These forums are read only, please use our new forums here.

Main :: StageSource Speaker Community Support



L3t and HD500 together
by thewhites on 2012-07-02 05:19:10

Starting discussions about using the L3t and the HD500 together. One thing I have found is the Low Cut which is found in cab paramters in the HD500 will be your best friend when creating and editing patches when running into the l3t. That will delete any low end overpowering or rumble and helps the sounds cut through the mix. . The proper way to connect the HD500 for now until the Line 6 link works between the 2 is to connect left or right xlr out on the back of the HD500 to the channel 1 or 2 input of the L3t. You need that preamp section to generate enough signal to get your volume Make sure to set the highs mids and lows to 50% to hear the true sound coming from the pod and turn off the reverb and modulation effects built into the speaker. Also set the master volume of your Pod to whatever volume and leave it there. I set mine at 2 oclock. Then match the volumes in your patches in the pod to a constant level. Once youve done that start playing and watch the LED at the channel one input of the L3t Keep turning that up until it starts changing from green to yellow then leave that it at the volume level. Now you set your actual volume from the Master Power amp volume knob on the rear panel of the l3t. That is the only knob you will want to touch for volume from there out.  . If you connect to the main input on the back the line levels will not match and you will get very low volume. When running a variax you will probably want to run in Floor Monitor or mains mode so you get the crisp highs for the acoustic models. If your running straight guitar the you will probably want to choose guitar mode which turns the highs way down (turns down the horn) and changes the frequencies of the 2x10s to act like a 2x12 cabinet.

There are three ways to get your guitar to the house pa mains. 1 use the left or right xlr output that isnt being used to go to the l3t - if you do this make sure your patches are set at 0% pan or middle position (running in mono), 2 - send an XLR out from the L3t using the Mixed signal through output on the rear panel - be advised that if you change the volume at input 1 this will also increase the signal going to the mains, or 3 miking the speaker. #1 is the best option here in my opinion.



Re: L3t and HD500 together
by mmaddison on 2012-07-09 18:08:35

I just received my L3T today.  I haven't had enough time to form an opinion on it yet but I'm quite upset to hear that the L3 link is not working.  I was planning to hook this system to my HD500 tomorrow night and really wanted to see the L3 link do it's thing.

My question, what is the difference between the 2 XLR outputs on the back?  I didn't receive any sort of manual and I'm not sure what a balanced loop-thru xlr is.  I was under the mistaken impression that the L3T had at an unmixed XLR out for channels 1 and 2 - this would have been perfect for me at my acoustic shows.  I wanted to plug my acoustic and vocal mic into the mixer and use it as a stage monitor - then send both feeds out to the main board so the sound tech can mix the F.O.H. as he or shee sees fit.

When using channel 1 for my Acoustic (piezo) I've been turning on and off the acoustic modelling and play with the body.  I feel like there's something being cut out of my low notes... I have the eq dials at 50% and the gain at 50% and the sound when I play notes on the E string is quite different than through my PA.  I can't quite put my finger on it yet but it seems like the tone is squashed.

Have you noticed any distortion when using a vocal mic?  I seem to have something in the high ranges.  It's subtle but it's there.  I am in a small room so perhaps it's some feedback.



Re: L3t and HD500 together
by mmaddison on 2012-07-11 09:56:57


Here's a video review of the L3T with a Mic and the POD HD500 in action.



Re: L3t and HD500 together
by thewhites on 2012-07-14 21:28:18

I have heard that the Line 6 Link should be coming soon in an update. It is already listed as a feature on the L3t page on the Line6.com website. That should fix any problems you are experiencing. The two XLR outs on the rear panel work like this:  If you are using the main XLR input on the rear panel then the balanced loop thru will send the original unchanged signal out to send to a second speaker source. Anything you have plugged into the side panel mixer section will not have a signal to this output. It is only for sending original unmixed signals out. The Balanced mixed output is for anything you have plugged into channel 1 or 2 on the side panel or the "mixed signal" . So look at it as the rear panel has your signal input which goes directly to the power amp section and its thru xlr out is the balanced mix output and the side panel channels 1 and 2 signal output is the mixed balance output which could have also been placed on the side panel to prevent confusion.

