This type of system does a good job of reproducing the sound of an amp being mic'd in a studio. many bass amps actually have tweeters in them, which makes bass amps come a lot closer to being FRFRs than guitar amps), and "Flat Response" it reproduces those frequencies in more or less an equal way across frequencies, so no high-frequency roll-offs and no huge cuts or boosts. What that means is that "Full Range" the speaker can reproduce frequencies in the entire audible range (many speakers found in guitar amps have a pretty severe high-frequency roll-off, which is part of the classic sound of a guitar. However, speakers also have a huge affect on the way things sound, so some people use what are called FRFRs, which is short for "Full Range Flat Response". the basic difference is whether or not the FX loop comes before or after the Master Volume on the amp). Part of the issue is all the tone controls on the front of your amp, so some people try and negate that by plugging the Helix into either the FX Loop Return or Power Amp Input of their amp (most amps have one or the other, some amps, like my own bass amp, have both. As you can imagine, that probably won't actually end up sounding like an SVT. But your amp has its own characteristics that can't be easily negated, so what you'll actually end up hearing is the sound of your bass plugged into an SVT, mic'd in a studio, and then the mixer in the studio plugged into your amp. It doesn't mean that you can only use an Ampeg SVT model if you own an Ampeg SVT. Basically what it means is that if you create an Amp+Cab block of a Ampeg SVT, the Helix is going to try and make it sound like your bass is plugged into an Ampeg SVT, and then mic'd in a studio setting. That really doesn't have anything to do with the amp that you're using. "Modelling" means it's trying to sound like different real-world pieces of equipment. On the other hand, it might be a great thing to put an compressor AFTER the envelope filter to even out the peaks created by a filter with a high Q. There really are no hard and fast rules, but on first glance, it seems to me that a compressor before the envelope filter might make it more difficult to hear the effect of an envelope filter since an envelope filter is looking for the difference between loud and soft. As the name suggests, it COMPRESSES or reduces the difference between loud and soft. "Direction" is whether or not the filter cuts or boosts the selected frequency.Ĭompression is a dynamic processor, which means it affects the difference between loud and soft. Different sounds coming from different instruments have different dynamic properties, which is why an envelope filter would have a "Sensitivity" parameter, so you can have the filter be triggered properly by YOUR instrument. So an envelope filter is sort of like an equalizer that is triggered by the volume of the sound. By "dynamic" I mean the difference between quiet and loud. So for a really focused filter, you want a higher Q.Īn envelope is the dynamic characteristics of a sound. So a high Q would affect only a few frequencies around the center frequency, and a low Q would affect more. Equalizers often have a parameter called "Q", which is sort of the opposite (inverse) of "bandwidth", which is the number of frequencies around the center frequency being affected, which is set by the "Frequency" parameter, obviously. A filter is sort of like another word for equalizer, something that affects the frequency content of a sound.
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