There was the Line 6 Pod, then came the AMPLIFi, and today we’ve got the Firehawk F.X. The Firehawk F.X sits well between both as a tool that has the audio quality of the pro-grade POD HD500 but also the simplicity of use of the AMPLIFi using it’s iOS/Android established controllers.
With more than 200 amps and effects, this small flexible system can provide you with every audio you’ll need at home, reside, or from the studio. in our Line 6 Firehawk Reviews, Fidlar will show you complete details about this amp.
Table of Contents
Line 6 Firehawk FX Review
- Pedal Type: Multi-FX Pedalboard
- Analog/Digital: Digital
- Presets: 270+ HX and Legacy Models
- Effects Types: Helix Stomp Effects
- Amp Modeling: Helix/Legacy Amp and Cabinet Models
- Impulse Response: 3rd Party Impulse Response support
- Inputs: 1 x 1/4″ (instrument), 1 x 1/4″ (FX return)
- Outputs: 2 x 1/4″ (main out), 1 x 1/4″ (amp out), 1 x 1/4″ (FX send)
- USB: 1 x Type B (4 x 4)
- Headphones: 1 x 1/4″
- Other I/O: 1 x 1/4″ TRS (expression 2)
- Expression Control: Multi-function Expression Pedal
- Features: 4.3″ Color LCD, 24-bit/96kHz
- Software: POD Go Edit App
- Compatibility: Windows, Mac OS
- Power Source: 9V DC power supply (included)
- Fantastic value for the money.
- Extremely flexible – plenty of link choices.
- Unlimited presets.
- Time lag when changing presets.
- Dual DSP-powered HX modeling engine with four discrete stereo signal paths, 45 amps, 30 cabs, 16 mics and 70 effects Imports 3rd party 1024/2048 cab IR' (impulse responses) 12 capacitive-sensing footswitches and customizable scribble strips - touch to edit, hold to assign, press to engage Hands-free Pedal Edit mode lays out effect parameters across switches and expression pedal Near-instant footswitch and controller assignment Up to three expression pedals, CV/Expression o
Though the Firehawk F.X.’s entire impact processing capacity isn’t quite as strong as Line 6 POD HD500X, there are numerous excellent reasons to consider that the Firehawk F.X. beyond its slightly reduced cost.
The primary rationale is the Firehawk F.X. is a lot simpler to work with, both when generating new sounds and if performing on stage.
The Firehawk Remote program for iOS and Android apparatus is the big sport changer here, allowing users to program new sounds, handle presets, download new variations in your Line 6 Cloud, and perform many other tasks employing a smart mobile or tablet computer wirelessly linked to the Firehawk F.X. through Bluetooth.
The Firehawk is quite simple to work with life on stage, too, as a result of its own dedicated, amp-style controllers and color-coded LEDs enclosing the F.X. footswitches that change color to coincide with the sort of effect block delegated to every footswitch. This makes it effortless to tell at a glance what impacts are delegated where.
The design of the top panel is compact and self-explanatory. Along with the amp-style controllers and five F.X. footswitches, addition, it supplies a big, easy-to-read alphanumeric LCD, a Bluetooth pairing button, an oversize master volume knob, a set of the bank down and up footswitches, four preset footswitches, a tap tempo footswitch, and an expression pedal.
The back panel provides various connections, such as a 1/4-inch guitar input signal, expression pedal jack, stereo F.X. sends and return jacks using a stomp/line flat switch, stereo XLR and stereo 1/4-inch principal output with line/amp style change, 1/4-inch headphone jack, a Variax input, and USB port.
In average Line 6 style, the 200-plus models comprised almost all of the bases, including a vast array of amps from classic to contemporary high-gain and an impressive choice of distortion/overdrive, modulation reverb/delay, pitch, along with another stompbox along with studio effects. About 50 of those versions use Line 6 top-of-the-line H.D. processing.
The Line6 Firehawk is one of the very logically laid out and simple to utilize floor-mounted multi-effect processors I have ever employed.
Setting it up is as simple as plugging in a stompbox, and browsing via the 128 presets is a cinch because of the lender and preset footswitches.
The presets are professionally programmed, and many are created and named after well-known tunes so that you understand just what you’re getting when you pick one.
Some users might prefer to program effects straight in the front panel through Live Edit style (which also adds a loop). However, I discovered it more rewarding to edit using the Firehawk Remote Program using an iPad or a tablet computer.
The largest onboard LCDs can not compete with all the detail on an iPad’s display, making programming seems a pleasure rather than a chore.
The Firehawk guitar does not give the programmable thickness of Line 6 POD HDX products (by way of instance, its sign series routing alternatives are more restricted ).
However, there are more significant than sufficient flexibility and programming ability to fulfill the vast majority of guitarists on the market.
Beyond its utmost simplicity of usage, the Firehawk F.X. delivers when it comes to audio. The device works best when plugged directly into a mixing console and full-range audio system.
Still, also, it sounds reasonably good through a clean guitar amp with just a little tweaking of their unit’s upper panel controllers. The distortion is lively and organic sounding, and also, the many glaring high-gain tones are noise-free.
The Remote Program provides you with easy access to this massive set in a well-organized and organized way. There are 29 H.D. version amplifiers, each using its very own signature killer tones.
These, along with the rest 58 brilliantly simulated amps, have been categorized into sterile (9), American (35), British (28), and higher Profit (35).
A number of those amplifier models have built-in speakers. In those scenarios, the Remote Program automatically selects the suitable speaker cabinet, even though you can alter it at will.
If the guitar amps head (no cabinets), you can find 25 different versions to select from, ranging from 1×6 Super O (According to the Super S6616) to many 4×12 Marshall Stacks.
