"Pedal" order...

[Aged_Cheddar]

OK, I feel like all I've done is come here and ask questions, and I do really thank those that have helped me, you've made my Helix journey far more manageable, and I've had a great time learning, but I have a LONG way to go.

 

Now I have what may be a very simple question....

 

I use the Helix LT almost exclusively for bass (some of you probably already know that). I've got everything in my chain, in each patch, gain staged & in the order I like, except 2 things...

 

Comp & Poly Capo.

 

I read in one post you're supposed to have pitch effects first in chain...I've read in some posts comps go first in chain (or last)...and I've read that if you put a comp right before your Poly Capo that it evens out the signal and allows the Poly Capo to track better.

 

To be perfectly honest, I've tried it both ways...and depending what effects I have on after them, seems to make a difference how they perform together, now logic says (to me) that this shouldn't actually matter, yet I swear I hear it.

 

Now, if I run nothing after them, I can't hear a discernable difference between running them one way or the other.

 

So, what have you guys found the best order was (assuming you use a comp).

 

Thanks!

[craiganderton]

On 3/31/2023 at 10:02 PM, MGW-Alberta said:

There are no absolute rules for pedal order and you can pretty much do whatever sounds best to you

 

Yup. For example, in some presets, I've had the best sound and tracking from putting Poly block effects between the amp and cab. For downtuning on guitar, I insert a lowcut filter before the Poly Capo so it doesn't transpose low-frequency artifacts that you'll never hear anyway. Similarly, I use a highcut filter when transposing up.

 

Bottom line is your ears will let you know what works best!

[themetallikid]

On 4/1/2023 at 12:01 AM, craiganderton said:

 

Yup. For example, in some presets, I've had the best sound and tracking from putting Poly block effects between the amp and cab. For downtuning on guitar, I insert a lowcut filter before the Poly Capo so it doesn't transpose low-frequency artifacts that you'll never hear anyway. Similarly, I use a highcut filter when transposing up.

 

Bottom line is your ears will let you know what works best!

Interesting....I have a love hate relationship with the poly effect.  Maybe the same issue as the OP where it depends on what else is in my preset after the effects.  I do not typically run a comp 'so close' to the poly block, but maybe I should, if I have room.  

 

Can you share your typical settings for the low cut?  I'm guessing for guitar purposes some between 100/150hz?

 

What would you recommend for comp settings for the purpose of only setting up the poly block to work best?  I usually only use a comp to give me some attack on notes, not too much in a hard squash effect.  

[Aged_Cheddar]

On 4/1/2023 at 12:01 AM, craiganderton said:

 

Yup. For example, in some presets, I've had the best sound and tracking from putting Poly block effects between the amp and cab. For downtuning on guitar, I insert a lowcut filter before the Poly Capo so it doesn't transpose low-frequency artifacts that you'll never hear anyway. Similarly, I use a highcut filter when transposing up.

 

Bottom line is your ears will let you know what works best!

 

You know, I hadn't even thought about using a lowcut filter before the Poly Capo...I imagine if I cut everything below 35Hz or so (so I can still use Drop D), that could possibly really clean up the signal feeding the Poly Capo.

 

I don't transpose up with the Poly Capo, so a highcut block won't be of much use to me...Though I do think I use a highcut on my cab block to tame the "tweeter sizzle" a bit, I'll have to verify that tomorrow when I can back home to my gear.

 

Thank You for the idea!!!

[craiganderton]

@themetallikid - I adjust the frequency by ear, but it usually ends up being around 100 - 120 Hz or so. As to compressor settings, I mostly use the LA Studio Comp's Limit mode to reduce peaks. It's not about using compression to add sustain.

 

@Aged_Cheddar - You could probably bump the cut above 35 Hz, like 50 Hz. See what works best. I often use highcut on the Cab block to tame the "tweeter sizzle," but adding a sharp notch with the parametric around 2 - 5 kHz can also help, if you can isolate the frequency creating the sizzle.