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donkelley

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Posts posted by donkelley

  1. 7 hours ago, PeterHamm said:

    Actually, I just thought about it. Trails on an FX return is functionally impossible anyway. That's why it's not there. Think it through.

    Why? Isn't there a way to run the return in parallel?  If not, then yes, I agree.  IF it can be run in parallel mode, though, then you could control output TO the return with a volume block before it (or similar), both in your 2nd path, and leave the rest of the signal blending with it so, whether or not you allow signal to go to the return, you still get your sound coming through the 1st path.

     

    You would have to set your reverb or delay pedals within the fx return (The actual pedals) to be full effect, no source, for it to work properly... otherwise your volume would increase when you sent signal to the fx return since the fx return would also contain the initial sound of your instrument and it would sum with the 1st path (which doesn't leave your helix box)... assuming your pedals don't invert polarity, in which case it'll nullify and make it horrible sounding or nearly silent, depending on phase accuracy.

  2. On 7/13/2020 at 8:24 AM, PeterHamm said:

    If there is a send somewhere that feeds that device, just turn on/off the send instead?

    Yea, that's how it's done in recording studios and live... on a mixer, you leave the return up and the fx in the loop and just control the amount from each track that gets the delay/verb with the send on that track, and when you turn the send all the way off the trails continue and the original continues without effect.

     

    Can something like that be done in helix instead?  I would think so, just how it is now, right?  just change what the button controls?

    • Upvote 1
  3. 1 minute ago, Lone_Poor_Boy said:

     

    Hmmmm... what about modifying an old, used Coleman stove?  Gut it, and put foam padding on the bottom to lift the Helix up some?

    200.jpg

    OMG I love that!  I looks really similar to the product I used, but of course mine looked like metal with black surfaces. 

     

    And.... your version would be fire proof!  Global warming and all that... this might become relevant ;-)

    • Haha 1
  4. 11 hours ago, SaschaFranck said:

     

    Well, thing is, it *has* to do with using substandard materials. Not on the jacks themselves but on the XLR circuits. And unfortunately, that's as well true for some other components.

     

    They are NOT substandard.  Look at the design schematic.  It's a very clever design ... but not one that should exist around phantom power... which, again, this should not receive.

     

    Yes I think it should be a defeatable circuit, the one that line6 added which is causing you so much stress... so those of you who forget to turn off 48v phantom on your mixers don't suffer from any degredation of your tone until you realize the cause of the problem, which is often as easy to fix as hitting a switch on the board.

     

    But it is not a quality issue - it is an EXTRA FEATURE that line6 added to improve performance in literally all other situations besides having 48v mistakenly supplied to it.

     

    You really need to choose your words more carefully - quality implies cheapness.  It actually costs Line6 more to do the design they did, and they did it to improve the product, not because it was a cheap part or to cheap out on design.

     

    Do we all agree with their decision?  Nope - but that does not imply or suggest a quality issue.  It is, literally, a design choice by the engineers, who (for anyone who works as an engineer will understand), would have been presented with a problem to solve and solved it.

  5. 12 hours ago, SaschaFranck said:

    The jacks themselves are fine - but I was explicitely saying "XLR outs". And at least for me, these contain both the jack and the "functionalitly". The latter being severely crippled.

     

    But... they are NOT severely crippled.  They work perfectly in their designed use.  Again - please show me a live sound engineer who runs 48v phantom power on all of the xlr cables attached to devices not owned by himself or his company.

     

    It's a dumb thing for a sound engineer to do, and should not enter into this discussion as a valid criticism of a product that should not receive 48v on it's xlr outputs.  It is not a condensor mic or a phantom-powered DI (both of which are rare in live sound).  It is the equivalent of an SM58, of which there are a gazillion in live sound use, and they connect it identically.

  6. Oh, by the way, I do have a suggestion for people trying to see the displays on units in the sun.  I used to tour and when I did I had a road case for my pedals that has these metal angled side pieces that blocked the sun, and feet and beer, from hitting my board.  It was great - probably some DIY thing could be fashioned like that, as long as it's heavy enough to not fly away when playing outdoors... (like, don't use cardboard).