There are 28 different Reverb choices, 12 of which are H.D. They range from the standard to the out-of-the-ordinary. The principles include Hall, Spring, Plate, Echo, and additional commons names.
The eccentric includes ducking, an old broadcast expression for falling (or ducking) that the reverb signal while playing, then bringing it up between notes.
Then, Particle Verb, a Line 6 first, transforms chords into a lush modulating pad, or Octo, which makes a rich ambient space using rust.
Drives & Dynamics
The 13 H.D. distortion pedals pretty much protect the foundations of attainable fashions and musical tastes. Fuzz, Classic Distortion, Buzz Saw, Screamer are most typical, but I Love the Octave Fuzz. That’s based on the mythical Tycobrahe Octavia.
Under Drives and Dynamics, you will find nine other classic and contemporary distortion pedals to select from, along with four compressors, a Boost + E.Q., and an automobile Swell.
Probably my favorite part about the system is that the 23 varied modulation effects. Besides the traditional collection of Flangers, Choruses, and Tremolos, also, there is a range of unexpected special effects.
My favorites are both rotary drums, including a timeless Leslie 145 and Fender Vibrato. I’d not have guessed that these are a part of this bundle and that I certainly love them.
Especially hen linking to a stereo speaker program where you can enjoy the rotary effect. Significant variations of stand-alone Rotary Pedals retail for more than $300 independently, yet they’re included together with the Firehawk F.X. that sells for under $450 and includes everything else.
The Line 6 Firehawk FX includes 14 delays, ranging from moderate to the “wow, holy cow” Bubble Eko includes a sample and hold filter that requires a sweep, chops it up, and deliberately reassembles it.
Phaze Eko requires a tape delay and provides delays to the repeats. A number of the effects, precisely like the ones they mimic, can quickly escape hand based on preferences. However, with proper tweaking and creative playing, you can make some beautiful tones.
Filters, Synths, And Pitch
Perhaps the fascinating portion of this Firehawk F.X. would be the 23 Filters, Synths, and Pitch choices. This segment is where you will locate your fundamental Wah pedals (8 in total and an AutoWah) and several synthesizer effects, and a ring modulator.
These effects provide you access to alterations for low and higher pass filters, oscillators, wave contours, and much more. The sky is the limitation here,s these effects may seem as right as the creativity if you are prepared to tweak the parameters.
I suggest using headphones to frighten the family members and acquaintances though you pass through some eccentric and at times filthy noises as you hone in on this perfect tone.
A-Line 6 Engineer showed me that a brilliant way of producing an octave up, down, or harmonizing pitch change to get single note playing, which once again shows the incredible diversity of the pedal.
For good reasons, settings inside the Firehawk F.X. aren’t worldwide. This usually means that all parameters, such as Bass, Treble, Volume, Gain, etc., are saved with a particular tone.
Nevertheless, when it has to do with the volume pedal, it is somewhat counterintuitive to use its place when turning the device off. I’m accustomed to leaving my volume pedal at the up position when turning my rig off.
In this manner, I am not slammed with undesirable sound when compared to my guitar and initially turning it on. Regrettably, when turning to the Firehawk F.X. together with the volume pedal upward, it starts up in full volume.
It is just after you cycle down the pedal and back again the volume is muted. A-Line 6 engineer attempted to describe this to me personally.
Still, I did not quite understand the reason why they could not just make the down’ position full-size and upward’ no quantity, particularly when considering the default tone it boots up onto have the pedal programmed like that.
Another quantity issue is a cautionary warning. Should you fish tones from the Cloud, there is the possibility to pull down one which has the advantage and volume.
You might be sitting at a comfortable quantity with your present tone, to change it to a brand new one and be blasted in the next room having a rapid volume growth.
Know this beforehand, and if you are angling, keep the volume very low initially, or place your volume pedal upward. As soon as you’ve pulled the new tone, it is possible to tweak parameters to ensure it closely matches the remainder of your library’s volume configurations.
Much like the AMPLIFi TT, I found the tuning feature somewhat jittery, especially Line 6 POD HD500. I enjoy the fact that it reveals the Bluetooth device’s tuning and the LCD screen and volume LEDs (which switch from red to white).
The problem includes the rate at which it affects. The smallest works of the tuning keys onto the guitar trigger the screens to leap far-out flat or sharp.
I can not wrap my mind around why it moves so fast that way out besides the fact that they left the plus/minus tuning range overly narrow; it shows a massive change when you are only making minor alterations. The workaround would be to the song really, very gradually when you are close.
What’s more, there are many instances when it reveals a very different note on the LCD screen and phone/tablet. For Instance, If I retune out of a dip D to an E, Rather than watching an Eb or an E over the screen since I am moving up, I often watch G.G. Ie observed Ds.
Even if I dip pruning, mute the strings and pluck that series again, it occasionally displays a wrong note. I have asked Line 6 relating to this, and they were unaware of any difficulties.
However awkward that the Line 6 POD HD 500 computer applications are to utilize, it will provide a convenient interface that’s lacking with the Firehawk F.X.
There are occasions when I am sitting on the sofa watching T.V. and feel like fiddling with my programs. I am not one for having a tablet computer and genuinely don’t like employing an iPhone because it is about using pliers.
Instead, as is real with this POD HD 500, it’d be great to have the ability to link directly to my notebook, pull up a program, and have at it. It would be fantastic if Line 6 established a P.C. / Mac-based software program with this pedal.
Out of its strong Line 6 Firehawk Remote program to its color-coded F.X. footswitches and rational design, the Firehawk F.X. is all about ease of use, but luckily simple does not come at the cost of stellar, pro-quality sounds.
Last update on 2020-12-21 / Affiliate links / Images from Amazon Product Advertising API