EDIT: seems like my laptop is acting up as well, sorry for the double post.
Quote by kolokol220
scott58 wow, seems like you've lagged. Helix is out of my range. Helix LT isn't but i don't know how does it compare. I actually don't know anything about this guitar processing thing and dunno how viable this is. I'll have to read into this.

The LT has the same guts and software as the full sized helix, and it sounds completely the same. Its a great piece of gear if you ask me, and nothing at its price point has it beat. The only thing its missing are the scribble strips above the footswitches and some of the inputs and outputs on the back, but that shouldnt be an issue for home playing. I think its a way better choice than the amplifire to be honest. 
You mean that 2 second feedback at 4:15? Yeah, thats just normal feedback. You dont necessarily have to be turned towards the speaker to get feedback. You just have to be loud enough. And in this video you cant even see where the speaker is, it may be turned towards him, out of the shot. Its also comes down to the guitar, some are more prone to feedback while others are not.  The knob that he was turning was the volume knob. You see the feedback start, and then he rolls down to volume so the sounds fades of instead of just muting it in an instant. 
Mainer Well there are a lot of videos on youtube. Basicly, breathe with your diaphragm and dont tense up your throat. Breathe out from your gut. Pavaroti once said that you have to push like you are taking a shit (im not making this up btw).
Imagine you are pfojecting the sound from your mouth into the audience, like some sort of hose or whatever. Move the sounds from the back of your throat to the front of the mouth. Inounciate the whole word, dont swallaow the end.

Thats kinda it, but its easier said than done. 
Start taking vocal lessons. Seriously. I was stuck in pretty much the same place vocaly for years before i started taking lessons, and lo and behold, i improved more in 6 months than i did in 6 year prior. Sure, you can just go and belt it out and push and yell so it sounds somewhat good, but thats the express flight to fucking up your vocal cords forever. I know some singers can just do it naturally, like Dio and Steven Tyler, but those guys are legends for a reason. Us mere mortals have to practice our ass of to be able to to it.

Anyway, your best shot is getting a teacher. He/she will teach you all about correct vocal placement, breath support, inounciation, vocal projection and so on. After you have that somewhat down, you can work with adding grit to your vocals. And getting a teacher is in my opinion the only way to really advance with singing, because its not like playing guitar. You cant learn how to manipulate the inside of your body if you just watch youtube videos. A good teacher will tailor their aproach to you specificly, and will work with you in a way that makes sense, and improves your biggest mistakes.

Ive been taking vocals lessons for the last 4-5 years i think. And its been one of the most rewarding things ever. I went from barely getting trough a metallica song to being able to power trough Show must go on. So yeah, there is hope.
Bigbazz I mean, im trying not to call bullshit on this, but ive seen a bunch of Bugeras used live, and ive never seen one fail. One of my bandmates has a Bugera for about6 years now and it still works perfectly...
Quote by Johnny_893
Hark! Reason number.... 37 or so, to prefer the 6505 to the 6505+. That's exactly what I've been looking for... I have a POD HD500X that I love using via the 4 cable method but absolutely hate the idea of having to either tapdance for a clean channel or omit the preamp from the POD's signal chain altogether... definitely be looking at a helix. Tell me, is there any percievable latency in the channel switchings on the helix? My POD always felt like you had to hit the footswitch about a 32nd note ahead of the next riff in order for your first note's attack to be heard under the newfound distortion... on the other hand i love how the trs footswitch on my 6505's are damn near instantaneous and I can smash it right on the beat, and don't know if any effects processor out there has caught up to that sort of speed. I'm assuming the snapshot function may come into play here?

As far as i can tell its pretty instant when switching channels, the relays are pretty fast. Id have to test it out a bit more tho, i dont need a lot of extremly fast and precise switches in my songs. And yes, snapshots are what i use for... well everything. Its amazing what you can do with them. I actually use only one preset with my amp and i have 4 or 5 snapshots for it. And even for when i use direct into FOH i also use pretty much one preset with a few snapshots. 
Keilen13 This might be because of many different factors, like bad soundguys, bad players and people being inexperienced with tweaking an amp, but every VH100 i ever heard being played live sounded like shit. Every. Single. One. And they were very popular in local bands around here a few years ago.

