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  • ChrisCumberbatc
    Contributor - Level 2
    2018-02-15
    Amplifier/PA System | DJ and Production
    Hi guys,

    Are there any recommendations as to what type of amp or PA system to use with the Voicelive? I recently bought the voicelive 3 extreme and use it with my Marshal AS50D acoustic amp. The amp keeps cutting out and the techy who checked it out told me it is fine and the voicelive must be driving it too hard.

    Question to any acoustic players is, what amp or PA system do you guys use with your voicelive?
    Does anyone use an acoustic amp?

    Many thanks

    Chris
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    • ChrisCumberbatc
      musicmadman Hello :



      You are dealing with a machine that is full range sound spectrum device . That is to say it produces sounds the electric guitar amp has problems with because they are out of it's ability to produce either above or below it's thresholds .



      A guitar amp works on a much smaller spectrum of sound . The vocal is a delicate thing compared to the electric guitar and it's demands are much more definingly critical .



      You need a FRFR amp = Flat Response Full Range amp / P.A.



      For busking I use a Mackie FreePlay - it's totally portable , it packs a punch with 150 Watts RMS split into one 8" full range driver summed to mono getting 75 watts and the tweeters split the other half getting 35 watts each in stereo .



      The VL3(X) when you plug in the guitar output to your amp takes the vocals out of the loop and sends them out the XLR's .



      It's the way to go to get clear clean & tight vocals .



      There are many choices to review have fun finding the one that suits your particular needs .



      That said , consider a stereo system / home theater these units have a FRFR amp with EQ settings to change the sound and shape it to you own taste .



      Good ones allow you to hear clearly a violin next to a bass kick drum and still produce the sound of a guitar clearly as a singer performs . My Mackie FreePlay can do exactly that like a home theater / stereo system .



      Yep one small P.A. will deliver everything nicely if you know how to mix it all together , that all it takes .



      EZ :



      HR
      • February 15, 2018
    • ChrisCumberbatc
      AndrewMackie

      Musicmadmanharp;140794 wrote:

      Hello :



      You are dealing with a machine that is full range sound spectrum device . That is to say it produces sounds the electric guitar amp has problems with because they are out of it's ability to produce either above or below it's thresholds .



      A guitar amp works on a much smaller spectrum of sound . The vocal is a delicate thing compared to the electric guitar and it's demands are much more definingly critical .



      You need a FRFR amp = Flat Response Full Range amp / P.A.



      For busking I use a Mackie FreePlay - it's totally portable , it packs a punch with 150 Watts RMS split into one 8" full range driver summed to mono getting 75 watts and the tweeters split the other half getting 35 watts each in stereo .



      The VL3(X) when you plug in the guitar output to your amp takes the vocals out of the loop and sends them out the XLR's .



      It's the way to go to get clear clean & tight vocals .



      There are many choices to review have fun finding the one that suits your particular needs .



      That said , consider a stereo system / home theater these units have a FRFR amp with EQ settings to change the sound and shape it to you own taste .



      Good ones allow you to hear clearly a violin next to a bass kick drum and still produce the sound of a guitar clearly as a singer performs . My Mackie FreePlay can do exactly that like a home theater / stereo system .



      Yep one small P.A. will deliver everything nicely if you know how to mix it all together , that all it takes .



      EZ :



      HR




      Great advice and all I might add is if you only can afford (as in my case) or just need one powered speaker, I wouldn't go larger than a 12" speaker. Anything larger than 12" you're spending extra money on a device that won't reproduce your guitar properly or will muddy its sound.



      Take care
      • February 15, 2018
    • ChrisCumberbatc
      musicmadman

      Andrew Mackie;140822 wrote:

      Great advice and all I might add is if you only can afford (as in my case) or just need one powered speaker, I wouldn't go larger than a 12" speaker. Anything larger than 12" you're spending extra money on a device that won't reproduce your guitar properly or will muddy its sound.



      Take care




      Andrew :



      I have followed this busker . He's originally from The Nederlands and lives in Spain .



      You'll note the Behringer he's using - 10" . This is what I'm leaning towards as an extra to re enforce the bass .









      This powered speaker has traveled to London - Spain - Italy - Romania - Croatia and now he's in India . That video posted is him in Nice France .



