Jump to content


  • Posts

  • Joined

  • Last visited

Everything posted by tjbassoon

  1. Wow.... This is fun. I'll see if I stay logged in for more than 16 hours now though. :laugh: :-) :'( emoticons no worky....
  2. I look through Customtone and I find countless acoustic sim patches, designed for variax or electric guitars to attempt to sound like an acoustic guitar. But if I want to run my acoustic into the Helix and into a clean amp or FOH, there are very few presets designed for an actual acoustic guitar. Do you have any favorites? Weeding through everything on customtone is.... numbing.
  3. Should I put "Update the forum software to the latest version" on Ideascale? LOL
  4. Is there any way I can extend the log in time on this forum? It's the only internet forum, or even including social media, that I regularly have to log in, like pretty much daily. It'll remember me for about a day. Is there a way to change this setting? I've poked around but didn't see anything in the obvious settings.
  5. OK, so based on this video I have personal preferences I would probably put on every amp, although it seems like if you don't dime a few of the main controls it doesn't matter all that much. For my own reference later: Sag 5 Hum 0 Ripple 0 (doesn't matter with hum at 0?) Bias 10 BiasX 10 Smooth and clear distortions when set this way? Emulate an old tired amp with ancient and well worn tubes: sag <5 hum <7 ripple <7 Bias >5 BiasX >5
  6. I wondered about that. I don't want my amp to "hum" - that's part of what makes modeled amps nice: you can take problematic parts of the sound away.
  7. I've read the manual but the descriptions don't really mean much to me. I adjust these settings and I don't ever really hear a difference - what am I missing? What do these actually change the sound like? Lots of discussion that have these terms on the forum, but I can't find anyone describing what these things do directly.
  8. So even if you're only using two cables to go through the amp FX loop, you're still saying that using Return 2 has less hum? That doesn't make any logical sense. Weird!
  9. You probably aren't going to do that anyway. But that said. No reason to use Return 2. Just use Return 1. I would personally set all ouputs to instrument level first, and only jump up to line level if you think it is needed. I think most amps expect instrument level. Otherwise this looks good to me. If you want effects in the loop, my suggestion is to set the Path 1 output to Send 1, set the Path 2 input to Return 1, and then Path 2 output to 1/4". Then anything in Path 1 goes into the front of the amp, anything in Path 2 goes in the effects loop. Add no effects at first and compare the sound/volume of this setup to running just Guitar into Amp directly with no Helix, and no cables in the FX Loop of the amp. Just to make sure your basic level is the same. I am running a very similar setup right now.
  10. So if I understand correctly, under no set of settings will the volume knob affect the Send jacks in any way. Those are sent at.... unity? whatever that happens to be? Side question then, is volume knob maxed the 0db level for the assigned output level (mic or line) or is that 0db going to be somewhere halfway down the turn of the knob?
  11. So I'm running the Helix in a 4 cable method to my amp. Send into the amp input, then amp send into the Helix return, then final 1/4" output to the return jack of the amp. My question is, what is the big volume knob primarily affecting here? Is it affecting the output signals from the 1/4" output jack mostly or the Send jack or both equally?
  12. I would think if you're bouncing back and forth between snapshots as in your second scenario, manually triggering the snapshot changes from an appropriate screen (like, set up 4 stomp 4 snapshot mode) would make more sense. But otherwise I understand it the way you do. Great little feature. A bit like the "Step" feature in my T.C. Helicon Voicelive3. This update looks DOPE.
  13. Fuzz pedals always sound best at the front of the signal chain with a cable. At least, that's what I think sounds best. Taste is personal and all that. That said, unless the fuzz is weird and has a buffer at the front, it'll sound very different through a wireless interface or after the Helix (or in one of the Helix FX loops if applicable to your setup). There's no getting around the fact that they'll sound different. Not "bad" although I don't think they sound as good. You're probably better off finding some of the fuzz sounds in the Helix itself and really doing a lot of tweaking to get it to sound right. Wireless into the Helix won't make a difference I don't think. As for Helix input impedance? I know on the Floor you can adjust this, although I always set it to auto. Not sure about the FX. I would RTFM and check out what it says about input blocks and global settings to start.
  14. I own the 2412 and the 2411, but I don't keep my Helix in either, I use it for other gear. I use the Helix backpack because it came with my Helix in a bundle for free. They're both pretty solid bags. Neither of them are as robust as the official backpack, in terms of thickness of material or whatever. The 2412 is actually oversized inside the main cavity for the Helix though, it'll jiggle around in there a little bit. More than the 2411 would. And yes the 2412 is more substantial than the 2411 by a fair margin. It's definitely lighter and more compact than the Helix backpack. That thing is a beast. Unless you are really concerned about the size thing, I'd suggest the backpack for a Helix specific case over the Gator, considering how actually close they are in price. I haven't had issues with the backpack falling apart, but I largely haven't put it through its paces like some others probably have. I would probably defer to what theElevators said above. The hard case option he linked seems like a solid suggestion. If you want light and cheap, go light and cheap. If you need touring protection, get a really solid hard case.
