If you run it in 4 cable mode, you can run is as a normal pedalboard with no amp modeling whatsoever, so that would actually be pretty simple, if you have your amp diealed in however you want. And if you want amp modeling, you can still bypass the hot rod preamp even in 4 cable mode, so its like you are runing direct into fx return. So yeah, thats how id use it with an actual amp (actuall i did use it this exact way for a while, before i sold my amp).
The issue with helix, and pretty much every single modeler out there, is the amount of options. You can just tweak and tweak and tweak and tweak until you die from old age, and never stumble onto a tone thats "just right". What I find that makes it easier, is to actually think about what kind of a tone you want, and then start building it. And then just build it, like you are making an actual rig. So for example, lets say I want a hi gain tone. So I select one of the hi gain amp models, load in a 4x12 cab with V30 speakers, and an overdrive in front of the amp. Then you set that up to sound good. And only after you have a solid base tone, THEN you start messing around with effects. You got to figure out some sort of a system to how you build your patches, otherwise you just keep adding blocks here and there and dont really know what the fuck you are doing.
Sadly, even with that, its never going to be as simple as pluging into a tube amp and jaming away. There are some specifics to setting up modelers, and it has a lot to do with how cabs are modeled. You definetly dont need 3 compressor and 4 eq blocks and 4 reverbs to make it sound good. BUT, due to cab modeling, you do have to get at least a bit creative with the eqs. Usually its safe to simply put an eq block in the last place in the chain, and do a low cut at around 100hz to get rid of the boomines of palm mutes and so on, and maybe a hi cut at 10-15khz (depends on the taste) to tame the fizz. Then it just comes down to taste and experience.
After you manage to setup a patch, its pretty much done tho. I actually use 2 different patches all in all, one for hi gain tight metal stuff, and one for pretty much everything else, and thats it.
If you have any specific questions you can hit me up, I actually had similar problems with it as you have, but i managed to power trough them and now i love the damn thing and its flexibility.
Helix. And not the LT, but the Helix. The ergonomics alone put it well beyond most of the other floor units on the market, and the ability to rout in almost any possible way *easily* is well beyond most other units. Quality of sound is there (no, there's no "plasticky" sound in person), and never buy crap based on YouTube vids if you can help it, *particularly* if it involves sound quality decisions. Yikes.
I've never owned a Kemper, I *do* currently own an older Axe, and I've had a bunch of Pods and a Zoom or two.
I think it comes down to how you use it. For home use, i think the LT is just as good as the big one. But for live use the aditional scribble strips and IO is just a godsend. Shit, just the fact that I can write chord progressions that I usually forget on the strips makes them worth it in my opinion
Id suggest looking into the Line6 relays. The G10 is about the price of the units that you looked into, and its actually pretty great. I know a lot of people who use them live all of the time. Im actually considering buying one just for home use, they seem very handy. And while im not a big fan of dongles sticking out of the guitar (thats why I got a G50, but more on that later), at least the G10 doesnt have that flimsy plastic hinge that all other cheap wirelesses seem to have, which I like, but it might be an issue for guitars with a strat like input jack (altough a quick search does show it works just fine).
But, if you have the budget, id look into the higher end ones. I own the G50 for about....5 years now. Used it live a lot as well as for practice, and its just great. Its built well, with a full metal housing for the belt pack and a really sturdy reciever. Didnt have a single droupout yet, and if you remember to change batteries before a gig, its going to work. Unless you play 12 hours gigs. Oh yeah, eventho its digital (as is the G10) i never noticed any delay. And i did an A/B test with a cable, and there is no loss of signal at all.
Is worth noting that the bass plays the same line as the guitar, and a lot of the tone comes from the bass. You probably wont be able to get the guitar to sound this full. But all in all its just a lot of distortion with mids set very low.
Warning: helix owner here, so i may be a tad biased.
If you are basing your decision on youtube demos, you really should try and find some blind tests, because utorial videos dont really show of the sound of the units anyway. Blind tests really demonstrate that once people cant see what they are playing on, it becomes way way harder to tell modelers appart from eachoter and even actual amps. They all also have a decent learning curve, some more than others, and require a bit of tweaking, but the sound quality is there with pretty much all of them. Im sure you can get a great sound out of all those. When i was buying a modeler, i also chose between the AX8, Headrush and Helix.
So that being said, it pretty much comes down to ease of use, realiability and support. So the AX8 is notoriously hard to use, and its a pretty old unit, so its not going to be updated for that much longer (if it even still is), especially with Fractal releasing AxeFx3 last year, so they will probably work on a new version of ax8. Also, depending on where you live, they are very hard to come by.
