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Lelik

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Posts posted by Lelik


  1. On 6/18/2016 at 2:31 PM, DannyMcO said:

    Anybody have any success creating formant (vowel) sounds from the assortment of Helix wahs and/or filters?  Any tips and tricks to share so I don't have to fork over more dough on an EHX Next Step or something similar?

     

    As a sidebar to this - has anybody figured out a way to route a Talkbox through the Helix in such a way as to keep it totally contained?  Given the mic inputs, I'm wondering if the guitar can be routed out to the Talkbox (tube), then back in to the Helix (maybe at a custom location in the signal path/effects chain?), ultimately going out through the 1/4" to the amp instead of the traditional guitar->effects->amp->talkbox->mic->PA.  Is this possible with the Helix?

     

    I like the V-Tron among the recent legacy effetcs. Even if it is not as extreme as the talkbox at all, imho it is very musical in a band mix.


  2. Everybody has written very helpful information.

    I just want to add that in live music, I generally use only the plate reverb, with a very low mix, and anyway I use aggressive tone cuts (of the reverb) around 200Hz and 3kHz; in my opinion it is much better this way to avoid any harsh sound, and it also reduces the muddiness and confusion that the reverb can add on top of the natural reverb of the place where you play. 


  3. 5 hours ago, kennyhickey said:

    Here is the speaker stand I'm using.

    And that's the very important point that DunedinDragon was stressing.

    The Alto TS308 speaker has very good specs, but it doesn't have any bass adjustment that you'd need when you use the speaker on the floor as a wedge (unlike your placement on a stand). And it's a pity. On the contrary it has a "contour" switch boosting the highs and lows (a kind of the "loudness" switch we had in the old hi-fi systems), that is not useful for a guitar modeler use.


  4. Most users would be ready to swear that, specially after the firmware 2.0, the tones of the existing amp sims improved. I think that Line6 has never confirmed that kind of change anyway.

    I have to say that in my case my favorite amp sims, and the ones I use regularly, were added later (Litigator, Archon clean, Cartographer), so I may say that Line6 improved the implementation of the amp sims after releasing the Helix hardware and its first firmware, but it could be accidental, too.


  5. I agree with the remarks above, and I don't like how Helix handles the panning, either.

    In my case, I use some "synth" tones, and I made the decision to edit all my patches again to split the traditional guitar tone from the synth tone.

    I put the mono guitar tones on one channel (left) and the mono sinthy tones on the other channel (right).

    When I played at the rehearsal room, I found out that the volume was much lower and now I have to put the volume knob at the maximum level; I don't like it at all, because I don't have any chance to increase the volume a little more if/when I need it. I should re-program all of my patches to increase the volume, but then I should test each patch again in a live situation, because I don't think there is a safe/automatic way to increase the volume so that every patch keeps the same relative loudness.

    I'm disappointed about this point, even if I love my Helix a lot.


  6. I'd say that it depends a lot on the volume and on the type of sound.

    Clean tones doesn't necessarily need a severe high cut, unlike hi-gain tones, because the fizz content is smaller. Nevertheless, I prefer to have the same IR (and the same hi-/lo-cuts) that I use both for clean tones, and medium-high distorted tones. 

    And then the loudness is very important. Playing at gig level (that is live & loud) imho any hi-cut higher than about 6.5 kHz will give rather bad and fizzy tones, specially with a lot of overdrive. Obviously the same severe high-cut may be a little dull if you use headphones or studio/home monitors, even if now I'm getting used to that tone, and I like it. 


  7. The Grid Slammer pedal circuit is almost exactly the same as... TS9!

    Well, to be honest, the diodes arrangement is similar to Timmy, so there is a little change.

    In view of this, I suppose that it would add too little to the diversity of simulations.

    There are, on the contrary, interesting and original OD pedal circuits that are not covered at all in the Helix at present, such as: Zendrive, Boss OD-3, Subdecay Liquid Sunshine, Crowther Cake Overdrive, EHX Hot Tubes, Skreddy Screwdriver, Marshall Bluesbreaker, Barber Gain Changer, Ibanez MT-10, Emma Reezafratzitz. These, imho, would add a great value to the Helix, specially when it is used as a multi-fx pedalboard with a real guitar amp.   

    • Upvote 1

  8. I'd suggest the Cartographer. Adjusting the gain levels you can get both very good cleans and distortion tones. Or the Litigator. Both amp sims work well with the guitar volume knob to get cleaner tones, without getting muddy. 

    Or I also propose the wonderful Archon clean + an od pedal; I specially love the Timmy (sim) with it. 


  9. 55 minutes ago, plexi71 said:

    Your IR is awesome with my setup. I just spent 2 hours at high volume, tweaking my main rig with your IR, you rox, thank you for sharing.

    You're welcome, and I'm happy that you enjoy playing with it. Bon musique!