To use it the way you want to plug your guitar into ch 1 or 2 and play it and raise the gain until the led changes from green to yellow to red then back it off a bit until you see no red led. That will be the ideal gain for the guitar and vocals. If it stays in the green as you play the cabinet is getting a limited signal from your guitar, kinda like turning a water hose on full then pinching it allowing a smaller amount of water to pass through. It can squash your signal. Then do the same thing for the vocals. Both guitar and vocals will be coming out of the Mixed xlr output and to the mixing board. If you want individual signals - gtr and vocals - to go to the house then you could run the mix in the patches on the hd500 at no panning (center position) and run either your left or right xlr one to hd500 and one to house pa and run your vocals direct to pa and have him send you an xlr out of the board channel with the vocals back into l3t ch one or two whichever is open. That is how I run mine.



Re: L3t and HD500 together
by MerlinFL on 2012-07-15 05:33:18

Sorry to ask this, but why are these speakers arriving without any L6 functionality?  I guess this perhaps explains why the StageScape mixer is still not out yet and over 4 months behind it's original release date.  I'd really like to know how can you guys be not upset with paying about $1,200.00 for a speaker that does not function as described in every advertisement and certainly nothing like as explained at the NAMM show about 9 months ago?

If you're happy, then you're happy - but personally I'd be pretty upset that something I bought didn't come with a manual, or functon as it was described and still is described to work on the Line 6 website.

For the use you're getting out of this $1,200.00 powered speaker, you could have bought (as just one example) a Mackie powered PPM608 mixer and a JBL JRX125 quality full range speaker which would give you stereo capability, 8 channels of mixing, with channels of built in compression, two channels for guitar specific EQing, all channels have inserts for separate FX input to each channel if needed.  Independent outputs (Stereo Main or Main/Monitor) as well as three independent mixer line outs with or without the 7 band graphic EQ per output channel.  A tremendous amount of flexibility for the same money.

So with this as just one example in comparison, why are you guys happy about your purchase?  I'm not starting an argument...I'm just trying to understand the logic and what you think & feel as owners of this brand new gear.

I look forward to reading your thoughts and reasons for your purchase.



Re: L3t and HD500 together
by thewhites on 2012-07-15 08:49:36

Well I have been a Line 6 guy from the start up of the company. I purchased the AXsys212 whwn it came out then the Pod then the Vetta 2 then XT Live, HD500, DT50 and now the L3t. I know that I can expect superior products from Line 6 and they wont release firmware upgrades until they know they are working how we expect them to work. So I am actually glad to know they haven't released it yet because they are working out any bugs and I am sure it will be coming out soon. Another thing I have always said is you get what you pay for. If you can get all those items for the same price you can get this speaker for that just tells me I don't want those items. You going to get cheap components in those speakers and mixers which is not going to give you the clarity and punch and dependability that these speakers do.

I am very happy with the speaker because it gives me the best sound and tone I have ever had. The L6 Link is not going to be much different then the way you run it now. I believe it will just throw the signal from the HD500 directly into the power amp path therefore not adding any slight coloring caused from the ch 1 or 2 eq settings. I may be wrong but I think that is how its going to work. And with additional speakers you should be able to assign each one a L R , etc....

On my last gig I wanted to hear what it sounded like as a main so I used our soundmans Mackie thump with my HD500 and let me tell you I wanted to shoot myself, never again will I do that. This speaker is a superior speaker.......