The Headrush is easy to use, sounds good and looks nice, but its basicly a floor based elevenrack. Im sure the software was upgraded, but the way Avid handled Elevenrack was just bad. It had a very short official support and update lifespan, and a lot of people are afraid that this will happen to headrush as well. They also dont seem to have very good customer support, and there are a bunch of people posting online about their headrushes simply bricking themselves.
Boss GT-1000, well i dunno a lot about that one to be sure, since it came out after I got my Helix, so I didnt really think about buying it. But it does seem a bit lacking compared to the helix. The one thing that it really got wrong was a lack of support for IRs, but they fixed that now. BUT, the IR loader is clumsy to say the least. The sound is probably ok, but Boss was never known for their good amp sims. It is a bit cheaper than the helix floor, but helix LT is around the same price, so thats something to keep in mind.
Now for the Helix. I have the floor model, not the LT or rack, but most of this can be applied to all of those. First, the sound is good. If you want really great great resoults, you should use 3rd parts IRs, but 90% of IRs I use are from free packs and sample packs, so its not a huge aditional cost. The interface is probably the simplest of all of them. I actually found it easier to navigate with the Helix joystick than to use the Headrush's touchscreen. Its just very well designed and intuitive. Coupled with touch sensitive switches, setting up presets becomes a breeze. Because of the knobs and the joystick, I actually find it easier to set things up on the unit itself than with the PC editor. And since we are on that subject, the editor is great as well, when you go a little bit more in depth with midi commands, external amp controls and snapshots. The updating software is a breeze as well, you basicly plug it in and its updated in about 3 minutes without any hassle. The floor model also has scribble strips above each switch, and I cant believe how usefull those things are, especially on stage. I honestly cant imagine being without them at this point anymore. Its also built like a tank, and has a really extensive IO at the back that has everything you would ever need. And with the ease of use, all the routing options and IO, it flexible as hell. I used it as a multifx unit with my amp, and it also handled all the switching on the amp at the same time, and I used it direct to mixer at other times. One time I had to adjust my direct patch to run into a fx return of an amp, and it took me less than 5 minutes to set everything up. Oh yeah, and IRs are really easy to load in and use. Its just drag and drop, and then you simply scroll trough them.
I know this sounds like a praise for the Helix, and honestly, it is. I used to own a Kemper, and after I got the helix, i got rid of the kemper, since the sound is prety much at the same level, but its just sooooooo much easier to use. And to top it of, you can get a VST plugin version of the Helix called Helix Native. If you have an audio interface, you can download a 14 day free trial, and see for yourself how it sounds like. And the Helix native patches are interchangable with the actual unit, so you can just import those to the unit as well. And the interfaces are pretty much identical, so you also see exaclty how the workflow is.
You shouldnt put in a normally open switch. If you simply wire in a normally open switch before the output jack to simply cut the signal, you will get a lot of popping when using it. You should instead wire it so that it takes the hot output from the pickups and shorts it directly to ground. There should be tons of diagrams on how to do this correctly online. And when you wire it the propper way like this, you need a normally closed switch, so that it only shorts to ground when you press it.
Honestly, you should spend at least a couple hundred bucks on a guitar. You can get pretty great instruments for like 250€ or less. Yamaha Pacificas come to mind. Can you get a good guitar for less? Yeah, but most of them will still suck, especially if they are older models.
Quote by markgatehouse315
I also wouldn't get another ibanez no matter how cheap as it was a pain to change the strings.
I'd prefer to keep the guitar below £120 even if it means buying from a reputable second hand guitar shop. Theres plenty out there for the price but I haven't seen any with a name I trust which I why I was happy when I saw the epiphone.
First, that is not an Ibanez specific issue. Changing strings on any guitar with a floyd rose bridge will be a pain in the ass. Those bridges are not specific to Ibanez. And they also make a bunch of hardtail models.
Basicly, you are buying this guitar because it has the Epiphone logo on the headstock, but you dont really have any idea what you want. Id suggest you look into Yamahas. In my oppinion, they are the best budget guitars on the market right now, and even the low end pacificas play very nice. Im sure you can snag a used one for your budget.
Your issue is probably the string gauge. You should try higher gauges. And you dont need to switch to a regular .11 or .12 set, nowdays you have a bunch of "hybrid" string sets, that keep the high strings pretty light, and the low strings thicker, so you can use drop tunings like this. I use a .56-.10 set for drop C, but 10-52 and 10-60 work as well.
I use 9-46 sets for standard and drop D tuning, but i find that 9s are to skimpy for half a step down. And thats on 25.5" guitars. I think 10s should be better, if you want to droptune, especially since gibsons have a shorter scale.
