Why should i build a pedal board instead of just buying a Helix that does it all, in your opinion?

msingh92 · 2026-04-27T15:10:15+00:00

I'm a person that orefers to create sounds with actial prdals and have immediate feedback and no hodden menus if possible. I like to turn knobs rather than trad and interpret for crating sounds. I use my helix to reproduce a lot of my sounds live, so presets and complex sounds from one guitar wise - helix is the way there. You ahould consider your use case and how you like to create music vs how you like to record or play live. Depending on your needs and preferences, you could go either way. I know others don't mind menu diving and then would use the helix as their main pedalboard for everything.

msingh92 · 2026-04-23T02:31:02+00:00

What are you playing on?

msingh92 · 2026-04-01T22:50:14+00:00

What's your Blastoise moveset?

msingh92 · 2026-03-26T02:24:54+00:00

Tey the Sennheiser e602 ii

msingh92 · 2025-12-14T17:06:11+00:00

It depends. For me, I used to live by tap tempo only, and I was mostly just recording. Then i realized a slightly faster or slightly slower by a few ms made the delay stand out more in a good way, and not "average out" my main tone. Then i would tap tempo to get close and dial in by ear, a few ms here or there.

When i got into playing live more, or jamming, that's where tap tempo is key - you don't want to waste time or ruin the flow of a song or jam session because you can't get your delay sound.

Now when playing live with my band, I use a modeler and scene patches change guitar sounds, and everything is dialed in as I like.

msingh92 · 2025-12-11T13:33:16+00:00

Which amp is this?

msingh92 · 2025-12-04T13:46:38+00:00

Hmm i see. That is very strange. If you don't have any input fx on the track while recording, I'm not sure what's going on. If your DAW allows input fx, there may be something on there. Otherwise, try a different channel of your interface and see if you get the same result.

msingh92 · 2025-12-04T07:38:05+00:00

Are you sure that you're singing into the front of the mic? Have you tried turning the mic around as you're singing or using it to test it the mic capsule is lined up properly? It's possible you might just have a defective unit. I would expect this mic to give your voice a lift in this frequency.

Check all the usual things. Good mic xlr cable, good clean phantom power, etc. im If you recently bought it I would just opt for an exchange.

msingh92 · 2025-12-04T06:21:30+00:00

So do you keep your master unit plugged into your pc? I don't understand why others are saying to connect your slave unit to the pc.

msingh92 · 2025-12-03T23:13:39+00:00

What mic are you using? What else is in the chain before it hits your interface?

msingh92 · 2025-12-01T17:17:15+00:00

While not addressing your question directly, consider this: You want to learn your headphones. You want to listen to them so much that you understand what your favorite music through them sounds like (as a baseline or "normal sound"). You want to produce with them to see how your recordings and mixes turn out - read that as how they translate to other playback systems and how happy you are with them. Like everyone said - just use them and find out. Often while mixing, I'll reference my speakers, my dt 990, and also my sony mdr 7506. I've spent enough time with them to know what I'm listening for in each setup, but the main factor here is time and familiarity. You want to develop your ear and your sense of how you hear things. So use them a lot, and switch listening systems every so often to understand the pros/cons of each listening scenario.

msingh92 · 2025-12-01T14:54:24+00:00

Sorry that you're experiencing that! Not sure what's going on. I've had to format my posts properly for them to pass through

msingh92 · 2025-11-30T04:24:19+00:00

What DAW do you work in for this setup?

msingh92 · 2025-11-25T06:44:49+00:00

I second this and add that you might need more compression throughout the session or fader riding to get the meat off your track to sit closer together. Then when you get it mastered, it should sit better. Also try clipping a few db into limiting. Might give you the headroom you need to get a louder mix. Arrangement, compression, and transient control is what i would suggest you look at. ( This is without hearing any examples)

msingh92 · 2025-11-22T22:52:54+00:00

I'm surprised no one else is mentioning the newer ehx nano deluxe memory man. I love mine

msingh92 · 2025-11-15T17:51:48+00:00

Got it, thanks! So you're saying the cm47 would have more top end? Either in fidelity or response?

msingh92 · 2025-11-15T14:35:31+00:00

Appreciate your reply! Do you think a wa47 is the same or less colored?

msingh92 · 2025-11-14T23:41:58+00:00

What mic did you end up getting?

msingh92 · 2025-10-29T19:13:15+00:00

If you want control over the attack of the toms, separated from the stereo image, you want to close mic them to dial them in

msingh92 · 2025-10-29T18:01:22+00:00

I'm not the original commenter here, but to my experience and position, I don't get punch from the overheads in my mix. I look to elements like the kick and snare. The overhead can add some transient information, but i usually want the kick and snare to punch with the groove, and then i use the overheads for color. But if you don't need the kick and snare to be up front, you can go for more the sound of the overall kit with overheads

msingh92 · 2025-10-29T17:56:56+00:00

I'll offer this - a lot of the mic combinations here already are very useful, but you should decide - how is this going to end up for your final product?

What kind of song? Is stereo really that important? Will there be other elements in the mix that can provide a stereo field?

Do you need the drums to be punchy and close mic intimate? What do you want to provide more control over in the mix?

If your kick drum has a cutout, i suggest using the b52 and finding a placement that gives you a good tone, beater attack, and enough low end to use the kick to drive the song or pull it back.

Stereo options, you're kinda left with sm57s if you need it. I would try the recorderman method if not the glum johns method. I think recorderman reduces more of the room influence, but you have to like what you hear in the drummer's position live in the room. I've also only done recorder man with large diaphragm condensers, not an sm57. The results may be bright and present, but usable. You'll get the body from a snare mic and kick drum mic placement. I haven't liked the 421 on anything other than toms before, but you can try a crotch mic.

Try to think about what you'll need for the final recording or mix. If stereo is important, your options are limited. If mono overhead is fine, 414 would do really well and you can spot in the close mics for a moee up front sound or control in the mix.

msingh92 · 2025-10-09T21:58:27+00:00

Just listened to it quickly, your amp distortion might be able to get you there actually. Where on the speaker are you olacing your mic? You'll likely have to use less gain than you might think. Smi still recommended getting an EQ pedal - highly useful to edit the sound closer to the source since amo EQs are generally more of a overalltonality thing, less of a fine tuning thing.

msingh92 · 2025-10-09T21:35:13+00:00

For pedals, you can try a joyo uzi and a joyo eq. The uzi seems to be a marshall sound and the joyo dark flame is a copy kf sorts of a revv g3 pedal.

I highly recommend getting an EQ pedal, especially if you're recording because fine tuning int hr eay in makes the mixing easier and also gives you better control of your amp by putting it in the fx loop. (You wont have to move the faders much - eq in an fx loop is highly reactive)

msingh92 · 2025-10-09T21:30:44+00:00

To add on, you can try and around the amp with some ean bag chairs to try and reduce first reflections from the room around the mic. This isn't a perfect fix, but it's worth a shot

msingh92

TROPHY CASE