The Diavolo on the other hand is suposed to be great. Randall are pretty great amps trough and trough.
Swedish_singer Well, ok. My comments still stand. Also the chorus on this new song is pretty bad, you are the high parts. Good luck. 
Quote by Johnny_893
HEY i have a question. Finally maybe it can get answered.

Does the Helix have the ability to switch the 6505's channels?

If so, I'm buying one.

Yes it can! Both on the 6505 and the 6505+, but the + includes some soldering since the footswitch uses a DIN7 connectors instead of the usual TRS jack that is on the Helix. But its no big deal if you ever soldered, you can use a normal microphone cable and the parts cost about 5€ total. I can now control channel selection and the crunch option on the clean channel with it. If you have a normal 6505 you can just use a normal trs cable.

I actually have the Helix setup in a way where i have different footswitches setup as different tones, so there is absolutely no tapdancing, just a single press of a button to switch from clean to lead for example. 


As far as used peaveys go in europe, depends on when you are from. There are plenty for sale where I live But yeah, i suggest you go used in any case, since you can get way WAY better deals for a lot of stuff. Hell, i have seen dual rectefiers go for lass then new bugeras at time.
Quote by Soxtar
I love the 5153.
But,I tried my buddy's Trirec, and, man, that thing is awesome, to me. It has a ton of tonal options.
I looked online to see about getting one, and although it's not that expensive in amp terms, especially for what you get, but that is an expensive Bugera. It's $800.

I actually have the old Peavey 5150 II, so basicly the 6505+, not the new evh 5150 III. It does have way less options than the trirec, but thats ok for me, since im more of a set and forget type of player, and the 5150 tone is what i love It does have a decent clean channel that is switchable between clean and crunch with the footswitch. If you use an overdrive and eq pedal, you pretty much have a 3 channel amp that way. And i use it with my line6 helix, so there is no tapdancing involved. Its great for a simple minded player like me
Quote by Johnny_893

BEHOLD, the backwoods wizard fuckery known as the poor man's guitar splitter....

Wait, this actually works? What the fuck

Anyway, OP, 6505 or 6505+. But it kinda depends on where you live. If you are from europe, the prices of the 6505's are much higher than in the US, but, at least here, there are plenty of them on the used market, so you can try that. I managed to snag a used 5150II for the same price as a new bugera trirec, and tbh it beats any bugera i ever tried, as well as my old Engl Powerball.
Pls guys, stop ripping on the Bandit, it did nothing wrong and is trying its best :'(

Anyway, OP, what you need is a Jet City amp.
I had a Bandit, the old red stripe US model. It was built like a tank and had enough distortion to do all sorts of metal. I actually gigged with up until a few years back, and it never failed on me, even after being hit countless of times, outright dropped 3 times and was drenched by rain. Still worked like the first day i got it, and i got it used. Managed to sell it for a higher price then I bought it as well.

Its a decent amp. Its not great or amazing, but its good. I used it for punk and modern metal, and it could do all those things, but again, it wasnt amazing or anything. I hear its much better if you swap the speaker, but i never did. I also didnt really know how to dial it in back then. It sounded much better when i was testing if it still works before i sold it, since i knew how to turn the knobs. The HiGain setting on the crunch channel is great, a lot of mid and low end, and suprisingly clear.

If you wanna hear what it can do, my old band recorded this song with it, and the Bandit was used for all the guitars, including the lead:
Ok, i gave it a listen. Tbh, you wont get much luck on this forum, you are better of going to some sort of reddit for vocals, since this place is pretty much dead. Anyway. Obviously you got the range to do this, but there are quite a few issues.

First, you are off at some places. Before the first chorus there are a few spots when you are flat, and its pretty bad. And the chorus is just... its off, you arent really singing the correct melody until you hit the high part.

Second, you are going some sort of theatrical swell or something, where you jump into notes to late. Its the most noticable in the "covered quickly by the ...tides of time", where "tides" is just sooo late. I know bruce does this live at times, but on the recorded version he doesnt really do it that much. Listen to it carefully, he is actually pretty on time. He also jumps straight into the note, instead of building it up like you do. If you start a note with low volume and try to build it up like you do, you have a much bigger chance of tensing up and closing your throat.