      EZ :



      [SIZE=6]HR[/SIZE]
      • February 16, 2018
    • ChrisCumberbatc
      ChrisCumberbatc @musicmadmanharp @Andrew Mackie



      Guys! Thank you for the responses really appreciate your advice
      • February 23, 2018
    • ChrisCumberbatc
      musicmadman

      Chris Cumberbatch;141242 wrote:

      @musicmadmanharp @Andrew Mackie



      Guys! Thank you for the responses really appreciate your advice




      I am glad my input was helpful .



      Sometimes it's an easy answer . Some answers aren't taken so well heh heh heh .



      EZ :


      HR
      • February 24, 2018
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  • DanDepolito
    Contributor - Level 2
    2018-04-04
    Backing up Presets | DJ and Production
    Can I backup my User presets to a USB Flash drive on my VL3X?
    If not, can someone point me to some documentation that explains this process?
    I couldn't fine anything in the Reference Manual.... thx.
    P.S. I did manage to use VoiceSupport2 to Export my Presets to a USB Flash drive....
    But there will be occasions where i won't have access to a PC and/or Internet in order to use VoiceSupport2 to do the Restore.
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  • LarsDamkjaer
    Contributor - Level 3
    2017-09-18
    Effects on busses | Streaming and Podcasting
    Hi guys

    I have received very good help earlier and I am hoping you can help me again. The problem is that I would like the effects (reverb - FX1) that I put on for example on all vocals, violin and flute ALSO to be on some of the subs (1-4) that I use for monitor outs. In the attached file you will see that I have FX on bus 2 (Joergen) but NOT on bus 3 (Anton)

    Can anybody see where I made a different setting for these to, and/or can someone tell me how to have the same effetcs on monitors as you would have on you main L/R out?

    LarsPotters.scn
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    • LarsDamkjaer
      KevinMaxwell

      Lars Damkjaer;131704 wrote:

      Hi guys



      I have received very good help earlier and I am hoping you can help me again. The problem is that I would like the effects (reverb - FX1) that I put on for example on all vocals, violin and flute ALSO to be on some of the subs (1-4) that I use for monitor outs. In the attached file you will see that I have FX on bus 2 (Joergen) but NOT on bus 3 (Anton)



      Can anybody see where I made a different setting for these to, and/or can someone tell me how to have the same effetcs on monitors as you would have on you main L/R out?



      Lars




      Select the FX1 return and bring up the feed to Mix Bus 3 (Anton) and you should be all set.
      • September 18, 2017
    • LarsDamkjaer
      Paul_Vannatto HI Lars,



      Yes you do have the Fx returns being sent to bus 3, but not the others. On the X32 console, select bus 1 on the right bank of faders, select the Sends-On-Faders button (between the left and right fader banks), then select the Aux layer. Adjust the Fx returns (Aux 9-16) to suit). Rinse and wash (as Craig would say) with bus 3 and 4. You may want to reference bus 2 if you want them identical.



      If you are using the new X32-Edit, simply click on the bus (eg. bus 1) on the right side and that becomes the Sends-on-faders mode.
      • September 18, 2017
    • LarsDamkjaer
      CraigFowler

      Rinse and wash (as Craig would say) with bus 3 and 4.


      "Rinse and repeat." It's what my shampoo bottle says. Personally, I think it's a conspiracy run by the shampoo company to get me to use more shampoo.



      Now to say something on topic....

      I'm seeing FX returns on bus2 (Joergeni,) not bus3 (Anton.) As others have said, go to the Aux/FX layer, press the sends-on fader button, select bus3, and raise the FX return faders.
      • September 18, 2017
    • LarsDamkjaer
      Roblof

      Craig Fowler;131713 wrote:

      "Rinse and repeat." It's what my shampoo bottle says. Personally, I think it's a conspiracy run by the shampoo company to get me to use more shampoo.


      I think that you are on to something here! I'm bald and use shampoo...
      • September 18, 2017
    • LarsDamkjaer
      Paul_Vannatto

      Craig Fowler;131713 wrote:

      "Rinse and repeat." It's what my shampoo bottle says. Personally, I think it's a conspiracy run by the shampoo company to get me to use more shampoo.


      Hey, as long as it is just a shampoo conspiracy and not a MG one, we're good here Sorry for the misquote - I'll get it right eventually.
      • September 18, 2017
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  • AndrewHenderson
    Contributor - Level 2
    2016-10-14
    Playing "break music" WAV files on M32C | Streaming and Podcasting
    Hi all,

    I'm a fairly new M32 owner. I have a gig with the M32C tomorrow, and am preparing a playlist of WAV files to play for "break music" before the event, and during band changeovers.

