best priced 110ohm L6 link cables for stagescape to stagesource. pretty straight forward. can anyone tell me what xlr cables they are using to hook up two l3ts and 2 l3s and three l2ts? or similair set up
Best Priced 110ohm L6 Link Cables For Stagescape To Stagesource
Posted 09 September 2013 - 08:18 AM
I'm not sure who you mean when you ask what cables 'they' are using, but you will find the official Line 6 L6 LINK cables in the online Store (see link at top of this page). Here is the 20' cable:
Life is what happens to you while you're busy making other plans.
.... John Lennon
Posted 09 September 2013 - 08:21 AM
Actually, I don't have any really long runs, and as dboomer has pointed out it's the run between speakers that is what counts not from the original source. So since no two pieces of the system (in my case) are more than 15 feet apart most between 6 and 10 when you include monitors, I just use regular XLR mic cables. No problem at all. I do have a couple of DMX cables just in case I get to a venue that presents an issue. And this may be the case soon as I am getting rid of my monitors and going IEM so I will have to get from one side of the stage to the other with no monitors in between to break it up. Still I don't there are many stages that I would play that are more than 20 feet wide so I think I'm still going to be good with mic cables.
If you're playing really big stages without Line 6 stagesource monitors to run between your mains, then I guess you really will need to get at least one long 110 ohm connection. I just thought I would share my experience in case you're in a similar situation. I don't think you'll experience any improvement in sound quality, I think the 110 ohm cables are just better for carrying the data.
Posted 09 September 2013 - 07:29 PM
http://www.guitarcen...428-i1169397.gc These are the ones I got, 2- 6', 4- 15', 1- 25' and 1- 50' was about 200 bucks and I have not opened the 50' one yet. I use the 25 between the m20d and the first speaker and the 6' between the L3t's and the L3S's then a 15' from there to the first L2M and between the next 2 - L2M's and too the other set of L3t's and L3S's............... and no issues at all so far.
May you be blessed and our Lord Jesus keep you!!!
Posted 10 September 2013 - 04:30 AM
As you'll have noted from this http://line6.com/sup...xl-cabling-r549, the longer the total length of our Line 6 Link "daisy chain", the more we're likely to need cables that are designed for AES work, the key phrase being:
"...However, for the "road warriors" (or "road worriers") among us, any single length of more than 30 feet or 10 meters should instantly set alarm bells ringing..."
All of the above also applies to DMX cabling, which is different in impedance, capacitance and structure to that designed for AES, with mic cables additionally being radically different to either and/or both.
Nevertheless, as you'll have seen from "The Truth About 3-pin XL To XL Cabling", many of us are happily (and reliably) operating DMX and Line 6 Link gear "daisy chained" over SHORT distances via those more robust and more common "standard" microphone cables.
Posted 10 September 2013 - 05:34 AM
I was sure I had read somewhere from one of the Line 6 reps that the data signal was re-amplified each time it passed through a Line 6 Link component such as an L3t or L3s, so that it was not the over-all length that you have worry about but a single long cable run between any two Line 6 link components. That said, who knows maybe I dreamt it, but that's why I offered the advice that I did.
Posted 10 September 2013 - 01:16 PM
I was sure I had read somewhere from one of the Line 6 reps that the data signal was re-amplified each time it passed through a Line 6 Link component such as an L3t or L3s, so that it was not the over-all length that you have worry about but a single long cable run between any two Line 6 link components....
...and (in keeping with the helpful practicality that's long been a feature of your great posts, litesnsirens) your advice was solidly based, given that (these days) inbuilt "data restoration" technology along those "re-amplified" Line 6 Link-like lines (excuse the pun) is indeed often active "between" the "In" and "Thru" and/or "In" and "Out" connectors of individual items that rely on AES, DMX and/or MIDI data for their operation.
A good illustration of which might be that most DMX users will confirm how older DMX fittings (often identifiable by five-pin XL connectors and/or their use of a row of dip switches for setting addresses, rather than the three-pin XLs and increasingly "universal" multipurpose LCD system of newer models) are SO much more "fussy" in terms of cabling and "termination" protocols than their newer "equivalents".
What I'm trying to highlight, however, is the importance of identifying "scale" before planning a cable inventory that must reliably facilitate ALL of the gigs an individual operator may have in mind.
Posted 10 September 2013 - 01:35 PM
Ron, I always learn a ton reading your posts. I think ultimately in this case, we are saying the same thing in different ways. That said, after reading your previous post I was having doubts about what I had read and basing my advice on, so I wanted to explain myself in case I had lead anyone astray. As it stands I maybe I'm not mistaken. Perhaps a Line 6 rep can shed some light on whether these devices actually do re-amp the digital data between devices. For the life of me I can't find it anywhere, so for my own sanity (or senility) it would be appreciated.
Posted 18 September 2013 - 11:29 AM
Posted 10 October 2013 - 03:07 PM
Not sure if this will help, but I'm a bit of a cable junkie... I like to ensure that I am using the correct cables for the correct application... DMX cabling for DMX, mic cabling for mics and now AES/EBU cabling for the line6 link
I've bought our L6 system (M20d, L3s (2), L3m (2) and L2m (2)) but haven't yet "got it". What I haven't done however is to fork out for genuine Line6 cables. Sorry Line6 but your pricing stinks for what should in effect be little more expensive than a good quality mic cable.
Like nickinfrance, I have ordered up 50m (150') of Sommer AES/EBU loose cable and 11 of each
Neutrik NC3 FXX-B and Neutrik NC3 MXX-B ; gold plates XLR connectors. Total cost of around £125 (150 euros) (about $180) plus just short of a couple of hours to make them all up. Neutrik do a specific AES/EBU xlr connector but I can discern no obvious difference in their construction so opted for the gold plated NC3's
I'll be running up 9 x 5m cables and 2 x 2.5m cables which will be plenty to L6 link the full rig even on a 15m (45') wide stage. They'll all be one colour (grey) to differentiate them from the other cabling on stage. (all my DMX cabling is yellow and likewise is made up into 5m, 2m and 1m lengths).
I looked at pre-made cables but, the component costs are so low, I'd recommend to anyone that they try making up their own... and buy better quality cable to do it with.
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