Which brings up to no 3. You sound like you are straining yourself really really bad, almost to the point of choking. That never sounds good. I know bruce sounds like he strains in some of his songs, but its mostly at the really high parts, and even so, its not something you should emulate, because its bad for you. Your vocals should flow freely, and you should have minimal tension in your jaw, throat and mouth when doing it. I know its easier said than done, believe me.

I think that this video shows a really good comparison between how Bruce sings, and how someone doing "bruce vocals" sounds like:  

Notice that when bruce sings, its in your face, and he just belts out notes from his body, he looks ahead and dont lean back but stands firmly on the ground? And how Renato (the other guy) sounds weak and strained compared to him, with his vocals sounding stiefeled, even in the lower parts? I believe thats because he is actually straining, and probably a bit because he actually wants to sound like Bruce.

And that segways right into the last part, how you can improve! First, stop imitating Bruce, or whatever other singer you want. I know its tempting, and id give my left nut to be able to sound like him, but actually imitating someone is just not gonna do anything for you. Your voice is your voice, and trying to change into someone elses will at best make it very hard to actually sing well, and at worst, it can fuck up your voice forever. And second, you need to work on your techniqe. You have to learn how to breathe, how to do correct support, proper posture and how to project your vocals. You need to learn how to anounciate the vocals and how to jump on the notes right from the start.

How do you do this? Well. Get a teacher. Singing isnt playing guitar, you cant just watch someone doing it and learn from that. You need someone who will monitor you and give you pointers specific to your body and your issues. I sand for 5 years before i got a teacher, and i advanced more in a few months with a teacher than i did in all of those years before. So, if you can afford it in any way, and you actually want to sing, do it. Its the best investment you will ever do.
XenQC Ok, each guitar amplifier is made of two parts: the preamp and the poweramp. The preamp shapes the sound. The poweramp the actually makes it louder. You can actually insert effects BETWEEN the preamp and poweramp with the help of the fx loop on your amp. The signal goes like this: guitar->preamp->fx send->effect->fx return->power amp. The fx loop is the place where you usually insert delays and reverbs and some modulation effects.

Now, the neat part is, you can actually skip your preamp entirely with the help of the fx loop. Instead of pluging your pod into the front of the amp and having it on clean setting, you can go straight into the fx return jack, and bypass the preamp of the amplifier completely. That way you get minimal coloration of the signal. Even with the amp controls set on neutral and on the clean channel, its still better to go direct into the fx return with a modeler, if you want to get the "purest" sound. You should try it, and you should try it with the mesa as well.

Anyway, i think you are overthinking this way to much. I checked out your band and your setup should easily be able to replicate your sound, either with just going into the power amp of one of the heads with the pod or just with using the mesa. 
I dont understand what you are trying to achieve really. You say you want the line6 tone, then why even have the Mesa? Just run the pod trough a dedicated power amp into a cab, or better yet, trough a FRFR speaker. Easiest solution to your problem.

Or, you can use the power amps of the both heads and bypass the preamps completely. Or do you just want to use the power amp of the VK for the pod, and use the Mesa as a regular amp? It really isnt that clear. If its the second, get a Y splitter, and split the signal BEFORE you go into the pod, that way a clean guitar signal goes into the mesa, and another goes into the pod.
Thats REALLY weird. Anyway, yeah, you need some kind of metal strings for them to get picked up by regular magnetic pickups.

On electro acousitc guitar it can be different. They can have a normal pickup, or they can have a piezo pickup in the bridge. Piezo pickups actually pick up vibrations on the guitar, and they dont need a magnetic field to work, so those dont need metal strings.
I have a 25.5" scale 7 string and i use a .56 for drop A.... Granted, its a bit floppy and a .60 would probably be better, but damn dude, why do you need 85s?
kgladue45291 welcome to the wonderful world of pickup buying. You actually cant know exactly how they are going to sound on your setup. There is just no way. What you can do, is watch a bunch of videos, read a ton of reviews and try to make an educated guess about what is right for you. But yeah, you go into it pretty much half blind. The best way is to look up some comparison videos on youtube. You are looking at pretty popular pickups, so there should be a bunch of A/B comparisons of both. See which you like best.

