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jws1982

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jws1982 last won the day on June 17 2013

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About jws1982

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  1. jws1982

    Tips for setting up a monitor for live gigs

    Use a separate path with a cab or IR, then set the output to XLR only. Or, just put a mic on your Mesa cab and run that to the wedge. That’d probably be easier.
  2. I believe windows doesn’t natively use the ASIO drivers. The mic input is only available via ASIO, so it wouldn’t be available in the “sound” options under control panel in windows.
  3. jws1982

    Mono to FOH, Stereo to IEM

    Doesn’t the aviom have stereo output to your in-ears? If so, send both your mono signal and stereo signals to FOH, then monitor the stereo signal through your aviom. Or, just send your stereo signal to FOH and let the sound guy sort it out. :)
  4. jws1982

    Tips for smoothing out Reverb tails

    I don’t think h9 users will be pleased until L6 creates a verb that utilizes an entire DSP core on the helix. :).
  5. jws1982

    Tone help - resonance -sorry long post

    Yes, definitely check out IR’s. These are typically more “finished” sounds, unlike the stock cabs on the helix that can require quite a bit of tweaking to get what you want. Even if you don’t end up using them, it’s definitely still worth it to try them out. There’s plenty of IR’s that have the “thump” you’re looking for as soon as you load them up. At the least, you’ll be more well-versed in the uses of Helix.
  6. jws1982

    Replacing Amp with FRFR for live (never using FOH)

    If you’re using a closed back 2x12 on stage, I doubt you’re going to hurt your overall guitar sound in the room by going FRFR. That guitar cab is so directional that it’ll sound different to pretty much everyone watching you play. I run helix into a Yamaha dxr10 on stage. Everyone I play with loves it. I can position it so that it covers the stage and directs out to FOH, or points back at me like a wedge. Go for it!
  7. jws1982

    For that have dealt with "those" sound guys...

    Most of the “bad sound” experiences I have are from venues where they pay the person almost nothing, like $20 plus food, to do sound. That’s where I deal with the uneducated or depressed sound guys. Venues get what you pay for.
  8. jws1982

    Helix direct or via Spider valve?

    One thing that most every spider valve needs is new tubes and a good bias. Make sure you do this with any of them you pick up. Maintenance on tube amps in the spider valve price range is almost always ignored.
  9. jws1982

    Helix direct or via Spider valve?

    The spider valve series have a “power amp in” on the back that bypasses all modeling and just sends the signal straight to the tube amp. The tube amp in the spider valves is designed to be pretty transparent, so actually it’s a great option to complement the helix. It has a vintage 30 in it, which will color the sound, but you can change out that speaker to whatever you like. I ran an hd500 into a spider valve for years as my main gigging setup. It sounded great. I still break it out occasionally on a gig just to change it up.
  10. When I approach developing a tone on helix that I’ll use to play out or do studio work, I do it in a similar way that I would to mixing a song. - first, while setting it up, I monitor it through the primary output form that people will hear (typically FOH live). I get it sounding good through that to start. I use a couple different PA speakers (Yamaha DXR10 [my primary], JBL Eon One, Alto TS212, etc..), making sure it sounds decent though all. - I then hook it up in my studio and track with it, making small tweaks to help it sit a little better in a mix. - next, take it back to the PA speakers and make sure it still sounds good. - drop “send1” into the chain, and send this “FOH” output to it. - after send1, add any EQ/Comp/etc... needed to make it sound better in my in-ears, should I use them on a gig. Send that out of the main outputs, or send2. Just like mixing a song song in the studio, I test my patch on many different sound systems. My in-ears are never the primary output, as that always leads to a bad sound coming from the PA or other monitors. If you get your path sounding good through various studio monitors and pa speakers, odds are it will need very little tweaking to sound good in in-ears after that. When end I don’t use in-ears, I always bring my DXR10 to use as my on-stage monitor. Also, I don’t completely cut the low frequencies from my tones, because it’s second-nature for FOH sound guys to automatically put low-cuts on guitar tracks. Double low-cuts can thin out a sound pretty quick.
  11. jws1982

    Broken cable tip

    If the jacks are like the other l6 equipment jacks I’ve dealt with, they’re closed. what about a magnet? Or, put a dab of gel-based super glue on the end of the broken 1/4”, insert it, let it sit for a couple minutes, then pull it out.
  12. jws1982

    HX FX change amp channel without footswitch

    Does your amp support midi for channel changes? If so, perhaps that’d be the way to change it per preset without a footswitch.
  13. jws1982

    DXR12 issues??? Or operator error?

    The DXR speakers are great. The issues you’re describing sound like you have a faulty speaker. My DXR10 has no noise when connected to my helix with any 1/4” or XLR connections. It’s also very well balanced across the frequency range with every source I’ve tried. The DXR12 I tried exhibited similar behavior. If you can still send it back to GC, I’d do so. Otherwise check with Yamaha on getting some warranty work. But first things first, try another speaker if you have access to one.
  14. jws1982

    Looking to ditch my Guitar Amp

    If you just have to have a separate specific amp device like the amplifier because you love the sound, then go for it. Otherwise look at a helix. A helix into a Powercab or other high-quality speaker is hard to beat. I run mine into a Yamaha DXR10, and it sounds fantastic. I use it for everything from bedroom practice to large gigs.
  15. jws1982

    Cab / IR question

    “Amp in the room” feel isn’t based on frequency response alone, but also has a lot to do with the dispersion of specific frequencies relative to the diameter of the speaker. A 12” guitar speaker sends a lot of its high frequencies out straight ahead, without “dispersing” them. Room reflections will cause you to hear them after they reflect/diffuse off the walls. So, stand in any part of a room, and the amp will sound different. This is less so with the laney’s, which, like PA speakers, do better at dispersing all frequencies in every direction. This difference can make it difficult to blend your sounds together. Your laney’s, even in “guitar cab” mode or with an IR, will still be dispersing the high-end of a vintage 30’s frequencies a lot wider than a vintage 30 itself does. It’ll be hard to get them to feel in sync sonically. i think this is what the line 6 Powercab is trying to address. It’s a flat response 12” guitar speaker, that will disperse frequencies the same way a regular guitar speaker does. Hence, the true “amp in the room” feel. If you use an IR with it, then it turns on the tweeter, and the amp in the room feel will change.
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