Re: L3t and HD500 together
by mmaddison on 2012-07-15 23:45:27

Hi Merlin,
Well, I currently have a full PA system and the entire point of this exercise is that I don't want to bring a pile of gear out to every show I play.  What I am looking for is an all-in-one and this is what the L3T represents.  I have a guitar amp and a vocal amp with effects and mixing, plus enough power to bypass the mixing board for small venues.  I can't tell you how many shows a crappy sound guy or crappy venue equipment has ruined.  The fix has been, bring your own sound system and do your own sound unless you are sure the sound tech knows their stuff.  Also, acoustic shows as long as I bring my L3T and my bandmate brings his, we have all the sound we need for 2 guitars, 2 vocals and any backing tracks we might employ.  When you only get 15 minutes between sets to setup and tear-down you need a quick rig.  This will save me so much time and let me take back control of my sound when I need to.

I certainly agree, the price is pretty steep but it is cheaper than a similar bose.  I am quite disappointed that not all the advertised features work but as thewhites says, Line 6 usually patches things reasonably well.  I have what I need for now, and it's better than anything else I have found. If I end up with more from a later patch then great.  If not, I paid a premium to reduce my work, reduce my setup time, and increase my flexibility.



Re: L3t and HD500 together
by MerlinFL on 2012-07-16 19:31:07

Thank you both "thewhites" and "mmaddison" for your answers and opinions of the new Line 6 StageSource L3T powered speaker.  I truly do appreciate you both for taking the time to answer my question.

** the whites - I've been a Line 6 guitar gear user since 2003 when I got my first Vetta I combo and have been exclusive for all guitar stage and studio work since 2006 when Line 6 produced the Variax model 700 electric guitars thru the fall of 2011 when I added Roland GR-55 units my Dream Rig gear as well as all the older gear I still have and use every week.  I have a literal "Pyramid of Line 6 amps with a pair of DT50 1x12combos with my original Vetta sitting on top.  And added two of the three JTV guitar models (59US & 89KN) to my pair of Vax 700s.  Before that I started out with cheap copies, then bought the real thing back in the mid-1970s and for many decades I had been a Les Paul/Marshall guitarist with minimal FX usage.  Kinda like Jimmy Page - plug & play guitarist (even including the echoplex & violin bow - LOL).

The Line 6 gear opened up a whole new world for me to expand my sonic potential to nearly limitless with just the original combination of the Variax guitar with the Vetta amp.  Utilizing the editing software for all the gear, I've been able to produce nearly identical copies of any guitar sound I've heard on any recording, plus create some very unique guitar/amp combinations that physically don't exist.  That is what Line 6 guitar gear has done for me and my performing.  I don't know if I agree with your personal observation about how Line 6 is still producing top flight gear.  I agree 100% that they used to, but as off the inception of all the newest POD HD units, DT amps, and even what was and wasn't done with the Variax guitar line - I think the company is more about mkaing profits for shareholders than it used to be about making terrific gear for reasonable prices that was very reliable.  If you look at the physical construction of any DT amp verses any Vetta, or even older Spider amp, you can easily see that corners are being cut and if this means a slightly lower price - I'd prefer they kept the build quality high and spread those additional production costs into the gear produced.

I'm sorry if I can't agree with your statement about my example of Mackie powered mixer and JBL speaker as "cheap compoents" as you stated.  Both brands are far from cheap products or cheaply made products.  They also have been around for almost as many decades as I have with the JBL product and Mackie earned it's stellar reputation over a few decades of producing top flight yet portable powered sound reinforcement.  Some parts of your answer almost read like a Line 6 advertisement, but I once again thankn you for your time and response.  Best of luck with your gear.

** mmaddison - thanks again for your answer and opinion as well.  I thought your answer was more of an objective one based on your live performances experiences.  What I'm most interested in learning about your answer is - where are you playing that either has PA gear in-house, or can afford to hire a soundman to do your gigs? 

The live market has gotten so bad around the states of FL, GA, AL, LA, MS that it's nearly never heard of anymore that a venue has their own PA or pays well enough for a band to hire a qualified, well-equipped soundman to do a gig.  most gigs these days in these areas are bands like the ones I'm in bringing their own PA and playing four hour gigs each night.  Then breaking it all down and doing again next time.  I'm certaily old enough to remember when most venues had PA systems with very capable engineers, but that all stopped around the SE USA back in 2005.  If there is room for a freelance pro musician or pro cover band in your area - please let me know and i'll see if I can get booked where I don't have to bring any PA gear.



