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Everything posted by ncockerill

  1. SiWatts69 --- thanks for the reply. Much appreciated. So you would be more likely to do run to the JBLs first, like the updated diagram below? What would be the advantage or reasoning? Thanks again!
  2. Got an outdoor gig next weekend and need some advice. I have 2 Stagesource L3t, 2 Stagesource L2t and a single Stagesource L3s sub -- which are great and all I have needed for most indoor gigs. But since this a large outdoor space, I wanted to increase my low end by using another sub or two. My singer has a pair of JBL EON 518s subs and I was thinking of using those. Would the following setup work? Can I use the XLR outputs AND L6 link simultaneously? Thoughts?
  3. Good point. I think this can work the other way as well. That is, selecting certain loops or presets on the ES-8 can trigger PC/CC changes on the HX Stomp as well.
  4. The advantage would be that the dedicated TUNER OUT jack out of the Boss ES-8 is always on. So, I don't need to switch to a tuner mode on the Stomp. I actually don't find polyphonic tuning to be that faster or easier to be honest. But I already have the PolyTune, so might as well use it. Plus, its tiny and takes up minimal space.
  5. Fellow Helixers, I am an early adopter of Helix Floor and still using for live shows and recordings. I love it. But like most guitarists, I am always too eager for a new experiment and I have been thinking about creating a (near) replica of Andy Timmon’s current rig. Except I’d like to use an HX Stomp as the Mesa Lone Star and cab, and pretty much everything else will be traditional analog stomp boxes. Here Andy explains his current board, starting at the 8:28 mark: If you don’t know Andy Timmons, you probably should. Ridiculous player and legendary tone. I would probably use the Boss ES-8 switching system, which should do the job (although Andy uses a custom made Gig Rig for this). Attached is a mock-up of the board with a diagram of the proposed signal flow. Looking for any input into whether what I’ve created here will work; most notably, the use of the 4-cable method from the ES-8 to the HX Stomp. Essentially, I want to run everything before the amp (HX Stomp) and only the Strymon Timeline after the amp. I guess I could just run the ES-8 direct to the input of the HX Stomp, and then put the Timeline directly in the HX Stomp FX loop instead of running the 4-cable method, but then I wouldn’t be able to control the Timeline from the ES-8. Anyway, if anyone has input, I’m appreciative.
  6. Sounds to me like you would be fine with the Helix, its ample DSP and snapshots. For example, I basically use ONE preset all night long for cover band gigs – and we play a good variety of music. I run a super serial path with two amps (JCM 800 for dirty and JC120 for clean) with two IRs, an auto-engaging wah via expression pedal 3, and then a BUNCH of stomps. I use chorus, 2 delays, phaser, tremolo, octaver (pitch controlled by EXP 2), compressor, drive, gain boost, and reverb. All of these are programmed with various on/off states and parameter changes into 8 snapshots. But I frequently use STOMP mode as well to turn various effects on/off as well. Quite frankly, I still don’t know HOW I didn’t oversubscribe the DSP on this patch. Running a single patch all night might not be a popular choice given the incredible flexibility of the unit, but it works for me. Sure, I have a few “specialty†presets for Hendrix, SRV, and a couple of other iconic tones, but I primarily run ONE main patch all night.
  7. This --- just be sure that if you use a volume pedal block early in your chain, that you put the send somewhere before the volume block. Otherwise, when you turn your volume down to tune, you'll kill your signal before it gets to the send block. Had me scratching my head once........
  8. As for the Broadway Stand, I have some information on this from the creator, DB Chase. I managed to secure the last Broadway Stand he had, and now he is revamping his business model to be able to produce more. My guess is that there was solid demand and he couldn't keep up. His plan is to start a KickStarter campaign soon and is shooting to produce 1000 units to hit retailers. I can say DB is a stand up guy and I wish him luck. No, the stand is not inexpensive, but if you look at the value it can provide, I think its a fair price. It allows for 3 stands (mic stands, iPad stands, guitar stands, etc) integrated into a single unit. The unit also has (3) standard power plugs and (2) USB power plugs. This not only powers my board and G10 wireless, it charges my iPad, and I use it to power my rhythm guitarist's board as well. It can even be used as a standalone pedal board itself. And it's built like a tank. Like several people in this thread, I was trying to find ways to reduce my stage footprint and integrate a mic stand into my board. Tried several things (including the Ikea idea), but nothing seemed to work for me. I eventually stumbled on the Broadway Stand. Like I said, it's not inexpensive, but for me, it was worth it.
  9. Again -- thanks to all that responded. Hands down the best product forum I've ever been on.
  10. Last thought --- what if I picked up an Alto TS210 before the festival? Assume even less coloration to the original Helix tones than the Roland KC?
  11. Thanks for the great responses folks. I am definitely going to bring the Roland, and quite possibly the Bogner. We are the first band playing, so we'll actually be the only band that gets a half decent sound check. I plan to get there very early, help the sound guy load in, befriend him. Then see if that softens him up to try a few options, time permitting. Worst case scenario is that I mic the Roland, and it probably sounds decent enough for an hour set. I guess I'm just spoiled with the Helix, direct to FoH and IEM.