  10. 9 hours ago, zooey said:

    Do I understand right that it's not made from an actual CelestionPlus CL 80? I don't remember them using that mic, but I could be wrong. Do you know where hte original IR came from if not them

    It's an original IR that I made (with a real Classic Lead 80 + e906). It isn't a commercial IR with some mods. 
    But then, as I wrote, I made a lot (or even more) of post equalization. I mainly went to the rehearsal room (several different sessions), playing at high volume with backing tracks and using some different Helix patches (with my favorite amps: Archon Clean, Litigator and DC-30 with and without OD effects), and tweaked my IR till I was happy with the result, unconcerned about keeping the starting tone.


  11. Playing at gig volume level, after trying the stock cabs (maybe not enough) I haven't been very happy with them, because (just imho) I needed also a lot of additional equalization.

    So at the end, for me, it's easier to try and find some good IRs for my use. I'd suggest to try some excellent free IRs that you can find here for example:

    https://valhallir.at/en/shop/valhallir-at-teaserbox/
    At the end I bought some of these, and the Wolverine are great, including the ones in the free samples. For me their IRs are some of the best on the market.

    Unfortunately, at present https://www.cabir.eu/en  doesn't offer any free sample anymore.
    They also have some excellent IRs; I love their "Orange" library and the mixes included with it.

    And for sure also https://www.ownhammer.com has very good IRs, but the free samples they have are - imho - slightly worse than most of their paid files, and I got many of them.

    I bought some 3SigmaAudio IRs, too, but I didn't like them because imho they were too mid-scooped and therefore not suitable at high volume level. I got the UK Custom and another one I don't remember now. Ymmv. What's more in each pack there are too few files that are someway too similar each other.
    For the same reason (mid-scooped) I didn't like the free Line6 Allure pack.

    You see: I went down the rabbit hole and spent even too much money on IR files!

    Currently anyway I'm using mainly (or even only) my own IR file. If you like, you can download it here: http://ge.tt/1MT9wem2
    It comes from a Celestion Classic Lead 80 with a Sennheiser e906 mic, but then I tweaked it a lot (with equalization, hi- and lo-pass filters, etc.) so that at the end it is probably rather far from the standard speaker and mic. I gave this IR to a friend of mine who was struggling to find a good live tone, and he was very happy with it, too. I use it with clean tones and low/medium/high-medium distortion (no metal) tones.

     

     


  12. I tried with the synth/pitch effects (legacy and newer ones) but I could not get anything very useful and tuneful.

    My target is to play the lead violin of Bittersweet Symphony (the Verve). I don't care to get a real violin sound, I'd just like something at least slightly different from a distorted guitar tone. 

    If you have any suggestion (also about Custom tones that I could download) I will appreciate a lot! 


  13. Yes, you absolutely can.  I have my XLRs going to stereo reference monitors and my 1/4"s going to two tube amps. 

    Thanks for your information. But if I understand well you're using both XLR and 1/4" outputs in stereo, so I'm sure in that case there's no problem.

    On the contrary I'd use the XLR outputs (stereo) but with only one 1/4" channel (left mono) and what I don't know is if the XLR and 1/4" outputs are completely independent so that using one of them in mono works when you use the other in stereo.


  14. I can't try quickly because I don't have cables and devices available, so I try to ask here.
    My target is to make my patches this way: when I have some "synth" tones or "oscillators", I'd like to send the guitar tone to one channel (let's say "right") and the synth tone to the opposite channel (left for example). And then from Helix I'd use both XLR outputs (L and R) to go into the mixer with two separate channels so that they can mix the two sounds more properly (and anyway panning both centrally).
    But at the same time, I'd like to have a stereo-to-mono summing in the left 1/4" output connected to my own monitor so that I can hear all the sounds coming from my Helix through my single mono monitor. Does it work this way? Or if I use both the XLR right and left "stereo" outputs, the 1/4" output is not mono anymore (or even viceversa)?

    And if it works as I hope, do I have a problem of different volume if I edit one patch with the guitar tone panned 100% to just one channel vs the same fx chain panned to the centre?


  15. How robust is the Helix floor? 

    I'd suggest to consider the Floor version because it is more robust that the LT, even if Line6 is very efficient in assisting any user (abroad too) when a problem arises. 

    However it is not water proof... 

     

    Snapshots are a very practical and powerful tool to overcome the lag changing presets. You can consider that in one preset you can also place more than one amp (it depends on the "weight" of the other effects, but I have some presets with even 4 different amp models!) so that it means that the snapshots could really replace the need to use some different presets.

     

    I agree anyway that changing presets during a song is not recommended, because the change is very noticeable: it's not only a matter of silent gap (that is very short), but the fact is that the "loading" of the new patch is slow, so that - specially in case of complex presets - it seems like you start playing an analog/tube amp while it is still turning on, with a slow start and then the sound/tone changes slowly till it reaches the proper and expected settings.


  16. The DS-1 has a circuit that is rather different from the other OD models in the Helix.

    One important characteristic of the DS-1 is that it cuts (a lot) the mid frequencies; there is a big void between 300Hz and 1000Hz, that is very similar to the typical mid scooped tone of the Big Muff. 

    But since the Big Muff has a different distortion voice, maybe with the Helix you could get closer to the DS-1 using the SD9 (Hedgehog) and with an additonal eq to cut the mid frequencies I mentioned (and you could try to place this equalizer before or after the OD effect to hear what you prefer; I'd even suggest to try it before the od stompbox with a more aggressive cut).


