2A. 1B runs into 2B. After the split all paths have different choruses, delays and verbs to thicken up everything. At the end 2A and 2B are merged with 70%R/70%L setting and walk into the stereo looper. Everything sounds great. But at the end of path 1B and the beginning of path 2B I see some »red dots«, indicating »something’s wrong« i.e. missing merge/split or something like that. See picture, big arrows pointing at those dots. Question: is something actual wrong? What do these dots mean? Thanks in advance, Opti
  12. I can join in. No update problems at all with an early 2015 unit over an iMac 2011 model running El Capitan. Kudos to Line6 and the progammers!
  13. I experienced that Return is better than Aux for two instruments with the same outputs (e.g. passive single coils). I use Guitar In with my strat and my teacher uses Return 1 with my tele – each on its own signal path (with the same blocks/settings). Both guitars sound equally (aside from their native characteristics). Using Aux for my teacher resulted in a much quieter tone from him, so we switched to Ret 1. Might be as well practicable for bass.
  14. Dear HonestOpinion and all, this was very helpful, thank you very much! I’ll order the cable and will report what happened. Thanky again, Opti/Alex
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