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About tjbassoon

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  1. I have both, and I've messed with ways of hooking them together, but I suspect most people probably just want to run them separately. Use the Voicelive for vocals and the Helix for guitars. But the Helix has a WAY better looper, so that might be a good option to consider running them together. An option to consider to keep effects discrete and not get things blended together. Use 1/4 cables out of the guitar out for the guitar signal and XLR will be vocals. Use an XLR>1/4" cable for this. Set your guitar output initially to one of the Effects sends, and send that to the input of the Voicelive. Run stereo returns 1+2 if you want. All guitar effects come first, so this effect loop will be at the end of your Helix signal chain. Set all the effects on the Voicelife, turn off the cab sim, make sure the amp is set to "Acoustic" or whatever for no amp change. Run the vocals directly into the Voicelive, and send them out using your XLR>1/4 cable to returns 3&4. In the Helix, this becomes a new input, probably on the bottom two paths. Now you can loop your guitar effected from the Helix and the vocals, using the Voicelive Looper. Vocals and backing track will run through the vocals stereo channel (if you set it up for stereo) in the Helix. Set your outputs to keep discrete stereo channels if you can.
  2. I also use a TC Helicon Voicelive 3, which lets you use a MIDI keyboard to control the harmony aspect of the vocal processor. You can either have it just detect the general harmony and have it decide on the pitches based on the input pitch the vocal is singing, or the MIDI can control the harmony exactly (sort of like a vocoder) where if you play C4 on the MIDI keyboard that is the harmony note produced by the pedal, regardless of the pitch input. Is there any similar feature in the Helix? I really doubt it but it would be a KILLER feature for me if possible. The implementation I would think, would be on the Dual Pitch to set the interval 1 and interval 2 setting to "MIDI" and that controls the harmony (two voice maximum I guess, which is kinda small but doable).
  3. Let's not forget it was the parents that decided to have participation trophies, not the kids. Don't blame the kids for the environment they grew up in (if the participation trophy trope wasn't thoroughly overdone anyway). Most kids that got participation trophies knew it was bulllollipop. I'm 38 years old, do I fit into that generation or no? I don't remember ever getting a participation trophy.
  4. You know you're not all that wrong, unfortunately. I'm always the last one packed up in my band. To make matters worse I also have the pedalboard, an amp, and a keyboard to put away... You seem to know an awful lot about the instrument. ;-)
  5. Oh hi guys, what's going on in this thread? (this is pre-helix me sitting in with a band that I didn't really know their music all that well)
  6. They'll sound different, since they'll be in a very buffered signal path. Just don't expect them to sound like Guitar > Fuzz (or whatever) > Amp, if you put them in the effects loop. They'll work, and you'll get good sounds out of them, but they won't sound like they're inside a fully true-bypass pedalboard setup.
  7. Thanks for the feedback (pun intended) folks. Right now I'm using this microphone thing with a different instrument other than guitar, and just testing with my home PA which has no mixer, just Helix to stereo FRFR powered speakers. I put the tube preamp block with some low cut and then a couple of parametric EQ blocks after it so I had a number of slots. Thanks to this thread, I have learned that I have been thinking of Q in a parametric EQ completely wrong. Higher number is more focused! Go figure. So I managed to notch out four frequencies (I have a tuner that identifies the Hz as well, since I'm not that immediate at the pitch/Hz relationships yet) that were feeding back and could get a really much louder sound without problems.
  8. Not a noise gate, but something specifically for feedback issues. I'm thinking something along the lines of an EQ that you can notch out problem frequencies. Or better yet, something dynamic that finds feedback frequencies and kills them. Basically a model for this: https://www.sweetwater.com/store/detail/FBQ1000--behringer-fbq1000-feedback-destroyer This would be very helpful for those of us that use microphones with the Helix Floor, or acoustic guitar players. Does that exist and I just don't know about it? Should I vote for something on Ideascale?
  9. What is the kind of microphone you're using and what do you have the gain set to? I seem to have to set the gain in the globals way higher than I think I should (more than +20) to get decent volume, and even then I still have some settings in the effects (EQ and Comp) to boost that further, just to get to a sort of unity value with the guitar signal, even without effects.
  10. Aux seemed to work better than Guitar, and actually better than Mic, although Mic gave me more options with gain in the globals. Turning down my speakers did let me get more "hot" sound from the mics, but still not as present as I can get skipping the Helix all together in either the powered PA or my AER amp.
  11. Yeah, the mic only has a 1/4" out. I was testing some comparisons between it, an SM58, the Helix, my Voicelive 3, and direct into my amp or into a powered PA. Powered PA definitely works much better direct with the XLR adapter. Much better gain, although I don't care for the sound. Both the Helix mic in, and my Voicelive 3 have real issues with getting a worthwhile sound out of it. Very low gain and feedback starts quite early. regardless if I go into the amp or into the PA speakers. So far the only good configuration I have come up with is the microphone input of my AER Compact 60. That has a good level of gain and presence without feedback. It's the only setting I can get handling noise on the mics long before feedback is an issue, which should be the level of sensitivity these mics produce.
  12. https://www.myerspickups.com/products/the-feather Helix Floor Because the mic manufacturer suspected the impedance would be matched better with an XLR adapter, even though the mic has a 1/4" out. Because the microphone uses a 1/4" inch out, so that would be my default option.
  13. So I'm trying out this mic for acoustic guitar, the kind that you clip on and you can blend with your under the saddle if you want. Was planning on running this into the Helix for compression/EQ/verb. Normally don't use acoustic with a floorboard but if you have it at the gig as your DI and everything anyway why not? The mic has a small preamp that's battery powered, but very low voltage, runs on a watch style battery. This mic sounds pretty good going straight into the instrument channel of my AER Compact 60 amp, and even better through it's mic channel (which has a hybrid XLR/1/4" jack, using the 1/4" input). But into my FRFR speakers directly or into the Helix Guitar In the sound is terribly weak. The manufacturer of the mic said it's likely an impedance mis-match. I have an 1/4"-XLR adapter to try plugging the mic into the actual microphone input on order, which might be my best solution. Aside from that, or if that doesn't work, what else do you think I could do with the Helix to get the gain where it's meant to be? Even with the weak sound, I was managing to get some woofy feedback with some compression settings, so I'm not so sure that a simple gain block is the way to go.
  14. Best I can think of is to use a Stereo Looper at the end of the chain with the merge mixer right before it being hard left and hard right. Then your outputs would be Left and Right carrying your guitar on one and vocals on the other. I can't think of any other way to split the signal to discrete channels and have both in the looper (you can only have one looper active). Just tested this. It works, keeps the two inputs separate in Left and Right channels. You could run one out through XLR Right and the other through 1/4" Left and it would work fine too. You would lose any other stereo options with this. You can't have stereo effects that all go into the looper and out a discrete output path though, so you'll be running mono, but that shouldn't be a concern.
  15. My bass was only $400. I have $700 worth of speakers and the Helix.... Of course, when I play my bassoon through this stuff the balance tips considerably into the direction of the instrument itself (almost 20x the cost of the Helix)
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