meter levels in helix

[PaulTBaker]

Ok, back to leveling patches again.....  

 

This question has to do with the meter level on the output block for patches.  Should you set your patches so the meter level is at 50%, 75%, or higher (or lower)?  Or does it matter?   

Is there an optimum level for the meter?  (sorry, trying to find the best way to ask this question).  Or since it's digital, it really doesn't matter.  

 

I know I can adjust the loudness of the helix based on what I have the trim set to if going to a FOH or what I have the amp or FSFR speaker volume set to if using those.  Should we try and set the patch meters to somewhere around 75% to get the best signal to noise ratio?  Does the patch set to 75% sound "meatier" than the same patch set to 25% meter level?  I know I can make both patches as loud as I want, just wondering if it affects tone.

 

If there is a difference, what is the optimum meter level?

 

Thanks!  Looking forward to hearing everyone's thoughts!

[rd2rk]

There really isn't an "optimum" level. You could shoot for 75% as a starting point. That SHOULD give you a signal that's not too hot for MOST FOH boards.

However, keep in mind that perceived loudness is different from actual db level, and that clean signals are less compressed (more dynamic range) than overdriven signals, and will tend to spike more easily with dynamic playing.

 

As for louder being meatier, the only place that makes a difference is in relation to the Fletcher-Munson effect. Once you get past 85-90db, that's not really an issue.

That's why you should always design your performance presets at performance levels.

The main consideration should be that if the signal is too weak, the final amplification system won't get loud enough, and you'll be drowned out by the drummer and bass player.

If it's too hot it'll overload the board and the FOH engineer will be very upset.

It doesn't affect tone in the same way as poor gain staging within the preset does.

[DunedinDragon]

I think the important factors in managing preset volumes have more to do with the signal that gets produced once it gets converted from digital to the analog world rather than the minutiae of what specific signal level is best within the Helix.  Case in point, a preset at 75% on the Helix signal meters but being sent to some older analog mixing boards at Line level through the XLR outputs with the Helix volume knob set to 100% could very easily leave very little room for managing the trim on the signal level at the board where it really counts.  The same could be true with a signal going from the 1/4" outputs to a powered speaker at line level with the Helix volume set wide open causing the speaker to be extraordinarily loud or even kicking in it's internal limiter when it's gain knob is set at unity or 12 o'clock.

My general rule of thumb has been to try and keep my Helix meters at a reasonable level of maybe 60 to 70% and send my XLR signal at full Helix volume at Mic level to the board (which is where signal to noise levels really matter), and my 1/4" output set to line level with my Helix volume knob set to around 11 O'clock which allows a very reasonable volume on any of my FRFR speakers (Yamaha DXR12, EV ZLX-12P, QSC CP8) with their gain knobs set to 12 o'clock.  That ensures ample volume with ample headroom to ensure they won't kick in their built-in limiters if I turn up the Helix volume a bit if I need to.

But being a soundman myself, I can also admittedly be a bit obsessive about such things....

[PaulTBaker]

Thank you guys.

 

So the way I have been doing things seems to be ok.  I have my xlr's at mic level, my patches around 60% on the helix meters.  I have the big knob just going to digital.  That lets me use that to control my DT25 (l6 link connection) volume for my stage monitor.  It also means the output is at 100% for the xlr's.

 

thanks again.