I wonder if I should set it fully clockwise at max volume in all circumstances and use the M20D to control the volume or set it half-way? Is there a difference in sound?
Best Answer dboomer , 14 July 2013 - 04:27 PM
In most cases you should set the sensitivity control on Line 6 speakers to 12 o'clock. This calibrates the entire system. In this way when the meters on the mixer say 50% the speakers are running at 50% and so on. If you set the speaker controls any other way then the system is not calibrated. Go to the full post
Posted 14 July 2013 - 02:20 PM
silverhead's typically sound advice (excuse the pun) refers to setting what we call correct "gain structure" at every point in our signal path, tochiro...
That's the way we avoid overload distortion and/or hiss in what we're doing.
Now, please don't interpret what I'm about to say next as any form of disrespect...
...but my normal response to such queries from any of the less experienced audio folk that I regularly mentor worldwide ...is to suggest a reading of (and ongoing reference to) both the "Mixer Basics" section from the manual for any Yamaha mixer
and Mackie's "Glossary Of Pro Audio Terms"
Both of these are written in plain English, (rather than "Geek-Speak") and to my mind, are an excellent way of "getting the basics right" before we start.
Posted 14 July 2013 - 04:27 PM Best Answer
Posted 15 July 2013 - 01:18 AM
In most cases you should set the sensitivity control on Line 6 speakers to 12 o'clock. This calibrates the entire system. In this way when the meters on the mixer say 50% the speakers are running at 50% and so on. If you set the speaker controls any other way then the system is not calibrated.
Yeah, this is how I set up mine.
There is even a notch at the 12 o'clock position on the control to help set all your speakers up at exactly the same level.
Posted 15 July 2013 - 07:10 AM
Yes I set mine up at the 50% as well. But I have to wonder why the master output on the M20d would affect the recording in any way. I thought the only levels that affected the recording were the trim levels, that's why you can use the recording feature to do virtual sound checks. If I'm not mistaken the recording is done pre-fader and pre-effects and the master volume comes after both of those. That way you can change effects, EQ, fader levels and even master level as you listen back to your recording out front and set up your mix for the venue. So getting the best recording results would just require that you get the proper gain staging at the trim level. In which case maybe the auto-trim would take the guess work out of it for users who are unsure.
Posted 15 July 2013 - 01:12 PM
.... But I have to wonder why the master output on the M20d would affect the recording in any way. I thought the only levels that affected the recording were the trim levels, that's why you can use the recording feature to do virtual sound checks. ...
I was the one who said that... mistakenly. You are correct, litesnsirens - the master output level should not affect the recording level. Sorry for any confusion.
Posted 15 July 2013 - 01:46 PM
...But I have to wonder why the master output on the M20d would affect the recording in any way. I thought the only levels that affected the recording were the trim levels, that's why you can use the recording feature to do virtual sound checks...
You are absolutely correct, litesnsirens...
...And even more "weirdly", (in terms of your unimpeachable logic) ...as since clarified by silverhead, we were discussing the master input level control on StageSource speakers, which, at first glance, would seem to be even further divorced from any recording being made inside an M20d !
Which brings us back to "gain structure", which is what Don Boomer's referring to (about the master level controls of StageSource speakers being set to their detented "high noon" 50% gain position) when he says that
...This calibrates the entire system....
Briefly, "correct gain structure" is something that more experienced folk (like you and silverhead) would instinctively "get right" anyway, in that it would never even occur to us to achieve a satisfactory listening level by (for example) having our "downstream" speakers turned all the way up, subsequently forcing us to run our channel faders and/or our mixer's master level controls turned a long way down...
...or (even worse) to have all the mixer's channel and master levels correctly set during that "speakers turned fully up" scenario, whereby our input trims would be wound back to compensate.
Even though the sound in our room may be still acceptable when operating with those last settings, it follows that we'd then get "hissy" low level recordings, doesn't it ?
Alternatively, we could just as easily torture ourselves by "holding gain back" at our speakers and/or our mixer's level controls, whereby we'd create distortion (possibly just in our recordings, possibly just "in the room", or possibly in both) from the over-driving of input trims that we'd then need to achieve our given listening levels.
"Correct gain structure", then, addresses both "headroom" (distortion) and "signal to noise ratio" (hiss and hum etc.) issues at each and every "stage" in the path that our signals take from acquisition to ears.
Posted 16 July 2013 - 04:07 PM
Thanks for your understanding. But you're too kind. To be perfectly honest, it wasn't something that just came out wrong. It was a pure and simple brain fart. We all have them sometimes.
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