  12. An early adopter of the Helix – I’ve got this thing dialed in just the way I like it. Running about 6 or 7 presets on any given night for my cover band shows. I run the Helix direct to FoH and use IEM – no live amps or live monitors on stage at all. Super comfortable with this setup and no reason to change. It sounds great. Except….. We’ve been invited to join five other bands for a festival next weekend, and each band must follow a similar stage plan in order to accommodate the 15-minute band turnaround. Long story short, I need to run a live amp onstage that will be mic’ed. Looking for advice here. I figure I’ve got two options. I have an older Roland KC-100 keyboard amp. I suppose I could just run XLR out of the Helix into that, and mic the cab. It’s only a one hour set, and it would probably sound ……(just) ok. Maybe some quick Global EQ tweaks or let the sound guy EQ a bit at the board. I also have a Bogner Alchemist handy, which is a pretty sweet sounding amp, but I haven’t played it for several years, and never tried my Helix with it in any fashion. Seems like that option could be a bit of science project to get right in a short timeframe, with first real attempt in front of hundreds of people. Yikes. Given I don’t have a lot of time between now and then (tight timeline and other gigs to play) --- any advice on the quickest/easiest way to preserve the sound I love from the Helix without re-inventing all my patches. Go with the Roland for an hour and put my faith in the sound guy? Create a single FX-only patch in the Helix and run into the Bogner? Thoughts?
  13. Just asked to join the Facebook group. Unfortunately I won't be able to make the June 25th get together, but want to stay informed of future gatherings. I would definitely be down to hang with some Helix cats. I actually saw Frank a couple of months ago at the BOC show -- watching Richie Castellano rock a Helix!
  14. Interesting thought -- I've never considered this. I normally just use Helix's left out to an M20d input channel (using the HD500 factory preset). Never occurred to me to use Helix's L6 Link out. Silverhead -- Is there any advantage to doing so? If I connect to a snake and then to the M20d, have I negated any said advantage?
  15. Voted this up. I think this would be a really useful addition to the Helix --- for me, anyway. I typically use 4 snaps / 4 stomps per preset, but there are definitely a few "pre-snapshot" patches that I still use live. When I switch to these, I have to remember to hit the MODE button to switch to stomp mode, as the unassigned snapshot buttons illuminate instead of my stomps. It's not a big deal, but it has made me wish for this functionality.
  16. Yeah -- no kidding!!!! I think another important factor here is his signature-model Ibanez, outfitted with Dimarzio Cruisers in the mid and neck positions. Not to mention his attack.
  17. This track is amazing. Andy is such a fantastic and soulful player. For anyone interested, Glenn DeLaune did an awesome job of replicating Andy's tones from the Resolution album, and it translates very well to this Winterland track too. On Glenn's Custom Artist Packages Volume 2, there is an Andy Timmons patch and custom IR --- I just made some very minor tweaks to his patch as I was trying this on a Tele -- and it's almost dead on --- especially the solo section with the Octave Fuzz. I was playing along with the track and was literally giggling at how close it was.
  18. Rocco - I program a gain block to a second expression pedal, then set the sweep from 0db to 6db. Works great, as I can vary the gain boost level from song to song as needed.
  19. Thanks for the feedback folks (bad pun intended). Checked out the new Anderton’s video on YouTube and there is definitely a huge difference when placing the FreqOut before/after the overdrive. Given that, I think it probably makes sense to put this into the Helix FX loop for most flexibility. I can envision that FreqOut FX loop block being in different locations from preset to preset, based entirely on what you’re going for. I think DigiTech has a real winner in this new pedal. There is also a new demo by Pete Thorn on YouTube as well. Lots of praise from Pete………of course, Pete could make a PigNose sound amazing………. Now I’m really anxious to get my pre-order!!
  20. While awaiting my pre-ordered Digitech FreqOut pedal to arrive, I’ve started to think about how I am going to hook this up. Obviously I’ll try different combinations once it is in hand, but would love to get some ideas from the forum. Always lots of great input out here. At the 2:43 mark, the video suggests that the FreqOut be first in your effects chain. My current setup is relatively simple: Guitar à G10 Wireless à TC Helicon VoiceLive à Helix à FOH So, would it make the most sense to: 1) insert the FreqOut before the TC Helicon 2) insert between the TC Helicon and the Helix Guitar In 3) insert as an FX loop inside all Helix presets, just after the input block / noise gate blocks but before any compression, distortion, etc? Thoughts?
  21. If you play live, keep the HD500x -- as it makes a pretty nice backup rig. But outside of that function, the HD500x won't see much use. The Helix is just better in every way.
  22. This is exactly why I've bought so many of Glenn's patch creations. I probably couldn't get this close on my own --- and I don't want to spend hours trying. I just want to play guitar and have it sound great. And thanks to Glenn, that's what I do.
  23. I tried this (one preset for the whole night) --- just didn’t cut it. That said, I do use one preset for about 70% of the tunes we play. It has 2 amps/ 4 snaps (clean, crunch, drive, and solo) and a bunch of stomps to craft other tones for everything in between. It works great. However, there was no getting around having “specialty presets†for some tones – such as Hendrix, U2, SRV, Gilmour, Acoustic, etc. As stated in the other post, it really depends on your set list and your motivation to cop the original artist’s tone authentically. More varied set lists = more presets.
  24. I can speak of my own experience, which has been very positive. Prior to the Helix, I had other modelers (PODxt, HD500, ElevenRack) – and played these in various combinations through my Bogner Alchemist 2x12. Four-cable method, FX loops, guitar input --- you name it --- the options are many. All have their strengths and weaknesses. Since getting the Helix, I pretty much just use it……..and it alone. Straight to FOH --- but I use IEM so don’t have to worry about FRFR speakers for stage monitoring. At home, I have a pair of JBL LSR305’s that are pretty good. But FRFR cabs are getting more affordable (and surely you probably have some gear collecting dust that could be traded in?). As a cover band guitarist --- like you I need the ability to go from Jimi to Jimmy, from Eric C to Eric J, SRV to Gilmour, and on and on. The Helix has made this possible, and just as important………..EASY. Go for it. I would imagine very few Helixers regret their purchase.
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