Im not sure if the level of a microphone signal is similar enough to the level of a guitar signal. Also, you need to have an xlr -> 1/4" adapter. And there may be an issue with balanced and unbalanced cables, depending on how you are going to do this, and that might introduce some noise. Other than that, it should work i guess.
The actual reason i wouldnt recommend this, is that people dont generaly stand in the centre of the stereo field on live shows. So if you introduce a bunch of stereo effects, then people who stand or sit closer to one side will just get blasted with half of the effect. I have experienced this a few times and its annoying.
For that kind of money, id look into finding a used Epiphone 1984 explorer, or better yet, a used Epiphone Thunderhorse. The 1984 is a good guitar, but the thunderhorse, at least the one I had, was pretty fucking awesome.
If you expand the budget for like 200$ or so, you might also be able to get a used Gibson explorer. That would be the ideal choice really.
Well, depends on how you define "worth it". If you want it and it makes you happy, then its worth it in my opinion. If you are happy with your old guitar and see no reason to get a new one other than "i should because someone said so", then no, its not worth it.
I enjoy buying new guitars. I like browsing webpages of retailers to see whats new, i like looking at second hand deals, and i like testing them. And when i find one that I love and have the money, i buy it and i like putting it trough its paces. Then, depending on how the guitar resonates with me after a few months (or in some cases, years), i may sell it and the cycle repeats itself again. I average like 2-3 guitars a year i guess. New guitars also inspire me to play different stuff and since apparently I have an atention span of a 3yo child, I also play much more when i have a new guitar to play with.
On the other hand, I have a friend who has had the 3 same guitars since he was 17, and he is a great player. He just doesnt see a reason to get new ones, and it works for him.
So basicly, its up to you. Just be warned, that without some decent self control, you can spend a LOT of money on this
Rem_Sing Yeah, thats true, modelers require a decent amount of discipline, so you dont go tweaking your tones forever. You actually do end up with 4-5 presets that you constantly use. And it is maybe easier to fuck your tone up completely, than it is if you have a good amp. But thats really down to the individual. If you cant help but fiddle with your settings on a modeler all the time, you probably cant stop yourself from adjusting a physical pedal for the 8000th time
diabolical Modelers and especially Fractals are a total bitch to use.
Not really. Id actually argue its harder to figure out how to get a good tone out of a traditional setup, especially for recording. The difference is, that we slowly learn what every single component of a guitar rig does, and slowly progress from shitty amps and pedals to better ones. Put put a pedalboard with 10 pedals and a mesa roadking in front of a complete newbie, and you will get just as shitty a sound as you get from a first time modeler user.
As far as top end modelers go, you dont really have to employ many tricks that you had to do in the past, like with eqs and weird effects in places they dont traditionally belong... Now you just load up an amp model and a cab model, and you already have a decent sound out of the box. Tweaking it into a really amazing sound of course takes some practice, but i think still less than with a traditional setup. Its much easier to change up a few sliders on a cab model, or scroll trough IRs than it is to reposition and switch out actual microphones in front of the cab for example. Or try different reverb pedals, or even switch amps.... There is the danger of choice paralysis, but if you have a decent idea about what kind of sound you want, its ez pz.
I dont see why you would need to use a sub with a guitar in any case, unless you are using an octaver a whole lot. Its just gonna muddy up your tone. Even with normal studio monitors, i have to apply a lot of low cut on my presets (i use the Helix). Id imagine its only going to be worse with a sub. Unless you reeeeeeeally like that lown end rumble that comes from palm mutes.
As far as using it in unison with an actual cab, that makes even less sense to me.
I am in the same boat with a cab tho. i have a nice cab, and i have nothing to use it for anymore. And to top it of, i dont even have an amp anymore, so the cab is just... There. Im actually looking at the powerstage 170 as well, it just seems like a great small and powerful amp to use with a modeler, and its cheaper than getting a DXR12 or something similar. And you actually get sound from a cab, which is the most fun to play when playing with a band.
ENGLs are amazing for this. They have rally glassy cleans, and a very brutal hi gain channel. I actually didnt use overdrive with my Powerball, because it was tight and responsive enough without one. With my 5150ii I actually had to use an overdrive.
That being said, i prefer the sound of the 5150. If you have the money for an Invective, id say go for it. The 6505 and 6505+ dont have a good clean channel really. Maybe check out the 5150iii from EVH, those are great amps as well, and share A LOT of their dna with the Invective.
