ric1966

What interface are you using for your DAW? Are you plugging the Firehawk directly into USB, or using something else? Does your DAW have an adjustable channel strip level for the input? If so, maybe you could trim it back. If you are are using a separate interface, maybe it's looking for a microphone level signal and you are sending it a line level signal. I have this issue with mixing boards when we play live through someone else's PA. When I get a chance, I'll run mine directly into Studio One and see what I get.

I'm still waiting for my Firehawk HX! It would have the same basic layout, but with bugs fixed, a reduced number of core HX models (vs Helix) and an IR loader. A price point of $599 would probably entice me...

What is your technical basis for this? I routinely play in rehearsal with the white volume at 50% and the red at 75% into a JBL EON 612 via XLR with the master volume and signal gain maxed (switch on line level). My lead patch with channel volume at 100 sounds every bit as good as my Mesa tube rig... no clipping artifacts as far as I can tell. Maybe this setup would overdrive a DAW input, but it does not appear to overdrive my powered speaker.

Give this a try. Put the volume slider at 100 on your "go to" lead patch. Start with 50 on your "go to" rhythm patch. Set the red volume at about 75% and use the white volume to adjust overall level to your approximate gig/rehearsal volume. Adjust channel volume on all your other lead and rhythm patches to give you equal levels (judging by ear) to the other two. Tweak channel volume as needed while rehearsing with the band. After a few rehearsals you will converge on the right relative levels. Certain "mid-rangey" patches will cut through a mix better and require lower levels than others. My workhorse bank has a Twin Clean patch with channel volume at 44, a straight Plexi rhythm patch at 50, an overdriven Plexi rhythm patch at 50 (HD screamer output at 53) and an overdriven Plexi lead patch at 100. This is not exactly clinical but it works great for me!

I play my Firehawk FX through an EON 612 and my band's other guitarist plays his Helix Floor through an EON 610. We have been playing guitar together for years and our rehearsal/live sound has never been better! In a live situation we both run from from our Line 6 units into the powered speakers using mono XLR output and then feed the house from the speakers' XLR outs (pass thru). For the sound man, it's just like getting a hot microphone signal, only it requires no EQ! We have both tweaked the EQs on our EONs to sound as much like our JBL 515XT mains as possible, so all patches dialed in on the EONs sound almost identical through the mains. The EON Connect smart phone app is very useful for setting them up this way. Highly recommend EONs at the $350-400 price point.

On Firehawk, the HD amp models have deep editing parameters not available on the other "non-HD" amp models... master, sag, hum, bias and bias excursion. I find these very useful for emulating the "cranked up" tube amp sound at any volume.

Wow, as a long time Queensryche fan, you really nailed it! Both the playing and the tones. Nice work, Glenn!

Okay, even better. Let us know if the brand new one has the same issue.

Worth a try. Let us know if they are able to fix it!

That would be awesome...

Yes. I've always wanted to be able to assign amp gain to the pedal, but I have not been successful.

Don't know what that would do to the Firehawk. If there is a switch on the mixing board's channel strip, I would recommend turning phantom power off.

That's the only way I have experienced it. It seems to do this regardless of what patch is active when I engage the tuner.

This is a known issue across presets. Mine seems to lose gain in the original patch until I go to another and back again. Was hoping the latest update would fix this, but it apparently did not.

Not sure what effect you are going for, but I use two delays in line on my lead patches. The first is a Digital Delay set to 95 ms, which provides a cool doubling effect. The second is the Dynamic Delay HD set to 450 ms for a more traditional echo. To me this combo sounds amazing!

I have not noticed any change to my tones, but I hardly ever use the factory presets. Maybe you were experiencing "ear fatigue." I know things start sounding different to me after a few hours and may vary from day to day... and I don't usually practice at high volumes.

My first attempt at loading 1.30 did indeed fail, but it didn't render the unit unusable (display still read 1.20). I booted it in update mode and it installed perfectly the second time. I didn't have to do this last time, but it worked...

It did not wipe out my presets. All were present in the same slots as before.

Updated successfully! So far, I can't tell any difference.

I would recommend JBL EON 610 or 612. I have a 612 and the other guitarist in my band has a 610. We rehearse and gig with them in floor wedge position. Both are light and compact, have very flat response curves and are awesomely "crisp" sounding. In fact, we both had to use the EON's slick Bluetooth EQ app to roll off some highs in an attempt to get them to respond like our main PA speakers, which are JBL 515XTs. Now when I dial in tones on my 612, I can be reasonably assured that the audience will hear something very close. Note AMPLIFi FX100 is my backup modeler, and I use Firehawk FX as my main source. These speakers sound great with both of my modelers as well as my other guitarist's Helix Floor.

In band rehearsals, I usually run my red volume at about 2:00 and always run the white one at noon. The master on my JBL EON 612 is at full and its 1/4" input is at noon. I use the red volume or the pedal to tweak overall loudness in the room (all my patches map the pedal to volume) When playing live, I just connnect an XLR cable from the EON's pass-through to the mixing board. Works great!

All great points! In my case, I almost exclusively perform through the same FOH rig. So my solution was to make my FRFR monitor wedge sound as close as I could to the mains we use. Basically, I used the global EQ on my EON 612 to make it respond like a 515XT. The older, larger speaker (515) is not as flat as the newer EON, but I believe it better represents most of the FOH systems out there. I say this because I have tried my patches through other mains and they sound about the same, at least within my personal range of acceptability. I think a typical audience would be hard pressed to notice any difference.

I have an EON 612. No issues with Bluetooth; it has always worked as advertised. My band uses JBL 515XTs for the FOH tops, and we back their low EQ knob down to 10 o'clock since we also run subs. I took a few hours to get my basic patches sounding good on the 515s and then used the custom EQ on my 612 to get those same tweaked patches sounding close to how they sound on the 515s. Now when I build patches using my 612, I have reasonable assurance they will sound good out front through the mains.

+1 on the JBL EON 610! The other guitarist in my band uses one with Helix and it sounds amazing. Surprising how much bass response he gets with it in floor wedge position.

Well said, Dunedin! I would also add another advantage of modeler/FRFR, the ability to simulate a wide open tube power stage at low volume. I can get an amazing "amp in the room" tone with a simple tube preamp block into my Mesa rack 2:50 with two Mesa 1x12's. However, my band members and the small club soundmen never appreciate the high volume it requires to get the tones I like with that rig. With FRFR, I can get that unique "cranked up" sound at any volume, all day, any day! And it is distinctly different from a high gain patch at low volume. Preamp gain and distortion pedals can't quite replicate it the same way a modeler into FRFR can. My two cents, FWIW.