  17. This. Go to your volume block, hold down the knob that controls volume, the menu will come up where you can set min and max.

    Or select the volume/gain block and press down and hold on the knob that is the parameter you are changing that will open up the controller assignments too

    Select/highlight the volume pedal block in the preset. Press the button with the 3 lines (upper left by the save button). Press dial 2 under the screen (now labelled controller assign). There you will have options including max and min values.

    May affect things?... in global settings/expression pedals I have all 3 set to per preset

    Thank you very much for your helpful information!

    It was pretty simple, but - I don't know why - I didn't think about it, because I'm used to the "knob hold-down" only when I assign something to a switch or to a snapshot.

     

    PS: ops, I see now that I have two different profiles here in this forum and I thanked from the other one. Well, it doesn't matter. Thank you anyway! 


  18. Sag, Bias and Bias X won’t do much unless the power amp is distorting. If the master is turned down and the gain turned up, the preamps will be contributing the distortion and Sag, Bias and Bias X won’t do much of anything. If the master is turned all the way up, the the initial distortion will be in the poweramp and then these controls will have some impact.

     

    Rather than talk about cold/hot bias, I’ll use the parameter values. Bias at 0 will make the power amp a bit cleaner, brighter (it will take more drive to make it distort) and possibly harsher. Bias at 50 will be how the amp was generally intended to run and is a good starting point. Bias at 10 will make the amp distort earlier and make it harder to clean up as you turn the drive or guitar volume down. Some amps might distort all the time if the bias is set really high.

     

    BiasX is like sag - it controls how much the bias changes as the amp is driven harder. If the power amp isn’t clipping, BiasX will have no effect. If the power amp is clipping a lot, the BiasX will have more effect. BiasX at 0 will not change the amp tone much as the power amp is driven harder. BiasX at 10 will cause the Bias to change more as the amp is driven harder.

     

    Now how that matters and effects the sound is a bit less clear to me. Here’s a guess. As the power amp is driven harder, the power supply sags under the load - plate voltages go down while the bias voltage goes up (since the bias voltage is negative). Having the bias voltage go up makes the bias hotter as the amp is driven harder. So the amp will distort a bit more. But it will also get warmer, there will be less highs and fizz as you drive the amp harder. So BiasX might act somewhat like a dynamic hi cut - as the amp is driven harder and distorts more, there’s a bit more high cut to tame the fizz. This can be very useful.

    Thanks! It's a very interesting and practical information.

    Much better than the usual explanation I already read many times without understanding the effects.

     

    Even if I could not put together such a good understanding, I can say that mostly on my presets, I prefer: high master volume, low sag, medium or low bias, and high bias-X.

    And I mainly use the Soldano crunch, the Litigator, the DC-30 and the Archon Clean; I still have to try the latest amp sims (added with 2.30 fw).

    I mean everything at loud volume (practice room or live). With headphones or low volume monitors, it could be different.


  19. You're just beginners....  :P

    I tweaked with many many changes an amp model (at loud volume), I noted that the changes of many parameters didn't affect a lot the sound, but you know: when the volume is loud some differences are just subtle. After a while I finally saved the preset, because I thought I had found a good version. And at that moment, I realized that I was tweaking the second amp model in my preset and it was in bypass mode... 

    • Upvote 1

  20. I think the conversions process truncates at 2048 samples, all of which gets used if you use a 2048-sample IR block. If you use a 1024-sample block, I don't the the IR itself is changed for later use, it's just that the block itself throws away the second half.

     

    I've never heard any difference between 1024 and 2048 in Helix myself.

    I agree 100%, including the negligible difference between the 1024 and 2048 samples version.


  21. I know the ideal third party IR sample rate for Helix is 48.0 kHz, but what is the preferred length, 200 ms or 500 ms? I just got some from Celestion's Black Friday sale and the download came in both versions. 

     

    Thanks in advance!

    The Helix editor anyway will truncate the length of the IR to about 21 ms (if you use 1024 samples) or 43 ms (2048 samples), so you may want to start from the shortest one you have.


  22. I loved the Orange AD-30, but I don't like the Mandarin 80 at all. I agree that it's kind of lifeless, if it makes sense.

    But no problem, Helix has so many good amp models that at the end I don't need anything else... not to mention that the new fw 2.3 has just added something else to try!

     

    I can't tell you if the following models are very similar, but I love and I'm using a lot the Soldano Solo Crunch (lot of master gain, very low highs, low lows, low sag, low preamp gain) and the Litigator (with a lot of gain). And in case I add some Minotaur or Timmy OD (but mainly at home, live & loud I mostly don't need them). 


  23. If you want to set specific notes, use the 3 Note Generator block, not the 3 OSC Generator. The Note Generator will allow to choose discrete notes from the scale rather than just frequencies. The 3 OSC Generator is really more for making Theremin-like weirdness and stuff.

    Thanks Phil for the suggestion! But I prefer the sound of the 4 OSC Generator.

    And I found out how to set those special values: I have to edit the .hlx file in Wordpad!!! 

    Well, it's really tricky, but it works!

    • Upvote 1
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