fukuri

Hi Vinny there has been a long debate on another thread that I don't want to revisit just a few things It's easy for people to be dismissive of other peoples problems but the lack of empathy is not very helpful so let me just say I recognise your issue and appreciate it makes life difficult for people who want to use the device in a certain way The architecture of the device doesn't allow for shadowing without sacrificing significant DSP so I think we are stuck with it for the moment On the plus side the dual DSP means you can do an awful lot more with a patch than you used to and many of us have managed to compress our rig effectively into a few patches without the need to change them mid song. If you can't do that (and I can understand why that might not suit you) then you may need to look at an alternative device however there are a lot of devices with a lot of similar issues or sacrifices in other areas If the Helix works for you in other ways then it may be worth putting a Boss DD7 or Alter Ego Delay pedal in one of the loops to help sillover between presets Not an ideal solution but I'm afraid at the moment there isn't one Possibly this will be looked at as a future update but best to deal with the here and now Hope thats helpful

Its the difference between hearing your guitar and hearing a recording of your guitar it just reacts differently

It's the Cab Ir combination rather than the amp themselvesIn my setup I bypass the cab IRs for my onstage sound because I'm running actual cabs True amp Models still sound different I guess if you wanted to hear the difference in stage between a modelled2x12 and a modelled 4x12 then that would be a use But as I've said previously .. If your me you wont get any of that over the drums But it depends what your looking for out of your own rig

It's a good post though It points out the difference in requirements as well I'm a sleazy bar loud rock guitarist My backline has to punch over a John Bonham esque drummer and a Precision bass with pleccy and provide them with guitar My attempts to do that via FRFR have been predictably fruitless But other people say on massive stages or on silent stages don't have the same requirement I think it's important when looking at FRFR at what you are trying to achieve Thanks

The issue I have is you are assuming that your way is the way to solve it I'd rather have a compromise that lets me use more than half the DSP but allowed a degree of spill over to cover the transition between patches. I don't need EVERYTHING shadowed just a couple of things Also don't get mad, I don't agree with you that's all

Don't worry I made that upNarrow range narrow response (i.e. a normal guitar cab) Most people will tell you FRFR is the new best thing but personally I don't see the point of it (apart from FOH)

YesRegardless of how many question marks you use I don't think it's a good use of development resources for such a decremental feature Tell me this Have you tried using the Helix with only one path? 2 amp and a dual cab and you're done

Not for Guitar I prefer the sound of NRNR gold old valves into an alnico blue It just sounds and feels more natural for me Happy to use FRFR out front though

The issue here is that a lot of people use DSP 2 and don't want it sitting doing nothing to fix a millisecond gap I'd much rather see a delay persist or be able to choose which blocks persist and which ones change

I would go against the tide here and recommend you don't do it for backline

It's a generational thing too though Older obstinate burgers like me will always get Dewey eyed at the memory of the days when you had a roadie lug around a Marshall stack for you and you basically dined it and melted the paint off the walls There are now a couple of generations where their first 'amp' was a POD and the noise it made to them is the norm Soon they will have no desire to replicate the sound and feel of a 60s AC30 top boost because there will be no context for them to know what that amp is like to play (I'm seeing a fair bit of this already) Most of the kids will want sparkly clean, crunchy, distorted, metal and a ton of Delays reverbs and filters. They won't much care about accurately modelling gear of the past Until it comes back in a super cool retro fad ... It's all cyclical I've already been through two periods of 'the death of valve amps' and yet you can pick up a decent one for a couple of hundred quid

I've got it to work for me and work very well. To the point I could go to anything else without it feeling primitive The key for me was to ignore all this FRFR stuff and use it primarily as a pre amp and FX unit I don't really get FRFR ... It seems to be solving a problem that not many people have. I find the idea of changing my entire tone from song to song might be a bit jarring for the audience. Also it seems to be a lot of money to try and replicate a fairly simple thing When I went Helix to Valve power amps to guitar speakers .. It all started to sound more natural to me I still use the modelling and the cabs but that all goes to FOH. I have found that I hate having that tone in my backline because it doesn't sound feel or react like I'm used to. so I can have the best of both worlds with the Helix it just took me a while to figure out that's what I needed

I used to use an EWS simple volume control to do this Now I run like you do 1/4 to the stereo backline controlled by the big knob Xlr to the FOH controlled by the sound engineer knob