The thing is a pickup change, is gonna be way more subtle than an amp change. If your rig sounds bad right now, there is a 99% chance that its still gonna sound bad after you change the pickups, while a good one will sound good regardless of the pickups. So keep that in mind.

In any case, the differences between the two that you are considering are gonna be subtle. Both should get you great results, and you really cant go wrong either with blackouts or with emgs. So its not like you can actually go really wrong here. In any case, you can sell them and buy a new set if you really hate them.
I know lots of people say blackouts are better than emgs, but when i had the, i absolutely hated them. The response was weird, the tone was kinda wierdly muffled and bassy... I did have the 7 string version tho, so maybe thats the issue, but i loved all the emg equiped 7 strings i tried out. I also have emgs installed on two of my main guitars, and they are great. Id recommend the 57/66 pair over the 85/60, since they are warmer and more responsive. But im never going back to blackouts, they were really horrible. Actually they were so bad, that im not sure if i didnt get a pair with some sort of issue or malfunction. 
Hi guys,

So my band is recording an album for the first time. Its actually been going pretty well, we just finished recording the drums. Now most of our songs arent very complex recording wise, its just drums, 2 electric guitars, bass and vocals. BUT we do have a single full acoustic song, and there are a few parts here and there that require different instruments. At first i wanted to just record the acoustic guitar and use plugins for the other stuff, but since we went to so much trouble recording the drums, we might as well record all the other stuff as well. 

The thing is, we are not sure how. We are in talks of recording a grand piano at the local music school, and they might even lend us a violinist or a whole string quartet. All the other ones we can play ourselves. 

Our microphone stash is as follow:
2x Rode nt5
Audix i5
Audix i6
A tBone drum mic set, not sure which
2x tBone MB85 Beta
Shure sm7b
Behringer C1

Now, the thing is, the only large diaphragm condenser we have is the behringer C1, and it really isnt anything to write home about. I know we can record the acoustic guitars and the bouzouki with the NT5s, but what about the piano? And the strings, especially if its gonna be a string quartet? Im guessing we can just shove the audix i6 into the cajon, and use the i6 or the sm57 for the shakers?

Anyway, thats pretty much it, thanks for your help in advance!
Quote by drb1982
Perverockstar69 Yes, it has a bunch of overdrives and distortions, and almost all of them are spot on. You could not pass a blindfold test with some of those overdrives, like the minotaur or the tubescreamer. They are excellent. 

Big Bazz, I am curious how you set your patches up with it? I know you have the Helix so obviously you use amp modelling, but I am talking about just the actual effects in each patch. Do you use the same overdrives you like in every patch, and then change different modulations or delays depending on what the song needs? Or do you find every patch is a completely different set of effects? I am new to this sort of multi unit so I am trying figure out if I should just put together my 6 six most used effects and just use that as the board, or make a ton of different patches for every different song I play. 

I know this wasnt directed at me, but i also have the Helix, and i use it in a similar way as Bigbazz. I have a generic hi gain, mid gain and clean presets, that i use for each song. The clean is a fender twin, mid gain is a placater and the hi gain is a placater with higher gain and an 808 in front of it. The clean and mid gains also have some reverbs and delays thrown in. If a certain song or part requires something different, then i try to fiddle with the "generic" preset, and if that doesnt work, i add or change an effect, but i very rarely change the amp model. The cool thing on the helix is, that you have "snapshots", where you can change settings of all the effects and models in a single preset. It makes the whole thing very flexible, but im not sure  how that works on the HX effets. 

I use this approach for two bands, and the only difference is that i use the placater model for one band and the 5150 model for the other band.

As far as option paralysis goes, yeah, its a thing. I find that imagining that you are putting together and actuall rig is the simplest way to do it. Im not really a big effects guy, so i know i can get everything done with basicly an amp model, tubescreamer and a simple hall verb and single delay. Only after i have a preset setup with that, do i delve into more complex effects like adriatic swell delay and octoverbs...
For that kind of money id go used. You can however get a new Randall Diavolo for that kind of money on thomann. You can also get one of the Jet CIties, they are good value for the money. 