  15. OK, so it turned out that I did have the 1/4" out to Line, but honestly that doesn't change much. Just changes where I have to set the BIG volume knob. I thought maybe setting the Send/Return to line instead of instrument would change things but it literally made no difference at all when I made those changes. I also tried using Send3 instead of the 1/4" out for the preset and that also didn't matter at all. Your preset was actually way too loud. Only one volume block at +12dB was required for me to balance the regular amp. Still wild that you need to do that though. Guess that's just the way the models are done. I don't have an issue with them when I use a cab block, as those tend to add a LOT of gain/volume to the overall sound output (when going to an FRFR setup with XLR cables this is what I have done).
  16. Doesn't the return fx into the amp expect pedals at instrument level?
  17. I'm confused as to the purpose of the 4 Cbl Method preset then. Because it seems explicitly to be able to use either your preamp, or the Helix preamp. It's even labeled as such and described as this design in this official tutorial video: The only thing here that I haven't really done is adjust the 1/4" out to line level, as that isn't appropriate for my amp. The gain staging works just fine if I'm not using the Helix preamp models. The video above shows to adjust the FX loop levels to make it match the amp, this is fine for my amp when they're set at 0 for both pre and post. It's the preamp setting that's far too quiet, and there's no direct adjustment for this in the signal chain for that template. (I also don't quite understand why the template has the Split Y for the delay and reverb, but that's a different discussion). In fact, even if I just run the preamp into the front of my amp like you're suggesting, the volume drops significantly unless I max out at least the Channel and Master volumes of the US Delux Nrm model in the template. That's the case for most of the models that aren't specifically very high gain things like the Brit Plexi. FWIW, my amp is a Tubemeister 18, which just has a pair of preamp tubes (I have a mix with one 12AX7 and one 5157). It's not an insanely loud amp compared to anything with 4+ tubes in the preamp stage.
  18. I've set up my Helix with a kind of traditional 4 cable method as a pedalboard for my Hughes & Kettner amp. My routing is as follows: first path: Guitar Input > Effects > output Send 1 into Amp Input lower path: Amp Send into Return 1 > Effects > output 1/4" into Amp Return This works great, and if I turn off all the effects and leave stuff essentially at zero I have the same volume and general tone as when I run Guitar > Amp without the Helix or effects loop. So I was curious when I went into the templates and found the 4 cable method template doesn't really do a traditional 4 cable method for effects chaining at all. It doesn't really have a place for you to put effects in the actual effects loop of the amp. Rather, it's there to allow you to bypass your amps preamp section all together, and instead use one of the Helix's modeled preamps. Pretty cool idea actually, as it allows you to use your cab and power amp section but basically have any preamp you want to test out. Makes for a versatile rig in principle. But the gain staging is totally off. If I set my actual H&K amp on the clean channel and put both gain and volume at 5, the preamp models in the Helix are often/usually very quiet, if not downright completely inaudible, unless I basically dime out the gain/channel/master volumes. Some of the amps will drive more, but most of them, like the Fender and Vox clones, are really too quiet to be usable, at least when compared to my actual preamp. So is this a limitation, bug, feature, ? of the amp models? Would the suggested compensation, should I choose to build presets with this in mind, be to really boost the send/return values on the FX Loop block of the Helix?
  19. Put the looper at the end of the signal chain. You record with the sounds active that you want in the loop. If you change sounds while playing over the loop they won't change the sounds you already recorded. If you want to add an effect to the total sound (like reverb to simulate a room sound or something) you would put that at after the looper so that effect applies to everything, regardless of if it was on or not when the loop was recorded.
  20. I sometimes will run the harmonizer on a parallel path to the original signal, and put an EQ block after it. Then return the path to the original signal. You just have to set the Mix in the actual harmonizer to be 100% wet, and then use the moment you merge the signals to actually blend the original and the pitch shifted signal together. You don't turn the effect on or off with this setup, but set a footswitch to engage or disengage the path/split, like having the shifter and EQ blocks in a true bypass looper on a normal pedalboard.
  21. Only as a studio effect and even then I'd stick to doing it with a reamp. Might as well do it as a software plugin in the DAW at that point.
  22. What you're probably looking to do is called "reamp" You essentially run your guitar clean into the DAW, then run the track in and out through the hardware you want to reamp. You have to let the track play through the effects pedal in real time and usually you do this to make new track with the effects baked in.
  23. Well, that's helpful, but more helpful for me is finding out from a comment there that press and turn a parameter sets that parameter to snapshots! That's mostly all I really want to do anyway: when I'm in a snapshot, change the parameter and have it stick. I just need to press it down while I turn! Awesome!
  24. Too bad.... And unfortunately I can't really even see reusing the same settings for many different presets to make it helpful if copy/past in the editor even helps at all either. At least it's not too hard to map the controller when going into a new snapshot once you learn the order of things.
  25. Let's say I have a pedalboard layout designed, and I basically want to be able to freely adjust anything and everything through different snapshots. Basically so that I can switch to Snapshot 2 (or whatever) and change knob positions for half a dozen different knobs and effects and have them stick in that snapshot. I know how to do this, but it seems tedious to have to set the controller for every parameter to snapshots manually. Is there a way to just turn that feature ON for everything in a preset?
  • Create New...