It looks like you're new here. If you want to get involved, click one of these buttons!
Subscribe to our Patreon, and get image uploads with no ads on the site!
Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
Comments
- Re-amping box. I basically never use my previous reamping boxes now. The benefit: No mucking around setting levels or fixing ground loops or noise-floor. DI's are captured digitally, and they're sent back to the amp digitally too.
- Effects unit. I hook it up in 4-cable method with my amps and use the snapshots to simulate different pedalboard setups. The benefit: No messing around with patch leads, no ripping up my pedalboards to try out different orders, a wide variety of tones that are more accessible with my feet than my single stomps.
- Amp footswitch controller. Again, hooked up in 4-cable method I can also switch my amps at the same time as switching my effects. The benefit: No more tap dancing. I can use the same switcher with all of my amps, and so have the same feet workflow regardless of which amp I decide to use.
- Impulse response loader. So again... in 4-cable method, I hook it all up. Then I take the amp speaker output into a loadbox, and then back into the Helix. Then I can dedicate a path on the Helix purely for impulse responses, and process the real amp that way. Saves me having to run an IR loader in my DAW, which can often cause latency.
- With a camera connection kit cable, I can connect the Helix to an iPad and use it as a sound interface. This is good because I can then run apps like LooperVerse and 'Loop The Group' for on the fly composition. Gets me away from the computer and into more of a 'standalone writing' headspace.
- Direct recording. So for most demos we write, I've been going DI'd with the Helix into my computer via SPDIF, and recording the amp+cab+fx output, as well as the guitar DI for reamping later. It means I can craft tones in a rough sense, and come back to them later on. Benefit: Speeds up the writing process and doesn't piss my neighbours off too much!
For comparison sake, I put this together the other day based on my singles board:
View my feedback at www.thefretboard.co.uk/discussion/comment/1201922
You're not suggesting this, but sometimes people will say "Line 6 should make a thing like [Product X] because it'd likely be cheaper than [Product X]." That's a total non-starter from our standpoint; "me too" boxes are BORING. Not every product we make is a grand slam, but we'd rather go big and risk failure than play it safe. I'm pretty sure that's a big reason why Yamaha wanted to acquire us.
View my feedback at www.thefretboard.co.uk/discussion/comment/1201922
If you set it up correctly there is no latency. As the only guitarist in the band I often need to jump settings between beats. The method I use comes from before Scenes were invented. Each patch contains two amps. Pressing an IA switch mutes one and unmutes the other. Similarly IAs turns effects on or off. I only change patches between songs.
I just think it's a great design
View my feedback at www.thefretboard.co.uk/discussion/comment/1201922
Ignore the top line. That's so I can switch to electric guitar without missing a beat.
The simulation relies on two separate IRs in the stereo can, with pre and post EQ, and pre and post compression. The first IR is Scott's. The second is one I created from the Tonematch which was in Yek's version of the patch.
The trick is to balance the levels, EQs and compression ranges for your own guitar. Mine is tailored for the neck pickup in my main Telecaster.
If you PM me an email address I'll send you copies of the patch and IRs.
https://www.facebook.com/benswanwickguitar