silverhead

Firehawk is not able to pitch shift individual strings. You could use a pitch-shift FX to tune your whole guitar down a full step, but not just the 6th string.

I too believe that $$ makes most if not all business decisions*. In this case I think the $$-based business decision would dictate that the fans be replaced in the manufacturing process as soon as the defect was recognized and a solution found. I can't imagine it's cheaper to continue to release units known to be defective and repair them all (most? some?) later. The intangibles of customer satisfaction and corporate reputation are somehow also factored in I expect. So I believe current/recent units do not have this problem, but I don't know that for a fact. * in fact, a corporation's mandate is to increase shareholder value. Directors of the corporation can be held personally liable if they make contrary decisions (at least in Canada).

1. You can adjust the playback level of the recorded Loop. Select the Looper block and adjust as desired. 2. No. You can overdub on top of the recorded Loop but there is no independent playback control.

Perhaps the retailer you got it from has another more recent one in stock for replacement? Worth a try. Bring whatever equipment you need to test the replacement on the spot.

You can increase the level of the Output block in your signal chain. That only affects the specific preset.

Open a support ticket. Line 6 will help you sort out the registration. http://line6.com/support/tickets/add.html

First thing I would do is test with different headphones. The POD might be fine.

There's another potential explanation: your Model knob may not be engaging properly when you depress it. Check to see that the base of the knob is not touching the guitar body during depression. This can prevent the knob shaft from going deep enough to engage the underlying switch. If this is happening, gently pry the knob off the shaft, place a small wad of paper in the hollow of the knob, and replace it carefully on the shaft. This will raise the knob on the shaft so that it depresses fully.

The symptoms suggest that your battery is not, in fact, charged. Perhaps the battery itself, or the charger, is faulty. Do you have an alternate battery/charger, or are you near a Line 6 retailer where you could take the guitar to test? Also. make sure you are using the official Line 6 battery and charger. Apparently substitutes won't work.

Hmmm... let's see. A guy with 45 posts, many of which are offensive in some way as reflected by his -14 reputation points, tells another guy with over 7K posts and more than 3K positive reputation points, that his advice is moronic. I know who my money's on!

That's pretty much how it is. Some guitars are simply louder than others. You will need to adjust the preset if you change guitars, or switch to a different preset that is already set up (normalized) for that specific guitar. The best way to adjust the preset would be to use the amp's Channel Volume setting which does not affect tone.

You're right that trim control is used to detect and set the level of an input signal into the mixer, and it is independent of the volume of the mains unless the room acoustics deliver the sonic reflections from the mains back off the walls and into the mics. If the bars you're playing in are very small this may be contributing to your problems. But I think the main problem is this: it's really important to set the trim input levels while you are performing at the levels that you will be performing at during the show. As I understand it you are now going through your sound check at relatively lower levels and that is when you are setting the trim levels. That means, for vocal levels in particular, that your singers are singing/speaking at lower levels than they are when they are really wailing during the show. If you set your auto-trim at that time then the mics will seem way too hot when the louder levels of the show kick in. When you use auto-trim you need to have your vocalists singing with the same intensity that they will perform with during the show. No mumbling little 'test 1... test2... test3...'. That's fine for checking that the mic is actually working but that's not a sound check. I suggest that for the sound check you select one of your louder songs and play it in its entirety as you will during the show. Have your sound guy apply the auto-trim feature at the loudest section of the song when all mics are being used. After setting the trim levels he can then capture a 20-second recording during the same song. You don't need to have the mains on when doing this - it can all be done using headphones in the M20d. When the song's done the band takes a break and the sound guy does any final level tweaking still using headphones during playback of the recording (no EQ or FX changes at this point - headphones sound different than the mains). Repeat until satisfied. You don't need to set trim levels for each mic one at a time. Just make sure all mics are being loaded at gig volumes. I don't use the L3s at small bar venues - just for bigger halls and larger assembly-type rooms.

Of all the good info from SiWatts69 I think the most important thing he said for your situation is this: "you MUST soundcheck at full pelt". Otherwise you are not actually checking your sound. You are checking some other sound and essentially wasting your time. It's almost certain that the Auto-trim Settings you generate during sound check are NOT the correct settings for your performance. That's most likely the reason for the feedback.

Glad to hear you're returning it. Sorry to hear you won't get another. Have your reasons for getting a Variax changed or are you just turned off by the bad experience? If the latter, buying from a more reputable retailer should get you what you still want.

Last time I checked none of my POD HD devices including the Bean appeared as a MIDI device in Reaper. I have my Bean packed away right now and won't have time to check this until the weekend. Perhaps someone else can be more definitive before then. .... but I'm about 99% sure the answer is still no.

Rather than trying to split USB1/2, try reassigning your mic output block to USB3/4. Then create two stereo tracks for recording in your DAW. Set the record inputs to USB1/2 on one track to record your guitar and set the inputs on the other track to USB3/4 to record the vocals. That way you can continue to use and record any stereo FX you want to assign for your guitar and vocals signal paths in Helix.

OK. That will work.

Yes - connect your monitors to the Helix outputs. No, headphones will not automatically cut out the monitors. I suspect you may be asking about this because you want to monitor using headphones while recording a vocal track and you don't want the backing tracks from the monitors to be picked up by the mic. You can arrange for this in Helix Global Settings -> Ins/Outs whenever you want to set up a recording session. Use the Volume Knob Controls and/or Headphones Monitor Settings. You can arrange for the monitors to go silent by zeroing the volume while still hearing whatever signal you select in the headphones.

Three reasons to use Helix as the audio interface: 1) The Xenyx is redundant - you don't need it. 2) Using Helix you can very conveniently record the dry signal and later re-amp it, also using Helix. 3) You avoid some D/A and A/D signal conversions meaning your recorded signal is higher quality.

I'll second cruisinon2's suggestion: leave your Xenyx mixer out of the configuration. Use Helix as the audio interface connected via USB. Connect your Boss drum machine to a pair of Helix FX Returns.

If they have the missing parts .... why were they missing? And what's your confidence level that they will actually send them now? If I were you I would ask them to keep the missing parts, return the guitar to them for a full refund and take my business elsewhere, never to return there.

Which cab frequencies? PA cabinets? Marshall-style speaker/cab? Fender? Mesa? ..... or maybe just your personal favourite, whatever that is? ;) :D (and don't forget about the mics and their placement too. They greatly affect the tone.)

Where did you buy it? It's certainly their fault. It should come equipped with the tremolo arm, the USB Workbench interface device and cables, as well as a battery. I would contact the seller asap and demand the missing pieces, or take/send it back for full refund and re-order elsewhere.

You might also be able to route your iPhone audio output directly to the Firehawk using its FX Loop. Place the FX Loop at the very end of the Firehawk signal chain and use adapters to connect the iPhone* headphone outputs to the stereo FX Returns. You may also have to use a dummy plug in the FX Sends to activate the Loop. * Not iPhone 7 since the standard headphone output has been replaced. But you could purchase the adapter separately. Thanks, Apple.

Yes, the setup is easy to do. As cruisinon2 says there will be tonal differences unless your IR block + FOH speaker exactly mimic your physical cab which is highly unlikely. I would focus on getting the FOH sound th best it can be for the audience and then EQ the signal for your amp/cab stage monitor. Presumably only you and the band will hear that.