As far as I know, they used the AxeFx units for clean sounds almost since they came out, but they still used real amps for the dirty sounds till 2013. Then they did the antarctica gig, and that was done with Axefx only, and since then, they have been using them for everything. So like 6 years now. And I dont really see a reason not to, for any touring band, even the one the size of Metallica, it just makes so much more sense to use modelers on the road.
As far as i know, Epiphone is one of the more popular brands out there. So its hard to say that everyone thinks its crap. But since they are basicly a budget version of Gibson, they are known as budget guitars. But I dont think they are regarded as "bad" by nearly as many people as you think.
That being said, out of a few dozen epis i tried, i only kinda liked one, the others just didnt do it for me.
Im not sure what you are asking? Are you afraid the posts from the bridge are going to split the wood? Or that the neck is going to break of because of aditional tension?
If its the first, some fender style bridges use 6 screws to hold it in place, not just two on either side. Same with the PRS bridges. Im not exactly sure how the Bigsby is mounted, but since it doesnt use the pivoting action like your typical bridge, it might be better for you. Then there are some flat mounted solutions, like the Floyd FRX that was mentioned.
If its the second, there really isnt a way to change the pitch of the strings without adding and releasing tension, unless you use some sort of effects box like a whammy.
Well you can judge for yourself how it sounds. I just think its overpriced. 300$ for the full version is pretty rich for a guitar sim. AND you still dont get the Bias Amp and Bias Pedal. The entire package with those two will cost you 700$, but I can at least understand paying for those separately, as they are different products.
I honestly think that the schecters, Ibanez and Jackson are all going to be in the same ballpark. I played the JS22, and i owned a 170dx, and they were all decently playable guitars, and ive been hearing nothing but good stuff about schecters.
The stock pickups on all of them will suck tho. Do you have the option of buying used? Beucase you can get a much better guitar for that kind of money, if you go used.
And stay away from those cheap BC rich guitars, they are bad (unless they really stepped up their game in the last few years). If nothing else, future you will be thankful you didnt go with one of those pointy things.
The only thing that really gives me a pause on that one is the fretboard material: Richlite. I did some research on different boards and many players who own guitars with that material have no complaints. I suspect however that may account for the lower price point.
I had an Epiphone Thunderhorse, and it had a richlite fretboard. Honestly, it might have been the best fretboard that i ever played. Its smooth, its durable, and it doesnt have those pores where dirt goes in, like rosewood. Its pretty much zero maintenence. And i was sceptical as fuck before I got it, almost didnt go for the guitar because of it. But it was really good.
To top it of, a lot of high end guitar makers (like Aristides for example) use richlite. I doubt it would be used on 4k+ guitars, if it wasnt any good.
The cort probably. The 370s have shitty edgeIII trems, and i have no idea about the jackson. I find it its generaly better to avoid floating bridgees on cheap guitars. Corts are also suprisingly good instruments for the price, probably because they own their own factory, instead of having to outsource shit.
ARE YOU SURE THE STRINGS ARE STRECHED? STRECH THEM BOI!
But really, it could be the knife edge. When you bend the strings, the bridge tips forwards. If the knife edges are dull, it might get stuck in that position, and so the strings are a bit flat. After you use it (as in, pull it back), it ends up jumping back into the "back" position, so then everything is in tune again. I had the same issue, whenever I used the trem, i had to make sure the last thing i did was pull it back, because otherwise it ended up going flat.
Id say the new prs SE 245. But i am currently crushing on prs guitars really hard, so higher level epiphones are also worth considering. And LTD EC line, if you can find the ones that arent emg equiped metal machines. Or
All in all, i think that guitars from the 600-1000€ range are pretty much the best value for money. They are usually good guitars, that are well put together, and have some nice features to them, and they play much better than the low end instruments. When you go above the 1k mark, then you start getting diminishing returns on them i think.
eephinox if you had those issues, then you didnt setup the gear properly. I run an old M-audio fast track pro card, and i can record guitar in Reaper, play video and browse youtube at the same time. It really isnt an issue. The only thing that is inconvinient is that you have to turn on the computer first.
I ran a setup like that for about 4 years. I didnt have an amp at home, since it just took up space and gave me worse tones, and it was so simple to record, it was really a no brainer. Now i have a more complex setup with the Helix, and the interface hooked up to a small mixer, but I still sometimes just plug into the interface and wail away. After you get the hang of it its really great.
Well there is the option of amp sims. For that budget you can get an audio interface and some amp sims. The downside is, you have to deal with turning on the computer all of the time. The upside is easy recording and good tones. Id say that a decent amp sim can get you better tone than a Katana can. Especially if you delve a bit into impulse responses.