Re: L3t and HD500 together
by mmaddison on 2012-07-17 10:37:27

I'm up in British Columbia.  The venues are quite small and the incomes even smaller.  Many of the venues here allow the bands performing to set a door fee and split it between the acts performing that night.  Some venues provide a basic (usually behringer) PA system and if they do they often have someone on hand to run the board for the night.  There are a few venues that have experienced sound techs and those are the ones that work out ok.  The experienced techs are usually reserved for the bigger events so at smaller venues you're working with a student.  It's frustrating when, as an artist, I end up having to switch to tech mode to try and get a decent sound or at least hear my own vocals on stage.

So for years I have wanted something like the L3T for on-stage... it's close to what I am looking for.  My ideal rig would have 3-4 inputs (One for my Pod HD500, one for my vocals, and up to 2 for main monitor feed or output from other sources).  Then instead of a mix out I would like each input to have an unmodified feed going out... so the mic and guitar can go straight to the board for FOH and I can simply manage my on-stage sound myself.  If I can hear what I'm doing and it sounds good to me, I'll perform well even if FOH is screwed up... and I'll simply be blissfully ignorant!

For smaller shows we'll just use these as FOH by setting them up on angles behind us.  I've done this with my PA many times and it has worked brilliantly most times.  What we hear is the same as what the audience hears.  I know this approach is not supposed to work but my experience in small venues is that it can work just fine.

Anyway, I have no problem discussing this.  We all have different experiences and views and what works for me may not work for you.  It sounds like you play in a much larger region so you have a lot more opportunities.  Here it's very limited and in many cases it's a "Pay to Play" scene.  I like to get out and play but I don't believe in paying to do it...



Re: L3t and HD500 together
by dboomer on 2012-07-17 11:24:02

Sorry to ask this, but why are these speakers arriving without any L6 functionality

Just to clarify ... the L6 link is fully functional all of the speakers that have been delivered.  The discrepency lies with the HD's and requires a firmware rev which is in beta teasting right now before public release.  If you own both units and are having difficulties please PM me and we'll help you out.

L6 link is active and functioning.  You can connect speakers together with all the advantages digital networking provides.



Re: L3t and HD500 together
by MerlinFL on 2012-07-17 13:22:32

dboomer wrote:

Sorry to ask this, but why are these speakers arriving without any L6 functionality

Just to clarify ... the L6 link is fully functional all of the speakers that have been delivered.  The discrepency lies with the HD's and requires a firmware rev which is in beta teasting right now before public release.  If you own both units and are having difficulties please PM me and we'll help you out.

L6 link is active and functioning.  You can connect speakers together with all the advantages digital networking provides.

Thanks for clarifying the error as I perceived it in what was written.  I understand completely now that it is just an issue only when plugging a POD HD unit into the L3T cab directly using the L6 Link.  Not that the L6 link doesn't function as described and shown in all demos - it is specific to just this one scenario.

I appreciate you finding this discussion and pointing out the exact nature of the link situation.  That was why I wrote anything in the the first place as I thought it was very odd that one of the main features would be missing when the product became available to the public.

Any idea when we might start seeing the M20d mixer available?  If no answer is available...no problem.  I am just curious since it is quite far behind the first two release dates mentioned a while back.  The JTV guitars went through a similar situation and were worth the wait.

Thanks again and take care,

Neal



Re: L3t and HD500 together
by dboomer on 2012-07-17 13:43:35

Any idea when we might start seeing the M20d mixer available? 

Well I'm sworn to secrecy.  But if you were holding your breath it's getting to the point where you might not turn too blue. 



Re: L3t and HD500 together
by MerlinFL on 2012-07-17 13:43:53

mmaddison wrote:

For smaller shows we'll just use these as FOH by setting them up on angles behind us.  I've done this with my PA many times and it has worked brilliantly most times.  What we hear is the same as what the audience hears.  I know this approach is not supposed to work but my experience in small venues is that it can work just fine.

