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BucF16 last won the day on June 15 2022

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  1. Thanks for the quick reply. I think I ran all the stuff on that thread and I'm still in the same boat. I'll try a support ticket.
  2. I have deauthorized the old computer and authorized the new one but when I tried to use Helix Native I get a "Failed to connect to DSP engine. (Device has not been inntialized properly. [code -8201])" warning banner in a blacked out Helix Native window. I tried reinstalling Helix Native and restarting, then I was able to get into Helix Native and log into my L6 account from within the Native window. However, Helix Native told me I had too many devices authorized (which I don't). I tried deleting and reauthorizing but now it's even worse. When I open a project in Logic that uses Native I get a warning that there's a plug-in that is destabilizing Logic, and Helix only opens in a tiny little window that looks nothing like Native. Any ideas?
  3. From a 2015 iMac to a new Mac Studio. Can't even find Helix Native on the new computer. What is the approved solution for reinstalling/updating a previously authorized license on the new computer?
  4. Looking for some clarification on how much DT control you will get from 2.80. Will it be just front panel stuff or will we be able to control the preamp/reverb/cabinet/Other settings inside the amp that are currently only controllable via user created apps.
  5. I have 2 DT50 2x12's. I bought a Helix last year and quickly decided that was the way I wanted to go so I put my DT50's up for sale and a good price. After a couple of weeks on craigslist here in Phoenix (not a small market) I basically got no offers. So I decided to keep them just in case someone else using my studio needed them. Jump forward to the last couple of weeks: I've been loaning my studio out to band working tunes for their next CD. They tell me they're flying in their producer for the sessions. I think nothing of it until I meet the guy. Steve Berlin, grammy winning musician and producer, most famous for his work with Los Lobos. Also, some clips of the band I'm working with to establish some legit: Well, in summary, by the end of two marathon day sessions, we had 9 demos in the can, my beer fridge and Keurig are empty, and all of those guys are in love with my DT50's. I will admit that the tones I've typically used on them were usually higher gain (and lower volume!) than these guys typically use. They did a lot of CRANKED fender tones (gain dimed, volume and master vol at around 50%), not something I usually do, but it sounded great for their stuff. These are guys Fender gives amps to for free. I've seen them use Dr Z's and handmade customs on stage. But I heard many unsolicited "wow's" and "this thing has balls" comments during the day. To top it off, Steve Berlin questioned me on them at the end of the sessions because he wants to pick one up for himself. So, if you're listening Line6, call Steve and send him a DT50 2x12 if you have any left!
  6. duplicates the signal at the line input jack Take that sentence as literal as you can and that's what it means. Crank the speaker as loud or as quiet as you want. If you already have one one you should easily be able to test this by running the L2 to zero and checking that you still have signal going to the output.
  7. I've had very similar problems. Some observations and some work arounds (if your problem was the same as mine). 1. I think it's more common with the corner inputs, 1, 6, 7 and 12. Can't back that up, just my observation. 2. I think it has nothing to do with trim tracking. 3. When the input level on a channel drops, it can be brought back by taking manual control of the trim on that channel and boosting it. It seems to jump through some kind of barrier and a small trim increase can result in a sudden jump of input from the channel. You should then be back to normal operation at least for a while. 4. When the input level drops, it is frequently accompanied by a low level kind of white noise. If it sounds like a gentle wind is blowing across an open microphone or maybe like you've blown a speaker, it could be an input drop issue that you need to find. 5. If you have a soundman who's on the ball, he can generally completely nullify this problem by carefully watching the input levels of the troublesome channels, listening for white noise between songs or quiet parts, and "goosing" the trim of channels that are giving you problems. 6. I sent my M20D back to Line 6 twice. It seems to be working good now but the second time I think they replaced the entire inside of the device. The first time was right at the end of the warranty and the second time was about six months later. They did not charge me for either. 7. I think the guys who found that this is a physical grounding issue are right on. If you can, I would send it back to the manufacturer for service. My experience with "authorized service providers" is that they have very little idea what they're dealing with. For something as rare as an M20D, I think you have a low probability of success for problem like this with your local electronics dude talking long distance on the phone with Line6. Just send it to Line6. 8. Monitoring this board I've seemed to notice that service in the US is better than Europe/Canada. I live in Arizona, less than days drive from the Mothership. They've always been outstanding on the phone and haven't hesitated to take something back for service. However, it seems like some of the European dudes have ended up with much longer wait times and issues between retailer, manufacturer and service where no one wants to take responsibility. I've been a LONG TIME line6 user and love their products. I absolutely love my M20D in concept and when it's working correctly. However It has been the most unreliable piece of gear I've ever bought from them. I'm praying that they keep in the game with this mixer or some next version that comes along. They really need to be making a 24/6 version to be serious in the market. It seems like most of the places I've played in the last year, Presonus has really locked up a lot of that market.
  8. You can still manually put it back to PA/Reference mode when it's on it's side. If you're just running your guitar through it, I'd use PA/Ref. However a lot of times I'm using it as a monitor for the band with my guitar mixed in, then I usually use monitor. YMMV. Again, I've found that where the tweeter is pointing relative to your ear makes the biggest difference at band volume.
  9. I had some growing pains with my band and setting up the PA but at the time we were working pretty consistently and it only took a couple of gigs to get the boys trained up.
  10. I did a side by side comparison of the speakers in different configurations and compared with a QSCK12 before I really started tweaking so I couldn't really tell you. I really liked the QSC BTW but I only have one of them and we're typically using it as the drum monitor. The L2's are good speakers, but the K12's bigger speaker and more power are better suited to the drummers monitor.
  11. As a guitar player using the L2's more and more as FRFR for electric guitar I DO NOT like them vertical. You really need to be careful about the horn's position relative to your ears. Maybe if they're on stands you can get them high enough to get a lot of the 10" speaker to your ear, but if not, you will get way to much high end. I use them in PA/Ref mode sideways (horizontal) all the time and like it better that way. Plus it looks a little more natural on stage that way. Vertical on the floor sounds awful BTW.
  12. I have 2 2x12 DT50's. Other than getting them re-tubed after a couple years, they've been flawless. They've been gigged with extensively
  13. 60w Solid State isn't very loud. Real question of how good your PA is. If your PA is solid then you shouldn't need a lot. I use L2's on their sides pointed back like monitors and they're plenty loud for monitoring (they only have a 10 inch driver but they're great). I've used the QSC K12 and it's an awesome speaker too. Both of those options are pretty pricey though. If you need more stage volume to reinforce your PA then I'd go with a more traditional cabinet or amplifier. That IS NOT a FRFR most likely. If you're using a true FRFR, it will have a horn tweeter. Lately I've found placement of the horn relative to your ear at high volumes is VERY sensitive. So, I DO NOT place either the K12 or the L2's vertically when using them as guitar speakers. The tweeters disperse sound in a vertically biased pattern, and the driver is more directional. Therefor you end up with the low end driver sound passing under your belt without being heard and your ear getting nothing but tweeter...and it sounds like crap.
  14. I will add that since I've been using the L2's for guitar speakers I think they sound better in PA/Reference but with the speaker on it's side. With the speaker vertical and with the horns dispersion pattern, I get way too much of the high end to my ear. With the speaker horizontal it sounds much better. This is really only an issue on stage with the band and the volume up. Playing at home at more civil volumes I don't really notice a huge difference.
  15. BucF16

    Helix or HD500X

    HD500 user here. Had a Helix since December. If the money isn't a deal breaker, Helix is hands-down better sounding and easier to use. Not even close.
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