If you go used, you have a bunch more to choose from. The sandard choices would be the 6505/5150 models, the evh 5150III,  Engls (Powerball, Savage, Invader), and ive seen some Mesa Dual recs for this kind of money used. 
No. Crancking the volume in front of the amp saturates the preamp. Its how overdrive pedals are most commonly used nowdays. If you want to push the power tubes to the point where they start breaking up, i dont think there is any other way other than just cranking up the volume. You can however get either an attenuator to lower the volume, OR get some sort of reactive load di box. The torpedo captor comes to mind. That way you can actually raise the volume and be able to record in complete silence. 
If you like EMGs, get EMGs?

Its kinda annoying how people keep bitching about their "sterility" and "coldness". There is more than 1 emg pickup. My favourite set right now is the 57/66. Its like a warmer and clearer 81/60 set. I dont like the 85 in the neck or otherwise. Id say go for the 57/66 combo, or if you cant do that, go for the 81/60. I hear very good stuff about Hetfield signature pickups as well.

I also have a set of DiMarzio Dactivators in my 7 string, and they sound great. Ive also played the Bare Knuckle Painkiller and Nailbombs, and those are awesome as well. In general the passive pickups tend to actually be a bit warmer and respond in a different way than the actives. Ive been playing actives for so long tho, that i have grown more used to their response than the passives, so i kinda preferr that.

Everyone also seems to put Fishman Fluence pickups into their signature guitars lately. So those are probably a good bet as well.
Well, if you have been playing for 4-5 years, its safe to assume you actually know how to play guitar. The absolute best advice i we can give you, is to go to a music store and try out as many guitars as you can, and see which one you actually like. The necks on guitars vary a lot, and people have different preferences. 

The second thing is, what is your budget? What kind of music are you going to play on your guitar? This narrows down the potential choices quite a bit. The general rule is, if you want to play music with hi gain sounds, get something with humbuckers, and if you want to play something with mostly clean tones, get something with single coil picups. But there is of course a LOT of variety in that, and those rules are not set in stone.

As far as floating bridges go, i hate them. But its up to you, if you think that the hassle of setting it up is worth it for the things it can do, go for it. If not, dont. But if you do, get a guitar with a decent floyd, because cheap ones can go bad really fast.
I just noticed that someone is selling this amp head for very cheap nearby where i live. I cant however find much info online about this amp. Is it any good? How does it fair against other hi gain amps like the 5150, Engls, and so on? Or even compared to the Diavolo, since people seem to recommend that one a lot lately. 

I mean, its impressive, but what i see is a bunch of mediocre gear at best, and nothing that really grabs my eye. But hey, if your plan is to just have a lot of stuff for the sake of numbers, then more power to you. Id probably sell like 90% of this stuff. 
diabolical I dont know what your point is, AxeFx =/= Helix. And just cause they dont know how to dial them in, doesnt mean its not good. I saw Arch Enemy live last year, and they had an amazing sound. And if we look at other modelers, i saw Trivium and Machine Head live, who both use Kempers, and they both sounded amazing, especially Machine Head.

In any case, OP only wants a multifx unit, not a full fleged modeler, and at this point in time, i still maintain that the HX Effects is by far the best option. Not only does it have amazing array of effects (all the new Helix effects AND the legacy M13 effects), its the only unit that i know of, that doesnt have amp modeling installed as well, and has a pretty small footprint. The only one that i can see comparing to it, is the Fractal FX8, but it costs 400$ more, and from what i heard its not better than the HX, maybe even worse. To top it off, Helix and HX Effects are recieveing regular updates to their software (so far they are at the 2.53 mark), and each update brings aditional models. Im guessing that this update process is gonna go on for a few years still, until a new generation of line6 gear comes out. The FX8 however is at its last leg, since its based on the axefx2, and axefx3 just released. 
Quote by Gosss
Come on name a few?  
Name a few artist who use Line 6 distortion?  