  7. So anyway - the physics of speakers is very well understood.

     

    dispersion wise, any multi-speaker cab, or multiple cabs, with speakers outputting the same frequency range of the same signal, will result in beaming (directionality).... the longer the cross sectional area in any one direction, the lower the frequency the beaming starts in that cross section (and it continues into high frequencies).

     

    So a 212 cab has some very serious beaming of midrange frequencies on one direction since the total distance of the moving speaker from outside of one speaker to furthest outside limit of the other speaker is probably going to be like 24 or 25 inches (end to end, and often 2 speakers have 3 or 4 inches between them), and beams in the other direction (90 degrees or 270 degrees from the first sample) much less so since the cross section is roughly 11 inches (most 12" speakers are not 12" moving diameter).

     

    412?  bad in both directions.

     

    pa speaker with one main speaker doing most of the output, crossing to a horn at high frequencies?  even at all frequencies covered by the main (10", for example) speaker... and better dispersion up high because of the improvements in using properly designed tweeter.

     

    10 speaker has good disperion into higher frequencies than a 12" speaker does.

     

    IF you can get one that is very sensitive and has super high power handling and is built strongly and sounds even over it's range...

     

     

    ....then a PA speaker that is 10" with horn, and with a loud power amp, can easily be as loud as a 412 guitar cab. 

     

     

    Power handling is in the design - not the size of the cone.  Efficiency sort-of also in design, but larger cone and more surface area do make a speaker louder... and 4 speakers is louder than 1 or 2.... so the cab has to work much less to make that same level of sound - but the 110 pa speaker may well be able to do it.

     

    There are plenty that can't do it - and bass (guitar or drum or keys) output at high level is WAY harder to achieve and might blow up a 110.... for guitar, there are some amazing 110s, like the headrush frfr.

     

    Major brand, 1000 to 2000 watts (peak) amp, high efficiency speakers??  It's a no brainer - it should be outstanding.

     

    Bi-amped speakers have used weak amps for tweeter and big amps for woofers for several decades, actually... but some designs do benefit from having the same output power for each since there are some INCREDIBLY high efficiency PA 10", 12" and 15" speakers out there now, where in the old days the tweeter horn was always way more sensitive than the woofer and needed less power... these days, the power output isn't so dramatic.  Yes, without low frequencies there is for sure a difference, but there are readily available 2 channel super high power amps these days that make biamping with the same power output for tweeter and woofer a good cost decision, while it never hurst the marketing material to sum the outputs and say "look, we have 3 killowatt speakers!"... when in fact it's a tweeter amp that peaks at 1500 watts max but would fry the tweeter if it ever did that much output, so its output level is cut to match properly.

     

    Marketing drivel, eh?  it's annoying - you gotta read between the lines.

     

    Still, I'd say that would make a pretty outstanding FRFR speaker.

     

     

    NOTE:  nearly all FRFR speakers are NOT flat response... listen to some videos where they compare FRFR speakers - they all sound dramatically different.

     

    It shouldn't be that way, but it is.  They're just flatter than guitar cabs, is all.

     

    So you may have to use global eq after to get your tones to match what you're used to, by probably cutting some highs, some presence area, and possibly cutting lows a bit too.

     

    Global EQ is best for matching your FRFR's quirks to how you think it should sound... (like compared to line out into recording studio board through very truly FRFR studio monitors in a treated room that has had frequency analysis and correction done to it).

     

    • Like 1
  8. Well, clearly you should sell your Helix

     

    Time to dump that lemon, where every potential future-issue or rare problem anyone has ever mentioned on this forum has happened to you and your friends, and move to (axe/headrush/kemper/zoom) and find out what a (difficult-UI/hard-to-dial-tones-plus-frustrating-touchscreen-ui/severely-limited-amp-controls-plus-limited-fx-and-routing/limited-processing-plus-old-models-plus-limited-routing-and-switching) feels like.....   Maybe that's what you're looking for.