I use an orange ppc 1x12 with an Alnico blue in it and a Friedman PT 1x12 with a G12 65 greenback Virtually the 1x12 celestial 80 Full modelling - the preamps just don't sound right Just the soldano ... Why bother with the modeller? Because it's there and it saves me bringing 2 heavy amps The power of the Helix is not in the modelling for me. It's in having 10 buttons for FX and almost unlimited combinations I should take a pic as it would be quicker but my layout is 1. Minotaur (always on clean boost so I could afford to lose the button and do in some of my patches ... Replacing it with a harmony button in my trooper patch or my Detroit Rock City patch for example) 2 simple phaser (pre drive) 3 loop 1 KOT toggle on/off (off is clean on is 100% wet) 4 Toggle OCD (more drive) on : KOT off (if button 3 has the KOT off this will toggle straight to clean, if it is on it will give me the KOT crunch) 5 Looper 6 Down (momentary octave down 50/50 mix) (are you gonna go my way and Black night) 7 UP (momentary up 100% wet) just for giggles. Hit a harmonic and step on it on the off beat .. 8 Gray Flanger thick wide and stereo 9 dual delay set up about 400/800 wet mix controlled by external exp pedal 10 Chorus - for Queen and Whitsnake

There is a one to many relationship Each effect can only be controlled by one footswitch but one footswitch can control many effects So you can have a footswitch that switches one drive on and another two off What you can't do is have another one that switches on just that drive I can imagine it could get hellishly confusing if you allowed a many to many relationship between pedals and footswitches

Not just now its packed away but I'll take some next gig I should do some recordings although it's more how it feels under the hands ...if you know what I mean The King of tone is a stunning drive pedal at Volume

After all lot of experimentation I think I'm there Helix King of tone B9 Soldano clean model XLRs straight in to the PA with a dual cab model going left and right with 2 X 1x12 models Split before the cab models and output 2 via 1/4 going into 2 Fryette Powerstations and 2 1x12 cabs either end of the stage At full blast it is a might mighty experience but with all the dynamics I need I had a great time extending some solos and really working with light to heavy picking dynamics Punters were blown away and the band were loving the sheer size of the sound I'm deaf but happy

I'm using the Leslie cab in the helix and programming a button to take the speed to zero

I run the B9 I have one footswitch that is assigned to switch it on Switch all amp models off Switch all cab models off Switch the Leslie model on And I have a momentary footswitch set up to act as the brake on the Leslie All sounds great

I'm at the point now that the scribble strips have ruined me for any other pedal Anything else just seems .... Primitive

I've got an Atomic It's my backup rig Great pedal and sounds fab if you put the time in The lack of buttons is an issue and I wish it had a ground lift in the XLRs But as a second unit it has a lot going for it

I'm not sold on the 3rd party irs It makes stereo a pain and finding the right one at band volume is a torture my band mates aren't really signing up for If you have ones you know and use already then it's great If you want to sit and audition 100 3rd party IRs then you have much more patience than me I have to say :)

The Dr is in

I'll need to lose the mic input but that may work for me Thanks for the heads up I'll have a look at that I could use the exp pedal to morph between the inputs

I must be in the minority hat doesn't really use the Helix for Amp modelling I stick a generically clean amp like the Soldano or one of the fenders bypass the cab modelling and go straight into either the fx returns of a pair of two rocks or a Freyette power station I do use the cab models via the XLRs for front of house but that is re-enforcement. The sound I hear and play with is straight into the power section of the amp Why do I mention this? Because I had an FX8 at the same time as the Helix and although the scenes were OK (I didn't use them much) I ran out of FX and /or horsepower pretty quickly on it. My life with the FX8 was a constant juggling act of what it would allow me to have without switching preset Where the Helix won hands down was the on the floor tweaking (which is a pain in most of the fractal devices) and also the amount of footswitches per patch and the flexibility to assign any parameter easily to a footswitch For example I have patches with guitar harmonies on them where I use the footswitches to latch and temporarily change key I could probably do the same in the FX8 but not easily I also wasn't convinced about the drives They were 'OK' and with a fair amount of deep tweaking you could even get them to be 'good' but it is time consuming I'm a jobbing musician, I don't have a lot of time or patience for editing. I want to plug it in, twiddle about a bit then rock out.. The minute I'm ducking about with a laptop scrolling through pages of parameters ... I've lost The Helix is quicker and easier to get good sounds for me Just my 2 pence