Actually I can name a few. Jeff Loomis uses the Helix for his live touring with Arch Enemy. He swiched from Kempers to helix. And Jeff Waters recorded the entire last Anhilator album on it, and also uses it for touring. Brendon Small used it to record some parts for the last Galaktikon album. Those are just 3 pretty big names that are also giant gearheads that i can name from the top of my head. There are a lot more artists using them. 
Thanks guys, things are clearer now. I guess the safesest bet is to just match the other speaker to whatever ohms the v30s have. Ill open the cab up one of these days to see exactly what it says on the speakers. I have to say, that i already LOVE the sound i can get out of my rig, especially when i combine the 5150 and the helix, but if there is a way to make it sound more... massive i guess, then im all for it. 
Hi guys, 

I recently got an idea, but im not really sure if its common, uncommon or just plain silly. I currently have a Framus 2x12 cab with Vintage 30s in it, and i run my 5150II trough it. It sounds great, but lately ive been wondering, what if I change one of the speakers for something different? How would it affect the tone? What speakres would "pair up" well? I have to admit my knowledge is lacking when it comes to speakers. Would i need to match the wattage of the celestions? The resistance? Or can i just pick a random speaker and wire it to the same wires?

One other thing, the cab is rated for 100W, but as far as i know, V30s are 30w speakers. I dont wanna wire in a different speaker and somehow mess the wiring up so it becomes 60 watt or whatever, and accidently blow the thing. 

The HX Effects just recently came out, and it uses the effects from the Line6 Helix, and i think its arguably the best multi fx unit right now. The drive effects on the helix are simply amazing when i use them with my amp.
I use the Jazz III, i dont even know what thickness. The black one. Or the tortex 1.14mm one. Or basicly any type of JazzIII shaped one i can find in local music stores. For some reason, its actually really hard to get a specific kind of pick, you just gotta hope that there is something close to what you like in stock. And each pick costs 1€ where i live. Its kinda crazy to me when i hear stores of guitar centers just giving away fistfulls of picks.

Anyway, last time i found a JazzIII ultrex 2mm pick, and i have to say its very good.
Well the helix did just get an update, and one of the new amp models is the BE-100 So there is no need to convert kemper profiles into it, even if it were possible. 

But, anyway, OP, of course kemper is gonna be a different beast from the real amp. I owned one, and i have to say for what it is, it does an amazing job. With the right profiles and some tweaking it sounds amazing. Either trough a cab or direct trough PA. But yes, the magic lies in profiling. And not having to carry around a 30gh amp head with a 4x12 cab that someone then mics up like shit. 
The Line6 HX effects is basicly a Helix without amp modeling. Its the next step from M13, and i think it sounds awesome. 
Well i have not yet played a guitar with better upper fret acces than the Rhoads, but even so its still uncomfortable to grab the low E on the 24th fret. I have never actually seen that used in a song tho. 
If you are ordering from thomann, go for the harley benton 212 with vintage 30 speakers. I played trough a few of them, and they sound amazing for their price. Dare I say they sounded better than the 2x12 ENGl cab i had the chance of trying out. 
Quote by Bigbazz
If we're talking sounds, the only area the Helix doesn't excel in my opinion and experience is high gain modern drop tuned metal. It does high gain fine, it will do 1980s hair metal with the best of them, you can get a plexi sound that will fool anyone, it does jazz and jazz fusion, blues, punk, rock sounds... The only thing I think it doesn't do well (in that I'd rather just turn on my 5150) is modern metal, and honestly I personally feel the same about Axe FX on this subject but I feel Axe FX does a slightly better job than the Helix.

Everything else though the Helix sound is so good it has far exceeded my expectations, the only thing you should be mindful of is the need for third party speaker impulse responses to get the most from it, Helix comes with a free small pack from Allure that do the job but you're going to want to invest in others, such as a pack from Celestion or Ownhammer, because the basic cab modeling within the unit doesn't have that same quality.  But the same is also true for Axe-FX, you need impulses to get the most from it.

That said there are a bunch of good free packs available too, there are some nice ones I picked up from the Andy Sneap forum that go back over a decade but there are some real great ones in that free pack.

I'd disagree here, i think that the hi gain sounds can pretty much rival anything that the axe or kemper can drum up. It doesnt even take that much tweaking, all you need is a good IR.