     

    EVERY of these excellent modelling products has limitations.  Every one of them.  EVERY one of them can be used to create great music, if you know the product and learn how to push, or work around, it's limitations.

     

    • Like 1
    • Upvote 1
  9. They have been mentioned already, but I STRONGLY would like to see the following stomps added:

    - Digitech Frequout (what a pedal!)

    - Digitech Trio (or plus, and honestly it could probably be a less than complete version... as long as it gets you there)

    - literally Any TRULY POLYPHONIC-TRACKING HARMONY/PITCH/SYNTH module(s).

    - A more feature-laden looper. In a product this complete, to have a looper that is no better than my $40 Ammoon mini looper pedal is just sad, although it's nice to have multiple buttons.  To be a proper performance/oriented looper, it MUST have a track save/playback option, and it MUST have 2 or 3 phrases that can be switched between, and at least 2 tracks.  That's hardly rocket science these days - it's available software, heck there is even open source software that does it.  If this requires 2 or even more spots in my virtual helix pedal chain, so be it.  As long as there is an option for a proper, performance oriented looper, then it's a sacrifice/choice the end user can make if desired.

  10. k.  Figured with an old device, generally I ask in a user forum since folks get these things replaced or sometimes do their own replacement of modules.  I use a helix - just figured if it's something others have encountered, shorting out the input jack, if maybe it's a simple component to repair.

     

    I do a lot of electronics work.  I wonder what would count as an official Line 6 service center here in small town Canada?

     

    Cheers

     

  11. This is truly one of the most important things any helix owner should download.

     

    It should be linked from the product page on line6.com!  I know it can't be, but it SHOULD be.

     

    It would have saved me a ton of time early on if I'd had this.  Is there like a "EVERYONE NEEDS THESE ITEMS TO USE A HELIX" section somewhere?  It should go there LoL

  12. I'm a helix LT user, but still have my old xt live here.  My old XT live died a while back when I used a guitar input cable that turned out to be shorted out internally.

     

    so something broke and it shows an error when you start it up.

     

    Is there an economical way to repair an old xt live?  like, assuming it's the input board circuitry, can that just be replaced, and are parts available anywhere and at reasonable costs?

     

    I won't spend a hundred bucks repairing a board that is worth 125 used now or whatever... but if it's half that, it would be worth my while.

  13. I never understood the "necro thread" stuff unless someone had a "should I buy this before Tuesday" topic.  This thread about the input pad is very important, and has great information that was relevant 4 years and is just a relevant today.  So for sake of organizing information, it SHOULD be commented on in the future with information helpful to others.

     

    Firstly, thanks to the line6 staff guy who told us how it works in a related thread:

     

    ~~~~Digital Igloo said:  "Helix's Guitar Input has a digitally-controlled analog pad before A/D conversion. FWIW, the impedance circuit is the same."

     

    Knowing that, it has just saved me a ton of trouble on my basses.  I play bass and guitar through this (and will play electric violin and cello through it too).

     

    One of my basses is pretty high output active, and it happens to sound better with it's on board bass control boosted - and voila, we're talking very high output now.

     

    So I enabled the pad and voila - it solves my biggest issue.  However I change axes all the time, and they are not all the same output.

     

    So I'm going to back through teh presets I've created for guitar and for bass and adjust things for pad=Always On.

     

    It's the only way I'll be able to use this with my various instruments.

     

    I might even throw and extra stomp into the start of my main custom bass patch just to toggle a 5db boost (or whatever works for me) to bring up my quieter ibanez bass or a quieter passive bass when needed.  I'm really trying to avoid having another pedal in front of the helix, just because pedals stress me out (which is why I just got this and am moving away from my 18 or so pedals).

     

    So my next helix project is initiated - I'll update here if I have any issues, but I do fully recommend the pad if you're a bassist with active basses or if you have high output guitars but sometimes like to play clean with them... at least it's worth trying, since it's free.

     

    That's the greatest thing about the helix - every product, nearly, is right here at your fingertips to try out!  It's a music store at your fingers, but you already own them all, and you never have to look for patch cords, velcro, and more space LoL

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