#Tc helicon remote microphone full
This channel might be used as an input from an MP3 player or similar, but with the right adaptor cable it could also be used as an extra mixer input for a modelling guitar preamp.īoth of the mic inputs can have phantom power applied by means of a global switch on the rear panel, which also houses the two mic/line inputs, a thru XLR for channel two, and a main output that can be switched to carry the full mix (including the aux input and any added effects) or the output of channel one only. The third channel is fed from a 3.5mm stereo mini-jack, and has a similar control layout, with the exception that the Vocal Tone EQ button is replaced by one marked Voice Cancel, which is a centre‑cancel option intended to reduce the vocal level in a backing track for sing‑along applications. You can select from the reverb types using the Style button and data knob, and the presets range from a small bright room, via a plate, to a large stadium. While this may seem extravagant for a stage monitor, remember that the FX150 can also be used as a mini PA, an acoustic guitar/mic amplifier or an extension to an existing system. Nine different reverb styles are on offer, with independently variable amounts for the two mic/line channels.
#Tc helicon remote microphone update
I mentioned the feedback issue to the TC design team and they are already looking into a firmware update to get around this problem. I found the Tone button robbed the sound of a lot of low end, presumably to compensate for the proximity effect of cardioid‑pattern mics used close to the mouth. In monitoring applications, adding any compression increases the risk of feedback, but if this becomes a problem it can be switched off, leaving you with just the EQ to shape your sound. This is not variable in intensity but is influenced to some degree by the main EQ controls. TC Helicon's 'intelligent' Vocal Tone processing has its own on/off button and combines voicing, compression, de‑essing and gating, all designed to adapt automatically to the input signal. Channel one's jack input is also designed with a high impedance so that it can double as an instrument input. The first two channels have mic/line inputs on 'combi' connectors, on which the use of a jack automatically switches the input to line sensitivity. The controls are used for setting levels, adjusting the reverb and tweaking the three‑band EQ, and the currently active level or EQ button shows blue so you always know what you are adjusting.
If a channel does not have an input connected, its lights glow more dimly. The front panel functions as a three‑channel mixer and is dominated by a series of white back‑lit buttons, a master volume control and a data knob with indicator LEDs around it. This doesn't affect the sound, of course, as dual‑concentric speakers act as a point source and so behave the same in any orientation. No tools or adaptors are required so setup is very fast, though if you do want to have the FX150 set up conventionally on top of a stand, there is an adaptor included that fits into one end of the case meaning the speaker will be mounted sideways on. Powered from an external, universal‑voltage PSU (pretty much the only aspect of the design I don't like) with a continuous power rating of around 60W, the polystyrene case is shaped to act as a floor wedge or, by means of the rubbery 'Easy Grip' rear section with its two opposing slots, it can hang securely on a mic stand.
Its compact form (210 x 286 x 184 mm) houses a 6.5‑inch, Tannoy ICT Dual Concentric driver, which is protected by a perforated steel grille and driven by 150W of Class‑D amplification.
This compact monitor combines Tannoy speaker technology with TC Helicon's renowned reverb and vocal processing.īilled as personal PA, vocal monitor, instrument amplifier and vocal reverb unit, the TC Helicon VoiceSolo FX150 is essentially a mini monitor, weighing just 3kg, with built‑in DSP for mixing and effects.
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