Dry signal is underlined. Note: as each extra voice is added, there is a post-effect level compensation such that the overall dB of the remains about uniform. You can make up this change with the two output knobs if you want the same level hitting whatever you send the doubled tracks in to. Also since these are hard pans, you an also use the "stereo width" block to control how wide this effect is in the stereo field. The Slop knob controls the amount of the slight variations in timing and pitch you would hear from each of the doubled voices.
The variations are what we like to call "Defined Randomness" as this amount and timing is directly coupled with the dynamics of the original part. This knob controls the heart of this effect, as it will define the voices from tight and refined at low settings and all the way to too? With this knob you can set such that a softer touch there isn't much change to the original performance, but the harder you dig in, the more the doubled voices' strings stretch, slap around, and become widely de-correlated.
This knob controls the sensitivity of the slop feature. The lower this parameter is set there will be less dynamic behavior from the voices. This can be viewed more or less like a threshold or input gain of a compressor, but specifically for the slop's detection algorithm. The Double take can have a true stereo path. This parameter determines how the input signal is processed by the effect. True Stereo: Each side will be sent as a true stereo path, and each extra voice will be sent to the side of the source pan.
Instead of a This controls the level of the original dry signal as it passes through the effect.
Note the Dry Level Location above. Note: In "True Stereo" mode, the dry signal for the right will only be used for the doubles and will not pass through the effect. In "Right Only" mode, the Right channel will be sent to the left or center according to the Doubles parameter. Personally, I like to put it either after my amp and cab if I'm using the stereo version, or in mono right in front of the rig just after my guitar But you can play with this values, it's up to you no limits :.
Note 1: Real amps with Volume means Gain in Helix. Volume in Helix is like a mixer to compensate final modeled output level obviusly it doesn't exist in any of the real amps. Note 2 : To attenuate " Crossover Distorsion ", the best parameter in Helix is " Bias ", increase it from 6 to 8 as general rule just in case you need to mitigate it. Tip : double click in the parameter to come back to the default one. Do you mean:. I have not seen a "Gain" control on any of the Helix amp controls. Is this knob typically a preamp volume knob or power amp volume knob in the real amps?
Where does the "Drive" control in Helix amps sit preamp or power amp? The Volume control in Helix amp controls does not affect tone of the amp. It is basically another gain stage after the power amp to help balance amp volume between patches.? Did I get this right, and can you please add a little more description? These are just the notes I copied from the 1st post in the thread. I'm unclear as well, though I believe the answer is 1. My understanding is that typically drive is pre-amp gain and master is power-amp gain.
The Master Volume, generally, is in between the pre-amp and the power amp.
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The phase inverter, for all practical purposes, operates as part of the power amp as a whole. This is because amps with negative feedback insert that signal into the phase inverter, so the phase inverter tube and the power tubes operate in a state of equilibrium.
Saying the master "Adjusts the amount of power amp distortion" is a bit clunky, yes. It might be more clear if it said something like, "the master volume reduces the signal level going into the power amp circuit. This matches the actual Master Volume of the modeled amps when those amps have a master volume control. If an amp does not have a master volume control, then it reduces the signal level between the preamp circuit and the power amp circuit.
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Setting it at 10 is no level reduction and matches the non-master volume amp in the real world. If you want to quiet the amp down or reduce power amp distortion, you turn down the master volume control. The amp model should behave in the exact same way. Sometimes I like to think of a master volume as a ratio control for preamp and power amp distortion.
When an amp is turned up, everything distorts. When the master volume is at maximum, the power amp will distort when pused by the preamp, and this is the maximum power amp to preamp distortion ratio. As very low levels of the master, the preamp can be distorting a whole lot, and the power amp to be clean. I don't know if this will make sense to everyone, but it's how my brain sometimes works. Another good thing to remember, we matched the knob positions in the amp models. If anyone here has used a Deluxe Reverb you know that after about , the amp stops getting louder.
Once the amp goes past it can get pretty ugly.
Helix Amp Model Gallery - Real Controls vs Invented - Page 2 - Helix - Line 6 Community
The model behaves the same. Cranking the drive will never give a tight distortion, it'll blow out the power amp. Some think this sounds awesome, some think it sounds ugly. That's totally subjective. But if you are using a model and you want more drive, think of how that model would sound when cranked. Sometimes it sounds a lot better to put a drive pedal in front of an amp than to push an amp to its limits Oh, and one case where the master volume is different is the Hiwatt.
That amp has an additional gain stage between the master volume and the phase inverter. The model matches this trait. Wow, I just kept writing. Hope you all got through this. I think you meant to say "after about the amp stops getting louder There's definitely not a ton of clean headroom there. I think it's kind ironic, in a way, because I think many people associated Fender amps with great clean tones, and yes, I do love the clean tone of my DRRI and my Princeton, but there is a relatively narrow range in which that they are truly clean. With humbuckers or any higher output guitar, it seems that it's almost impossible for me to get a true clean tone with either of those amps without lowering the guitar volume.
I just felt it had a certain raspy quality when pushed that I didn't really like. I think the fact that so many people associate The Edge with the AC30, many people assume that Vox amps are clean. To me, that's kind of not their natural state, for lack of a better term. I think of them now more as raspy blues amp that can clean up under the right conditions.
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Wow, what a bad typo. I was talking about playing through the actual amp in my previous scenario. For amps that don't have a Master Volume control, the Drive control on page 1 represents that amp's volume knob. Here's a list of all the models. Then none of the models in the list have a Master until the It's not inverted like a Vox AC30 presence control or something. And similarly, we're talking about a product of pre-amp and power amp distortion here rather than a ratio, no?
In any case, this is all great information and I appreciate getting it from the guy who would know better than anyone what's happening under the hood. I'm sure learning a lot this morning Being an owner of an original 5F6A Bassman, it can be set to be one of the best crossover distortion generators you'll ever find.
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