talwilkins

It's funny because I have the exact oposite experience. I was using tube amps before, ending with the DT25. I absolutely loved the tone but wasn't quite satisfied with how it sat in the mix and filled the room. In recordings at the rehearsals using a Zoom in the middle of the room the DT was barely audible. Also the other musicians often complained that they couldn't hear me. Now I switched to a FireHawh 1500 and WOW!!! This beast filled the room like nothing I tried before. Everyone is happy now and the recordings are fantastic. The definition of my tone is much more detailed.

I started using my DT25. I loved the tone and feel but it lacked clarity and didn't cut through the mix very well. Went for a Firehawk 1500 and was blown away. It;s amazing with Helix. Cuts through like butter. I have no problems with noise and I play pretty loud. Actually the DT25 did make a lot of noise. I've never had such good tone and I've never had such a quite setup. I am also thinking of getting the Floorboard for the Firehawk as a backup but since I probably will never use it (I hope) I guess I'll use my HD500X as backup. Not sure yet.

I also have one of the first Helix (in Holland anyways). I have never heard any click. Wonder what you guys are hearing, sounds a bit off.

I used a DT-25 at first and was very satisfied. Now I am using the Firehawk 1500 and I can tell you it blows the DT out of the water! The tone I'm getting now is totally awesome and cuts through the mix like nothing I have experienced before. Volume is no issue, this thig can be LOUD! But it can be quiet as well still sounding great. Do yourself a favour and go FRFR and if you have the funds look at Firehawk 1500

I have to say, I am absolutely overwhelmed by the Helix in combinatination with Firehawk 1500! At first I used my DT-25 and was very happy with the sound but had trouble cutting through the mix in the recordings made at rehearsals with a Zoom. I had trouble with my Variax 89F again and was about to get my 3rd new one and decided to trade for a Firehawk 1500 (had the same price). Bax music shop agreed. The sound I'm getting from this setup is really increadable! It's really very transparent and cuts through the mix unlike anything I've tried before. Now, looking back at the sound from DT-25 it was pretty smudgy actually, although I was very satisfied at the time. So, if you're thinking about Firehawk or another FRFR, don't hesitate. It really is the way to go with Helix and probably any modeler. Anyways, that what I think.

Yes, this is irritating. I found I could rename by just using the space bar. After that I can rename to whatever I want. That's my workaround.

You wouldn't need to mic the Firehawk. Just go directly to FOH. The Helix will have a mic sim anyways.

Fantastic! You really are incredibly talented. Thanks for sharing!

Take a look at the Firehawk 1500. Great FRFR and also usable as stand alone guitar amp (backup if Helix fails). You can place it at an angle in front of you as a monitor on stage and use it as a traditional amp in the practice room. It's also stereo and can do wet-dry-wet.

Anyone? What speakers are used when going into the Monitor Ins from Helix for example? Is this different when going into the effects return?

I read the tweater would not be used and wonder if this is true and why.

Are you sure about this? It seems very strange to me. Isn't that what an amplifier is supposed to do? Make the signal louder? Now you're saying the amplifier shouldn't amplify the signal?????????? Please elaborate!

This is all kinds of ****ed up :wacko: Love it!

That's a bummer. I wish I could help you further. Ther might be more fuses in the amp but that would mean opening it up and that is not without risks to your health.

http://www.digimart.net/spcl/Line6_DT50gm/pic_DT50_panel_L.jpg It's the ronud structure next to the mains socket on the left side

I believe it was the fuse for the transformer next to the mains socket

Try looking at the fuses. I think I had the same issue some Years ago with my DT25. Turned out to be the fuse. Always have spares with me since. Of course it never happened again!

I had some other issues with a 89F and they gave me a new guitar. Unfortunately that one had The clang issue. I made a ticket with Line6 and after a few questions from them they offerde to send me yet a new one which they would test themselves before sending it to my retailer. I thought that was pretty cool! I'm waiting now for the call from my retailer.

What versions do you see at the beta area?

I've been following these threads about headphones and impedance for years now, starting with HD500. For some reason I always had fairly good results with my Sennheiser HD 201 cans for € 20,- with the HD and even much better with the Helix. With The HD I did have some troubles now and then but I've never been convinced it was because of the headphones. Of course when I go loud through my DT-25 it's not exactly the same, that's impossible. But it still sounds pretty damned good and still in the same ballpark. Right now I can pretty much rely on the sound coming through my DT-25 st high volume will be great if it sounds great through the HD-201 cans.

Finally a serious attempt to answer the question asked, thank you! And an interesting answer as well. Do you have any idea how this even distribution of sound is achieved in a FRFF system?

To be fair, I don't think he's saying it shouldn't sound good at all. I think he's saying it shouldn't sound better as people are seeming to say it does. On top of that he explains why he doesn't understand why it would sound better and he's asking for an explanation. What's so wrong about that? Maybe it's me but I don't really read anything offending in his post except maybe his opinion that a real sound engineer would use EQ to compensate for the quirks of the studio's rooms, which is probably true. Why is everyone so offended by that? I still think he's asking a legit question.

There have been many musicians selling even more using non FRFF equipment so what's youre point here? Selling 75 million records doesn't really answer the question of why it's such a good idea whis is ultimately the OP's question (as I read his post anyway). And having a master's degree in mechanical engeneering doesn't mean you know anything about sound engineering.\ So the legitimate question, I think, is why is FRFF so much better when, as the OP stated, the frequencies of the guitar aren't there? What's the use of processing and ampifying non existing frequencies? It's a fair question that's been bugging me as well. I'm not saying FRFF is wrong, I just don't understand and would like to.

Yeah, I really can't understand the personal attacks either. There's no call for such a thing just because you don't agree. And it doesn't answer any questions you are raising. It's really sad the world is more and more like this. People just don't repsect ech other's point of view and thinik the solution is to bash the person in stead of trying to enlighten them, preferably keeping the option open that their own point of view may need an update. So we learn.

Actually I think the first reason you should be there is for the music and yes, of course the audiance needs a great experience. That means, IMHO, first of all the musicians need orgasmic sound and emmersive experience so they can perform at their absolute best. Then the soundguy needs to make it the best experience possible for the audience. So in the end both the musicians and the audience need to get the best sound possible.