Community : All Content - StageSource Speaker Community Support

StageSource Feedback Suppression Explained Further

support@line6.com — Thu, 16 May 2013 22:47:59 GMT

RED is for speech. An example is an individual doing a powerpoint presentation. This could apply to a couple of people speaking at the same time, but the key is that human speech and human speech ONLY, is coming through the system.

YELLOW is for vocal singing. An example would be acapella singing. This could be a group or a solo singer/performer, but it is meant for human singing voice only, with no other instrumentation. You may be able to use this for a singer/songwriter solo guitar and vocal. Yellow can work in this case because guitar and voice are in very similar frequency ranges, but, depending on the material, GREEN may be a better option in that case.

GREEN is intended for universal application and should be used as a default feedback suppression setting. Only switch to the YELLOW or RED setting when the GREEN setting is not properly adressing your feedback concerns, or where feedback reduction is more important than audio quality. Using more aggressive feedback suppression settings may cause sonic artifacts in some cases.

If you are experiencing undesirable artifacts when using Feedback Suppression:

If you are experiencing undesirable artifacts when using Feedback Suppression it may be that a less aggressive setting should be used. Results are typically most pleasing when using the least aggressive setting that is appropriate for the given situation. It is good practice to start with the GREEN mode and only to move on to YELLOW and then RED if feedback is not being properly addressed.

Green is for good and green is for go. In the majority of cases, customers should use green and they will be good to go.

To switch Feedback suppression modes:

Press and hold the FBS button and you will see the colors cycle through, green to yellow to red and back to green. Release the FBS button when you are on the desired setting.

POD HD500 & L3T Combo

support@line6.com — Sun, 21 Oct 2012 20:01:34 GMT

So now the 2.1 upgrade lists the following:

"POD HD500 and POD HD Pro now integrate with StageSource loudspeakers. Musicians can instantly recall StageSource Smart Speaker modes via POD HD presets, making StageSource and POD HD500 or HD Pro an integrated FRFR (Full Range Flat Response) guitar system."

I am considering a purchase of the HD500 but I'm still unsure about the very best way to amplify the output.

Currently I'm running a desktop pod (bean) through a Fender Frontman. The problem with this is that when I turn up the volume, the tonality changes because the speaker begins to "warp" when pushed. So perfected living room tones sound more compressed and mid-rangey when pushed to performance levels. Tweaking has somewhat improved the performance level sound, but still it's not as good as low-level volume tonality. So the bottom line is that I really don't feel that running the POD HD500 through another amplifier is the best way to amplify the output the most accurately.

I am already aware of running directly to the soundboard, but that can wind up being a disaster if the person running the sound is tweaking your tone differently than the way you would like.

So now along comes the L3T which has enormous power-handling output (stated as: "Powerful 1,400-watt, Three-way Design").

Furthermore it is now considered a "Full Range Flat Response guitar system".

Does this mean that the sound will stay relatively the same whether it's pushing 5 watts or 60 watts? Will the frequency response curve alter as the sound level is pushed up?

I'm just curious as to how other players are experiencing this combination.

Thanks for any response on this.

Some Questions regarding this system

support@line6.com — Tue, 05 Mar 2013 03:29:17 GMT

I am currently using a couple of Bose L1 model II systems with the new B2 subs. I play in a 4 piece band and for most situations this setup performs quite well. I do find however that in some venues there just doesn't seem to be enough power. The system has built in protection, so if you push it too hard it does some whacky things. I love the fact that I can set these up behind the band meaning I don't need monitors, and you can't beat them for lightweight portability but I'm feeling the need to get something that will perform at any venue I have to play.

I will maybe see about getting my hands on some of this gear for a weekend to check it out but in the meantime I'd like to try to get some info here.

1) On the L3t, there is a mixer section on one side, presumably to be used if you are using it as part of a PA, and the line in section on another side. So my question is, are they completely indpendent of one another. There is feedback suppression on the mixer side, can that be engaged if you are plugging into the PA input side? I know that the M20d has the same feedback suppression but if I am using a different mixer can I take advantage of the feedback suppression built into the speaker.

2) Again on the L3t, how is the bass response if you aren't using subs? I imagine that without the subs connected it's going to be full range, but I am just wondering if anyone has just used a couple of L3ts as front of house for a band and how did it work out.

3) Whether I am able to use the feedback suppression on the speaker or if I end up getting the M20d "again" (had one for a day until I tried to use it for recording and found that it has a 1/2 second of latency), I'm wondering if anyone has tried using this system behind the band kind of like I am currently using the Bose systems. We only really have 3 vocal mics, guitars, bass and electronic drums are all direct. If there is no way it could work, and providing question number 2 has a favourable answer, I am thinking I could start out with a couple of L3ts and a couple of L2ts for monitors.