I agree 100% with you on this point.  In certain rooms where the acoustic are horrible or the room is all hard surfaces floor, walls, and ceiling, I would put half or sometimes the entire PA whatever the size (except the subs) behind the band and rotate them around to use the room acoustics to assist the PA in producing as even a sound as possible for the audience.  I know that according to the "Soundman Rule Book" (which of course there is no such thing) this concept of the band being parallel or even in front of the mains should never happen.  But if you understand acoustics and even some of the designs of various Bose speakers over the past few decades, Bose systems have nearly always been designed to incorporate the room acoustics with the audio produced from the speakers to produce a more natural sound that fills a room.  Just by understanding the wavelengths of each frequency and how those waves travel from their source can be a big help in setting up your gear in a particular room, or in buying gear that would work best for the style of music played.

Anyway, I have no problem discussing this.  We all have different experiences and views and what works for me may not work for you.  It sounds like you play in a much larger region so you have a lot more opportunities.  Here it's very limited and in many cases it's a "Pay to Play" scene.  I like to get out and play but I don't believe in paying to do it...

I remember when "pay to play" started and as I lived in NJ all my life before moving down here to FL, I know just how messed up that situation was.  All because the drinking age was changed from 18 to 21 in 1982 by the US government.  That single thing was the real deathblow to live music here in the states even if it didn't happen overnight.  I am sorry to read that "pay to play" is still going on.  I don't wish to derail this discussion - but I'm very curious if this is just for original bands or both original and cover bands as well?  If you wish to discuss this further, please PM me as to not tie up this thread with an unrelated conversation to the topic.

Best of luck,

Neal



Re: L3t and HD500 together
by MerlinFL on 2012-07-17 13:46:17

dboomer wrote:

Any idea when we might start seeing the M20d mixer available? 

Well I'm sworn to secrecy.  But if you were holding your breath it's getting to the point where you might not turn too blue. 

Fair enough - thanks.



Re: L3t and HD500 together
by dboomer on 2012-07-17 13:56:56

There's nothing that says you can't put speakers behind you.  There is just a limit before you get feedback and Bose has to operate under the same rules of physics that everyone does.  You can stretch the perception of the rule with the onboard feedback manager because it will tame the first instances of feedback ... but there is a limit that you will run out of sometime.

I will agree with you, and it is often overlooked, but speaker placement should enhance an acoustic performance.  To my way of thinking the sound system should seem to disappear.  I mean you came to watch the musicians and not listen to the sound system ... right?

Well except geeks like me who come to listen to the sound system



Re: L3t and HD500 together
by mmaddison on 2012-07-17 16:29:50

With feedback managers becoming much more accurate and much less noticeable do you think the L3T will let us achieve the Bose effect without the Bose price?  It'd be great for acoustic guitar-based shows but I would imagine this could work for electric guitar based performances as well - it might require a bit more effort to get a good volume that works for everyone...


For example:


Myself - lead vocals and mix of rythm and lead guitar - Line 6 L3T behind me.
Chris - backing vocals and mix of rythm and lead guitar - Line 6 L3T behind him.

Bass - std. Bass amp & speaker cabinet.
Drums - this is where it gets more complicated I think.  I haven't tried this type of setup but perhaps in a small small venue  just an acoustic performance and an L3T or keyboard amp with the outputs of myself and Chris into his for monitors.  Drummers usually want to mic at least HH/Snare and Kick - not sure what would be a good solution for that.


Maybe this is just a dream...



Re: L3t and HD500 together
by dboomer on 2012-07-17 17:30:27

There is no "Bose effect".  There is nothing different in those products that any speaker cannot do, case by case.

Feedback ALWAYS happens when the signal that is amplified goes back into any system at a level equal to the level it went in originally.  That is called "unity gain" and every speaker will go into feedback once this happens.  As long as you are below this level you don't have feedback, again with every speaker.