    Using M32 Edit on my Mac, I have no problem navigating through the USB drive's folders and playing songs. However, on the M32 Mix app on my iPad (on the "Recorder" tab), I can't seem to find a way to navigate through the folder structure of the drive. If I use M32 Edit (on the Mac) to start playback of a song, I can then use M32 Mix (iPad) to change tracks within that folder.

    I'm wondering whether I'm missing something, or if navigating through USB files & folders just isn't implemented in the M32 Mix app. Any insight?

    Thanks in advance!
    Andrew
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  • AndreasBryntess
    Contributor - Level 2
    2014-11-23
    voicelive 3: processing pre-recorded vocals... | DJ and Production

    i currently have the voicelive 2 and i'm considering upgrading to the voicelive 3...

    one feature that i find very useful with the vl2 is to be able to process pre-recorded vocals.

    i usually let the vl2 create harmonies this way and then i copy those harmonies with my own voice.

    is this still possible with the voicelive 3?

    if so, how?

    it would be really awesome if you (craig) made a video, showing how this is done and if there are different ways to do it?

    a suggestion for the next episode of craigs corner?



    and another question i'd like to add...

    my current setup: i'm running my vl2 through an acoustic guitar, using only reverb and harmonies and i have the tone button activated.

    i have recently bought 2 other pedals to add to my setup and i was wondering about the best way to use them with the vl2 and the vl3 (might be exactly the same way, but i'm not sure).

    it's the fishman aura spectrum and the zoom a3.



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    • AndreasBryntess
      CraigFraser
      Hi Andreas,



      Outside of SPDIF not being present on VL3, you'd set up a post processed recording in exactly the same way you do with your VL2.



      If you run the Aura/Zoom, I'd probably run the Aura before going into the VL2 and the Zoom afterwards. Basically, you don't want distorted/overdiven or otherwise effected so the chords are obscured, going into the chord detector.



      Putting the Aura first allows you to have the "tone" you want feed into VL2's reverb. It's a bit sub optimal for signal chain with the Zoom, since you'd want effects from it to be "in the same space" but following the above, you don't want obscured chords going into the detector.



      You could experiment with running both after the VL2 as well.



      Cheers,

      Craig
      • November 24, 2014
    • AndreasBryntess
      AndreasBryntess
      hi craig.



      "Outside of SPDIF not being present on VL3, you'd set up a post processed recording in exactly the same way you do with your VL2."



      i´ve never used spdif at all (tried, failed and moved on), so i don´t consider that as a problem.



      i´m pretty sure i´ve done all of my post processing using usb and i guess that won´t be possible anymore, if i upgrade to the vl3, since usb doesn´t have the same function as in the vl2.



      so, that´s why i´m wondering about how this is done with the vl3, since i haven´t done it without usb before.







      about the aura/zoom, i was thinking pretty much the same as you, but i thought i might as well ask about it, since i guess i´m not the only one with that or a similar setup and it´s nice to get confirmation that i´m thinking about it correctly.



      actually i´ve tried it with the aura after the vl2 and it didn´t sound any good (only tried it for a short time though), so i unplugged it and tried the zoom instead (still after the vl2) and it sounded much better.



      i still haven´t tried placing the aura before the vl2, but i´m going to try it asap.



      thanx for the input
      • November 24, 2014
    • AndreasBryntess
      jefftronics I used the VL3 to create new pitch corrected vocal tracks and harmonies in the DAW. The Guitar ¼ & Vocal XLR outputs suited me just fine.



      Much of this is from memory so please jump in with any corrections or alternative suggestions.



      I’ll preface there’s a lot you can do. In my case I decided to create a new pitch corrected lead vocal track, then do another pass to create stereo harmony tracks, from the pitch corrected one. The results were well worth it and this is also a great way to turn knobs on the VL3 and sample different settings.



      Creating a new lead pitch corrected vocal track:

      DAW Guitar Out, to VL3 Guitar In

      DAW Vocal Out, to VL3 Vocal In

      VL3 Vocals out (Mono), to DAW new vocal track input.



      Before hitting record in the DAW, monitor how it sounds using headphones from the VL3. The Natural Play is automatically applied because of the Guitar input.



      For Vocal & Guitar preset settings, depending on what preset you’re in, you want to make sure any harmony and effects levels are turn down/off. You do not want to introduce any harmonies or effects. Only have the natural recorded sound.