It's always a money losing proposition when you have to move from one system to another, so you can understand my apprehension and need to try to learn from others experience before I make a big decision like this. I could see myself trying to get into some subs at some point but I think I would have to wait until Line 6 comes out with a scaled down sub maybe with a couple of 10s or a single 12" driver. I've seen the L3s in person and it's just to much of a monster for me to consider carrying around. I figure since they came out with the L2T and L2M it's a possibility. I fit all my current gear including lighting into my Mazda 3 sport.

football

support@line6.com — Fri, 29 Mar 2013 19:13:00 GMT

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L2m - Does the analog Mix Out Connector include the L6-Link input signal ?

support@line6.com — Wed, 27 Mar 2013 10:10:31 GMT

Hello

I'm interested in a L2M and I want to know, if Mix Out connector of the box also includes the L6-Link input signal.

That means: I have a stagescape mixer and the L2m box is controlled via the L6-Link interface.

I want to use a second analog box with the same signal. Is it possible to use the Mix-Out connector of the L2M ?

Thanks for help

StageSource L2t rattle issue

support@line6.com — Wed, 20 Mar 2013 19:12:34 GMT

I recently picked up a StageSource L2t and really like it- sounds great with my HD 500 setup and will work nicely in a variety of gig situations.

However I do notice certain frequencies (seems to be playing the note E at a couple different lower octaves on Chapman Stick) above a certain volume (not particularly loud) will cause a rattle/buzz that's coming from someplace behind the rear metal panel. Is this something I could/should easily remove to see if something needs to be tightened or secured somewhere?

Thanks,

Rob

http://robmartino.com

Actual continuous (rms) power of L3m and L3s

support@line6.com — Tue, 19 Mar 2013 23:01:39 GMT

Hi,

I am new to this forum. I am planning of purchasing 4 L3M and 4 L3S. Target crowd from 200-2000 (full band set up). Just wondering if this set up is capable of delivering to the targeted size (indoor and outdoor) since the L3m peak power is rated at 1,400 watts and the sub peak power is rated at 1,200 watts. If am right, does it mean that the "actual continuous power" of the tops is only 350 watts and the sub is only 300 watts based on the given peak power outputs of the respective elements?

Thanks!

Got the Dreamstage - How to integrate the POD HD500 via Line6 Link?

support@line6.com — Tue, 05 Mar 2013 07:41:36 GMT

Hello!

Me and my band we got the dreamstage ( M20d, 4xL3S, 2xL3t, 2xL3m, 3xL2m )

I am a vocalist and play Acoustic guitar - all over the POD HD - this has also a Line6 Link Output.

So how to get the POD integrated in the system? Only normal into the mixer?

just for information - i pan the Mic to Output B and the Guitar to A... maybe there is a better way to connect it

than go with 2 XLR's to the M20d....

But the POD does not have a Line6 Link Input like the Speakers....

or go into my Monitor? (L2m)

Thanks for your help!

Considering StageSource L2t for solo gigs

support@line6.com — Tue, 05 Mar 2013 17:15:03 GMT

Hi all,

For the past couple years I've been using a POD HD500 and Fishman SA220 Soloamp for all my solo Chapman Stick gigs, which generally has been a nice setup but there are times I wish I had a bit more low end (the Fishman rolls off below 80Hz and is prone to occassional cabinet rattle at higher volumes). I've been looking at the L2t as another lightweight option that can function as a PA behind me in small spaces or a monitor at larger venues when I can plug into a bigger house system. It also seems ideal if I later want to add an L2m for a stereo setup.

I typically play for small crowds, say in the 20-100 range, so I don't need a ton of volume, but solid presence and wide sound field along the whole frequency range is important (my lowest note is a bass E, but since it's solo music, I'm after a more balanced sound rather than providing heavy bass, perhaps equivalent to a keyboard). The L2t looks like it will go lower than the Fishman but I wanted to see if anyone has tried one of these with a full range instrument like a keyboard setup.

One nice aspect of the Fishman is that I can just plug straight in the two channels (bass and treble are separate pickups) if I don't want effects, and use the built-in EQ and reverb. The L2t seems to offer similar functionality although I notice the input impedance is a lot lower if I'm reading the specs correctly (2.63 kΩ vs. the Fishman's 10 MΩ), would that not be ideal for passive electric pickups?

Thanks,

Rob

http://robmartino.com

L3s Overheating

support@line6.com — Fri, 01 Mar 2013 16:23:43 GMT

hello, i recently purchased a Stagesource system.

Last night i was djing a small event with two L3m's and one L3s. Muisc was a mixture of 70's and 80's.

After about 3 hours i noticed a popping sound coming from the sub. It sounded like the amp was overheating but the speaker was running

at a little less then half volume and the dj mixer was sending a very moderate signal. So i didn't feel like the speaker was being overdriven,

there just wasn't enough volume. I trimmed the gain on the speaker down a little bit and the popping sound lessened but obviously this

creates a bit of a problem for me.

What would cause the L3s to overheat and react this way?

And what can i do to prevent this from happening again?

thanks for your help!

Jon