Now since the frequency response on microphones and of speakers is not perfectly flat you end up with some peaks that will cross that line first (in other words, they achieve unity gain first).  When that single frequency crosses the line feedback always begins as a single frequency sine wave.  The feedback manager in the speakers (and in the M20d mixer) are focused to look only for these non-harmonic waves that are rising in intensity.  When it finds one it drops a very narrow filter on that frequency with extreme accuracy and turns that specific frequency down (and almost nothing else).  Now that this frequency is taken care of you can turn the system up more until you hit the next one, and so on.  The more you fix the quicker they come so there will become a point where you are getting dozens at the same time and at that point you are sunk.

It is a very complex thing to predict because if you move the mic an inch or two the feedback frequencies change.  Of course the Line 6 feedback manager changes with them.  Please understand there is a fixed limit in every situation but generally you could expect a 6 - 12 dB improvement in what I would consider "normal" operation.  It is also very much affected by ceiling height.  The lower the ceiling the quicker you'll run into feedback and outdoors you'll get the max benefit.



Re: L3t and HD500 together
by MerlinFL on 2012-07-17 20:24:37

Since you brought this up, I once again am curious as there is nothing written or in any demo that answers this direct question qith a direct answer.

With the units built in feedback suppression notch filters, do they...

  1. Have a limit to the notch filters available before maxing out? - if the expected answer is yes, then how many filters per speaker or per channel if independent?
  2. What is the bandwidth of each notch filter?  You did mention the reduction range from -6db to -12db, but I'm interested in the bandwidth of each notch filter as well as the db level decrease.
  3. If you are familiar with the dbx DriveRack+ All in one FOH speaker controlling unit.  That unit has 10 notch filters per channel and covers up to six channels depending on how you set the unit up.  The feature I am asking in comparison to the filter function within the SoundScape speaker as well as the M20d mixer is the following...

The Driverack+ unit rotates the notch filters if they all get used up by dropping the least offensive feedback ( or no longer existing feedback )and correcting automatically to the next more offensive feedback point.  The unit does this automatically if set to this function.  At extreme high volume levels it is quite amazing how it can manage nearly all feedback once the unit is set up properly as well as the FOH speakers and amps.  This unit I have in my personal rack as it can also recall any settings from room to room and band to band.  I have also used it on all of my new PA rental systems and installation jobs.

I'm not trying to compare a very expensive rack unit to a powered speaker, but just curious how Line 6 designed this feedback suppression system in the speakers as well as the mixer.  And does the mixers feedback suppression via L6 Link add to or just supercede the speakers feedback suppression?  I'm sorry if all these questions are cumbersome and if you would prefer to take this private, please PM me.  I wanted to try out all this gear as a beta tester, but all tester slots were filled by the time I asked which was the day of it's debut announcement @ NAMM.

Thanks,

Neal



Re: L3t and HD500 together
by dboomer on 2012-07-18 08:23:44

I'm not trying to compare a very expensive rack unit to a powered speaker, but just curious how Line 6 designed this feedback suppression system in the speakers as well as the mixer

You should as the Line 6 system is more advanced and better able to determine actual feedback from other signals

The Line 6 system is dynamic.  It sets filters when it determines that feedback actually occurs at any given frequency and removes them  if/when the feedback at that frequency is no longer an issue.  There are 12 filters in the Line 6 system.  Most feedback systems look only at the loudest frequency in the band to try and determine if it is feedback.  The Line 6 system can look at the entire band simultaneously as the loudest signal may not be feedback but rather intentional signal.

The system in both the speakers and the mixer are the same.  It should work out better in almost all cases to engage the filters at the mixer where they operate on the inputs rather than dropping them on the entire output (but it's a small difference).