      For Vocal Tone, decide whether you want to adjust any of the Tone settings in the Setup menu. Turn off the Gate. My preference is to retain as much as the original tonal qualities from the original vocal track, but have Pitch correction on the new one. However, the Tone>Compression in VL3 could be beneficial; otherwise turn it off and you can apply compression to the new recorded track, in the DAW. My point is you have more flexibility in the DAW for tone settings, then if you record with the tone settings on in VL3. Although, I do think the tone settings in VL3 are very good to save you some work, too, if you like what you hear.



      Creating Harmony tracks:

      DAW Guitar Out, to VL3 Guitar In

      DAW NEW PITCHED CORRECTED Vocal Out, to VL3 Vocal In

      VL3 Vocals Out (Stereo), to 2 ea. DAW new tracks, input. You’ll find the vocal harmony presets have plenty of settings to pan the vocals and can be incredibly rich.



      The Harmony presets are flexible and in some cases you many choose to change the Mode from NATPLAY to Scale where you can really dial in correction for the Key signature of the song. I found VL3 to be smart especially when I chose to use a relative minor scale for a song in major key signature. The difference being, it changed my vocals by a 3rd , which was appropriate for the song.



      I was working on project that took several weeks to create Harmonies for 8 songs. I created presets for each song by the song name. This made it easy to pick-up from where I left off.



      I do recall too there were some minor input/output ‘gain’ issues to contend with. But these are adjustable in both the DAW (output), and in the VL3.



      I had another supplemental posting because I also 1st purchased a VL2.



      http://support.tc-helicon.com/entries/42035476-VoiceLive-3-Natural-Play-and-Recording-new-vocal-tracks-in-DAW-







      Jeff
      • November 25, 2014
    • AndreasBryntess
      AndreasBryntess
      thanx a lot for helping out, jeff



      i should be able to follow that guide



      i´m probably going to upgrade from my vl2 and get myself a vl3 this saturday



      when i finally get it, you guys can probably expect a lot more activity from me, in this forum
      • November 26, 2014
    • AndreasBryntess
      jefftronics
      Hey Anthony,



      I also have a Zoom, G5. I like it, it’s fun, but I don’t use it that much because of the redundancy with patches and I purchased it on impulse and find myself overwhelmed by everything. However, because it has some patches not found in the VL3 and the G5 also has built in Rhythm & Tempo with its Looper, I’ve become a little creative with the setup.



      Instead of putting the G5 in front or back or the VL3, I use a Y cable from my Guitar. The other end is: one out to the VL3 and the other to the G5.



      Both the VL3 and G5 are stereo out to the Mixer. This gives me the best of both worlds and I get to use the G5’s rhythms and tempos. I also get stereo on the patches.



      I don’t use Loopers that much right now. But when I do, with this parallel setup I put a Boss RC3 at the very end - after the mixer, and sometimes record to it using the Rhythm from the G5 and Patches from the VL3. Essentially treating the RC3 like a recording device. I do not use the RC3’s built in tempos. The Boss records high quality stereo In/Out and has plenty of recording time.



      I send the Boss Stereo Outs, to my monitors. I can create some great loops or have fun with the G5 Rhythms, and the recordings can be retrieved easily from the BOSS via USB to the computer. No Software needed.



      Aside from this setup most of the time I plug n play only through the VL3 to keep things simple because at the end of the day I love the simple sound of an electric or acoustic guitar and the harmony presets.





      Jeff
      • November 27, 2014
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  • TommyMorgan
    Contributor - Level 1
    2016-06-02
    Digital snake for Analog mixer | Hospitality
    Is it possible to connect 2 - ADA8200's or 2 - P16I's to create a digital snake that can be used with a analog mixer?
    If not is there any low cost solution to this?
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    • TommyMorgan
      FlorianGerstenl There are some possibilities:



      1. Use some ADA8200 or similar and an ADAT extender with gain remote.

      http://appsys.ch/en/products

      This is available up to 32ch on one ethernet cable or 64 channels on two cables.



      2. Use two Behringer S16 and a ADA8000 for the channel 9-16 outputs.

      Supports also gain remote, but only 16 channels.
      • June 3, 2016
    • TommyMorgan
      TommyMorgan If I can use 2 Behringer S16's connected with cat5 would I still need a ADA8200?

      Can I input on Channel 1 of S16-#1 and output on Channel 1 of S16-#2?
      • June 3, 2016
    • TommyMorgan
      Paul_Vannatto Hi Tommy,



      Welcome to the forum. The reason Florian suggested an ADA8200 is that the S16 is a 16 in / 8 out stagebox. It does have a standalone mode that could be used to be a standalone digital snake , as you are desiring. But in order to have 16 in on one end and 16 out on the other, you will need to supplement the second S16 with a set of 8 outputs (eg. ADA8200).



