Keeley Halo

Screenshots would be nice for use axe fx 2 owners :)
I was actually going to post about this very topic a couple of weeks back as I felt I nailed the tone but just didn’t have the delay.
 
HarrySound said:
Screenshots would be nice for use axe fx 2 owners :)
I was actually going to post about this very topic a couple of weeks back as I felt I nailed the tone but just didn’t have the delay.
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You should be able to view the settings in the preset with FracTool. 👍🏻
 
54321pj said:
Skimming through this really interesting thread, reaffirms a consistent bummer I always seem to have with the Axe FX delays in general.. I would like more or wish for more control over the volume / tone of each repeat…
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You already have complete control over both. Mix controls the volume and there's a parametric EQ for the tone.
 
FractalAudio said:
You already have complete control over both. Mix controls the volume and there's a parametric EQ for the tone.
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I was thinking more the control of the volume (and tone eq) with each repeat in relation to the repeat before it. As in, an example would be, If there are 3 repeats dialed in, I would like the first two to be almost the same volume as the original note played, but the third repeat to be much lower and have less fidelity. I know we have the Ten and Mega delays, but I only tend to use the tape delays with flutter and wow dialed and/or memory mind guy these days. I used to have an original EP-3 and I’m convinced this was how it sounded (or I had dialed in) you can really do the Neil Young thing this way too.
Thanks for looking over my reply tho 😊
 
54321pj said:
I was thinking more the control of the volume (and tone eq) with each repeat in relation to the repeat before it. As in, an example would be, If there are 3 repeats dialed in, I would like the first two to be almost the same volume as the original note played, but the third repeat to be much lower and have less fidelity. I know we have the Ten and Mega delays, but I only tend to use the tape delays with flutter and wow dialed and/or memory mind guy these days. I used to have an original EP-3 and I’m convinced this was how it sounded (or I had dialed in) you can really do the Neil Young thing this way too.
Thanks for looking over my reply tho 😊
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You’re describing the 10-Tap Delay block.
 
54321pj said:
I was thinking more the control of the volume (and tone eq) with each repeat in relation to the repeat before it. As in, an example would be, If there are 3 repeats dialed in, I would like the first two to be almost the same volume as the original note played, but the third repeat to be much lower and have less fidelity. I know we have the Ten and Mega delays, but I only tend to use the tape delays with flutter and wow dialed and/or memory mind guy these days. I used to have an original EP-3 and I’m convinced this was how it sounded (or I had dialed in) you can really do the Neil Young thing this way too.
Thanks for looking over my reply tho 😊
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You can't do this with any "conventional" delay. Use the 10-tap block to configure delays where the repeats do not follow an exponential decay. I highly doubt your EP-3 did this because it is a conventional feedback delay.
 
guitarnerdswe said:
EDIT: Thanks to all the users in this thread like @Burgs, @Blix, @AlbertA, @Jesse, @Bakerman etc, who gave me tips and ideas to improve this further.

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I actually did a deep dive into ATs delays a while back when he was using the Timeline, and found "the trick" that I can't recall seeing anyone do in their AT presets (forgive me if I missed it). For some reason, I never shared the info, but better late than never right?

The Halo mode of the Keeley Halo is basically the same thing as what he was doing with his Timeline: 2 stereo delays in series, and each delay has the same times for left and right. One has the dotted eight on both sides, and the other has a quarter note on both sides. So they're essentially mono delays at this point (even though they are hard panned stereo delays).

So "mono", UNTIL: You introduce modulation. You can hear this in the official Keeley video for the Halo. As soon as they remove the modulation, the delays "collapse" to mono. Same thing happens on the Timeline. The modulation is different for left and right (LFO phase offset), and that's what makes it stereo and spreads it out. The phase of the quarter note is also inverted, for some reason. It actually does nothing for the stereo spread. Delay times are 360/480 ms. It uses a tilt EQ outside of the feedback loop, which is kind of unique. This means that the repeats don't degrade over time.

The only way to do it on the Axe-Fx, is with 2 stereo delays, plus a filter block. The dual delay type, quad delay variants etc, don't have the necessary architecture and signal flow to make this happen.

I used the clips from @Scented Meat Halo pedal as a reference (I hope it's ok?). First Halo, then Axe-Fx.



I've attached the preset below, which is just the factory Cliffs of Dover preset but with the Halo delay setup added. Feel free to lower the level of the delays, since they're quite high in the mix.
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I threw this into my Marco Fanton Dizzy VH4 preset and ive been liking it alot especially for leads
 
guitarnerdswe said:
The high pass filter might be in the loop, but the big bass boost and high frequency attenuation is not (the tilt EQ you mentioned).
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First, thank you and everyone else here for your incredibly helpful posts. This has been very educational. Re-reading this today after giving everything a second read so I could absorb it. This caught my eye. We know the pedal has a high pass filter and you mention a bass boost. What about putting a shelving PEQ before the delays with a relatively high Q?

Screenshot 2022-07-17 195012.png
 
Jesse said:
First, thank you and everyone else here for your incredibly helpful posts. This has been very educational. Re-reading this today after giving everything a second read so I could absorb it. This caught my eye. We know the pedal has a high pass filter and you mention a bass boost. What about putting a shelving PEQ before the delays with a relatively high Q?

View attachment 105117
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The filter block in the preset is doing the tilt EQ thingy. PEQ is not really necessary. I used the EQ in the delay blocks for the high passing. If you look at the manual for the Halo, the high pass is barely active, so that's why it's set so low.

Assuming a linear range (which would give the highest frequency cut off in the lower ranges of knob settings), and that the manual is correct, the Halo preset on the pedal would have a high pass of approx 12-13 Hz. Just barely making sure the sub bass isn't getting out of hand as the repeats go on. But TBH, the difference is quite negligible. So it might as well not be there for that preset.
 
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