Re: L3t and HD500 together
by mmaddison on 2012-07-18 09:00:30

Thanks Dboomer for your info.  When I say "Bose Effect" I only meant that as in their push to have each artist place their own speaker near them on stage and use that sound for themselves and the audience.  I wasn't meaning they have some kind of magic

Whenever I've setup my traditional PA behind us on stage I've been very lucky.  We don't have any feedback correction.  Typically the only negative feedback we've had was from my acoustic which was easily dealt with on the guitar.

Last night I hosted a songwriter's event in my city.  I had the PA setup for people to share songs and so others could jam along.  I set the main vocals and one guy's acoustic guitar into the L3T on the other side of the room.  It was pretty cool as the mic moved all over the room and with the feedback suppression on there were 0 feedback issues heard.  I left it off for the acoustic guitar and we had some until I turned it on and after that none.  It sounded quite good even though the room is terrible for acoustics (Lots of glass, laminate flooring, cement).

Something I'm not clear on... if I have 2 L3T's and I hook them together via L6 link, do I still have both speakers available for inputs?



Re: L3t and HD500 together
by dboomer on 2012-07-18 09:25:58

Something I'm not clear on... if I have 2 L3T's and I hook them together via L6 link, do I still have both speakers available for inputs?

Yes.  Just run 2 AES cables from and to both speakers



Re: L3t and HD500 together
by MerlinFL on 2012-07-18 10:39:38

dboomer wrote:

I'm not trying to compare a very expensive rack unit to a powered speaker, but just curious how Line 6 designed this feedback suppression system in the speakers as well as the mixer

You should as the Line 6 system is more advanced and better able to determine actual feedback from other signals

The Line 6 system is dynamic.  It sets filters when it determines that feedback actually occurs at any given frequency and removes them  if/when the feedback at that frequency is no longer an issue.  There are 12 filters in the Line 6 system.  Most feedback systems look only at the loudest frequency in the band to try and determine if it is feedback.  The Line 6 system can look at the entire band simultaneously as the loudest signal may not be feedback but rather intentional signal.

The system in both the speakers and the mixer are the same.  It should work out better in almost all cases to engage the filters at the mixer where they operate on the inputs rather than dropping them on the entire output (but it's a small difference).

Thanks for the answers to my questions.  It might be worth the time for L6 to produce these facts in written as well as video promotional material.

Something I'm not clear on... if I have 2 L3T's and I hook them together via L6 link, do I still have both speakers available for inputs?

Yes.  Just run 2 AES cables from and to both speakers

And you answered another question I had thought of back during NAMM - if the mixers of each speaker can be combined.  If I've understood your answer correctly...would it make better/worse, or no difference to plug mics or any other inputs that you would typically want in a monitor mix and use the L3T speakers "as something like a in-ear monitor mix" for independent control by the performers on stage in addition or combination with a typical stage monitor mix?

In case my question is confusing...

  • Plug lead vocal mic into L3T in monitor mode on it's side on stage for vocalist to adjust their volume and EQ preferences on their mic only.
  • Then out via L6 Link with a flat and constant signal coming from the L3T to the mixer (kinda like setting a bass amp to pre-EQ XLR out)
  • And also have the ability via L6 Link to send back a monitor mix that still allows the lead vox to make adjustments without changing the signal to the mixer @ FOH?  Similar to in-ear monitor systems where each person can have their own level control in relation to the mixed monitor signal?


Re: L3t and HD500 together
by dboomer on 2012-07-18 10:53:11
  • Plug lead vocal mic into L3T in monitor mode on it's side on stage for vocalist to adjust their volume and EQ preferences on their mic only.
  • Then out via L6 Link with a flat and constant signal coming from the L3T to the mixer (kinda like setting a bass amp to pre-EQ XLR out)
  • And also have the ability via L6 Link to send back a monitor mix that still allows the lead vox to make adjustments without changing the signal to the mixer @ FOH?  Similar to in-ear monitor systems where each person can have their own level control in relation to the mixed monitor signal?

No .. it won't work in that fashion.  That requires a much more complex system with seperate buses/sends.  Even most dedicated monitor mixers are not capable of this.




The information above may not be current, and you should direct questions to the current forum or review the manual.