      The problem I see is that the cost of such a setup would be basically the same as using an X32 Rack and an S16 and changing over to a digital setup (replacing the analog desk). My setup is a dual X32 Rack setup which replaced my A&H GL2400. This was one of the best decisions I've made. The beauty of the X32 Rack is that it can be used as the desk and stagebox and can be controlled wirelessly using a tablet (iPad or android) or laptop - meaning no snake to tether you (I love the freedom).
      • June 3, 2016
    • TommyMorgan
      FlorianGerstenl

      Paul Vannatto;77915 wrote:

      The problem I see is that the cost of such a setup would be basically the same as using an X32 Rack and an S16 and changing over to a digital setup (replacing the analog desk). My setup is a dual X32 Rack setup which replaced my A&H GL2400.


      I replaced my GL2400 by a X32 Compact. Depending on what you're doing, real faders may be better. Then you can replace the S16 on stage also by a X32 rack to have a spare / monitor mixer.

      I have two S16 and a X32 core in the stage rack. So one part can always fail and I still can mix 32 channels (but then only via tablet)
      • June 3, 2016
  • JR_37657
    Contributor - Level 2
    2015-08-20
    Compression on vocals | DJ and Production
    I'm looking for advice on using a constant compression on vocals. Is there anyone who uses this extensively with some expertise? I'd like to use it for consistent pick up on my mic which is really sensitive (e945). Thank you for your help in advance
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    • JR_37657
      MikeLevine
      Joseph,



      The dilemma of your request is that applying consistent compression is not possible. When the venue or room changes so does the way dynamic range is perceived by the listener. A very simply analogy: Listen to something in headphones, listen to it via speakers. What differences do you perceive?



      What is it that you want to accomplish?

      Does this apply to live, recording or both kinds of environments.
      • August 21, 2015
    • JR_37657
      MikeLevine
      Follow-up: your own voice has different dynamic range, day-to-day, hour-to-hour and depending on what you're doing with it.
      • August 21, 2015
    • JR_37657
      JR_37657
      Hi Mike,



      I want to accomplish a more consistent vocal volume in a live venue. For example, a compression on a guitar at its most basic can bring up the quiet notes while toning down the overly loud ones giving the volume a more consistent level. I was hoping for the ability to provide some slight volume dynamics while smoothing out the fussiness of my Sennheiser e945.
      • August 23, 2015
    • JR_37657
      CarstenBürgel
      And what are you using? VL3?



      If you are using a compressor, you too should use a gate, that cuts the quiet parts.

      Otherwise you will have heavy feedback.
      • August 23, 2015
    • JR_37657
      MikeLevine
      Hi Joseph,



      It seems you understand generally how the Compression effect works (to bring up the quieter notes and tone down the loud ones). That's an important understanding. The second part to using Compression (and EQ & Gate - as like Carsten - I conceive them as related settings) is to think like a tailor. No matter what your assumptions are or what you're told, you have to start with a reference point (the tailor's is his/her measuring tape).



      With compression, every gig, every night, every venue, I start setting up with:



      Compression off

      Set all EQ flat (on the PA and in the VL3) with no vocal effects on.

      Set Gate Off

      Set the PA house and monitor volumes to 1/2 of what I normally have





      Then and only then do I feel ready to apply Gate, Tone, Compression and EQ to the vocals. On the VL3 platform press the Vocal setup button and scroll to Tone tab section.



      I normally set Tone, adaptive EQ and Warmth on before applying any compression. Depending on the venue I may need to do the EQ manually.

      Test (two ways) headphone monitor, then PA monitor, then with the House (using ears)

      I use adaptive Compression, because of the types of songs I do, some soft some very very loud (vocally) and I shoot for an automated method of using compression. Only once in the last year did I need to go in and manually adjust threshold. I had a cold which affected my midrange and high notes.

      Some people still actually use a Spectrum Analyzer to help with setting up Compression.





      The important take-away is that there is no "best recipe" for any one mic and any one voice. The way I do it only makes sense within my context of performing, voice that day, and equipment used. I do encourage everyone to experiment and not think in terms of "set-it-once-and-forget-it" because you results will be less than stellar.



      Also, check out the VoiceCouncil. There are real professionals that contribute comments that you may find helpful.



      Good luck.



      Mike
      • August 24, 2015
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  • JonShearer
    Contributor - Level 1
    2017-06-14
    Personal Monitoring Options | Streaming and Podcasting
    I'm looking for some input on possible options for implementing personal, in-ear monitoring for a church praise band. Like most churches these days, we are very budget conscious out of necessity. Our performance venue is a basement gathering hall, so it is a very live environment that could really benefit by getting rid of our current floor wedges. I've done a lot of searching and reading on the forum, and a lot of the threads on this topic were a couple years old and didn't quite address what I have in mind.

    We are using an X32 Producer linked via AES50 to an S16. The band members are fairly tech savvy and capable of using the X32Q app, so I'd really like to take advantage of that functionality to avoid the cost and size of the P16-M. The ideal solution would be something in the form factor (and cost range) of the PM1 that's capable of drawing signal and power from a P16-D, and I can see from the forum that I'm not the first person to suggest this capability.

    Since that capability doesn't exist, my next best option appears to be using a headphone amplifier like an HA8000 with PM1s. I think this is more affordable and has less stage clutter than using P1s. The next problem then becomes a need to increase my outputs, as I won't have enough leftover XLR outs on my current S16 to accommodate individual monitor mixes for everyone. I could add an SD8, but then the costs are starting to add up. One option I'm looking at is if I can use an ADA8000 instead and run the monitor mixes to it via ADAT. I'm assuming in that scenario I'd still need the HA8000, because it doesn't look like the ADA8000 has any amplification capability.

    Does anyone have any advice they can offer on this situation or any of the scenarios I'm considering?

    Thanks!
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  • DennisDubeau
    Regular Contributor - Level 1
    2018-09-11
    Boss is going copycat | DJ and Production
    Boss has a new processor that tries (keyword) to emulate voicelive 3.. Their problem is it doesn't even come CLOSE... If you think programming voicelive is not easy, try with boss.. you will find Voicelive a BREEZE!!! lol
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    • DennisDubeau
      BenPearce I'm not finding a Boss TRIES processor. Is that the model name?
      • September 13, 2018
    • DennisDubeau
      EdSaxman



      Boss VE-500 Vocal Performer

      https://www.boss.info/global/products/ve-500/



      It comes with an editor, and it offers Boss/Roland reliability and worldwide technical support.



      Small footprint, external MIDI control, no cheesy guitar FX included...



      Seems like a winner to me.
      • September 14, 2018
    • DennisDubeau
      DennisDubeau

      Ben Pearce;152134 wrote:

      I'm not finding a Boss TRIES processor. Is that the model name?




      ...sorry. damn corrector acting.. i did the corrections...
      • September 15, 2018
    • DennisDubeau
      DennisDubeau

      Ed Saxman;152198 wrote:






      Boss VE-500 Vocal Performer

      https://www.boss.info/global/products/ve-500/



      It comes with an editor, and it offers Boss/Roland reliability and worldwide technical support.



      Small footprint, external MIDI control, no cheesy guitar FX included...



      Seems like a winner to me.




      Where's the guitar processing? how about backing tracks? You think that voicelive sounds cheezy, guitar-wise? Do you ACTUALLY OWN one? Ever tried to program a boss unit? Right, carry a laptop with it... you will NEED one BADLY...
      • September 15, 2018
    • DennisDubeau
      EdSaxman

      Dennis Dubeau;152209 wrote:

      Where's the guitar processing? how about backing tracks? You think that voicelive sounds cheezy, guitar-wise? Do you ACTUALLY OWN one? Ever tried to program a boss unit? Right, carry a laptop with it... you will NEED one BADLY...




      I've said "no guitar processing included", please read again.



      Yes, I have had a VL3 Extreme for more than a year, but sold it, bored and dissapointed, and bought a Line 6 Helix Floor instead, that is light years ahead in both guitar/FX/ampsims sound quality and interface-wise.



      I'm not really interested in "voice processors" anymore, becouse my main instrument is the saxophone, so I don't really need those specific vocal treatments (Pitch Correct, etc)



      The Helix actually exceeds every expectation I have had by a mile, including awesome MIDI controller functions (plus Snapshots) when I play my EWI.



      Of course, no backing tracks included on the Helix, but hey, you still can connect a IOS device using the USB-Thunderbolt adapter, so....



      By the way, the VL3X was a nightmare to program without a editor.... and the same with it (third party, btw).

      Still better than most Boss products, I have to admit that, but still far, far away from the Helix interface (best of industry, IMO).
      • September 16, 2018
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