litesnsirens

LOL ....

Well I found a partial answer, which is more obvious for my immediate need which is on setup to just hilite Monitor B and then open the input panel at the top and tap the input C and let them swap. So now, I have Monitor B moved to Monitor C. Great!! On the other hand it doesn't look like there is a way to create a monitor scene or preset or some way to preserve monitor mixes, which for in ears could actually translate from room to room. I know that they get saved with the setup and possibly even the scene but when you swtich setups all the levels including mains and all 4 monitor sends are zeroed out. Not great, when you spend a bunch of time figuring the right amount of send to your transmitter. And then have to guess again without an actual db read out on the Monitor page. Even that would be helpful if I could get the mix right I would be happy to write down the exact db settings on the channels to my monitor mix. As it is you have to go into each channel deep tweak and then hit the monitor and it will show you exactly how much send there is from that channel to each monitor. Then you go to the next channel. etc. I put a posting on Line 6 Ideas page for a way to lock monitor mixes, just because another band member with an ipad not paying attention to which monitor mix he has selected can suddenly ruin your mix thinking they are fixing theirs. I got a -1 vote... LOL who would do that and then leave no comment?

I know I should just dig into the manual for this, so forgive me but I have a gig coming up again Saturday night and I want to see if I can take the monitor mix from Monitor B from this past weekend and copy and paste it to Monitor C, so that I can have A and B open for creating a stereo pair. We were previously using one monitor mix per person but now my other guitar player and I are going to share a stereo in ear mix and he was previously on Monitor C, I'm on A. I don't want to disturb the bass player's monitor mix on B, just want to move it to C exactly as is. I figured I would post this now as I go hunting myself for the answer, that way if I don't find it by Saturday, someone may be able to answer. If I do find it I'll answer my own question and post it up here for future reference by other users.

I think another thing to consider with instruments is that there is a difference between the type of feedback you get with a microphone squelch and an actual note of an instrument feeding back, such as a guitar note. When you hear a mic feedback it truly sounds mono tonic like a sine wave. I've had more problems in he past with any system trying to tame a low G, G# or A on an acoustic guitar. But that to me actually sounds more like the guitar note itself building up including harmonics which is going to be far more difficult to tame because its far more complex and the M20d really does thin notches so that it has the least amount of effect on the overall EQ of your mix. When drums ring and then feed back I suspect it's the same sort of thing, more complex than a typical mic. As Don points out you need to use less aggressive FBS settings for instruments (universal) or you'll get some weird side effects happening. For the acoustic guitar issue I would try using the PARA EQ to try to tame it... They tend to be too boomy anyway on he lower strings. Depending on what notes are actually feeding back either notch them (likely somewhere between 185 and 220hz) or even try a gentle shelf EQ from 220hz down and lower the whol range til you get a nice even sound, which should help deal with the feedback as well.

Do you mean for talking to the audience between songs? You can create two scenes one with the effects disabled and then just use the footswitches to toggle between the two scenes.

You need an Apple ID in order to download even free apps (like the stagescape app) and regardless of whether you give credit card inof or buy any apps from the app store, you will always need a password for your apple id. I understand your aggravation but you'll just have to go with your previous plan and come up with a password that is easy to remember and type in. It shouldn't bee too much of an issue as it will only be required when you get another app or update your current apps.

do you mean the password to get into ipad or iPhone? I don't have a password on either... If you are talking about when you purchase something from the app store... you have to have that our other people could just get your user name and start buying a bunch of music and apps on your app store account.

I have both the older one and the newer one I tested the older one before I bought the newer one. They both work. The single ethernet port on the older one must serve dual function.

I think this is the point of making it a stereo pair, then C controls both sides. That way you can make volume and EQ adjustments etc.to C and it will affect C and D evenly. As far as unplugging setting up and then plugging in, I have to do the same to get it to work. I guess it's just the way the firmware works at the moment.

At the end of the day how can you go wrong with an iPad. They are great devices, tons of apps, I'm always excited to get a new iPad. Personally I got the mini not because it was cheaper, but I actually wanted something smaller to put on my mic stand and something smaller to carry and hold. The actually screen size is only 2" diagonal smaller but the borders are far smaller so less wasted space. I love it.

Sorry, bad autocorrect, "as well"

I'll have to do more testing to answer that. If not a workaround might be to not stereo pair your guitar and then set up a small sub group for the guitar. I another thread Arne says that you can make monitors send stereo pAirs and that they use the pan if the mains. He also agreed that it makes sense for monitors in stereo mode to have their own panning, maybe god idea for next firmware release.

I use the mini... Works as week as it's larger counterpart.

I'll have to mess with it again, do I have to set the panning in the main mix before I set up the stereo pair. Adjusting the pan in the stereo mix didn't seem to do anything when I tried it out.

Actually the thing that I can't seem to find when doing this is being able to pan instruments in the monitors. There isn't much point in setting up a stereo monitor mix if you can't pan individual instruments so I'll stick with my other method. I guess it's good if you already have all stereo inputs? I assume that this would translate that way, but I'm not sure. Even if I pan an instrument in the main mix it doesn't get panned in the linked AB monitor mix, so either I'm missing something or there has been a bit of an oversight on the usefulness of this feature. Maybe a future update? Add pan control for stereo monitor mixes.

Whoah, this is good news I didn't realize I could do this. I just posted in another thread about how I was able to set up a nice IEM stereo mix using channel A and B and just adjusting the levels to each channel. I'm going to have to look into this a little more it may make things even easier.

OK I tested out my stereo headphone theory with my IEM using channel A and channel B into my sennheiser ew300 iem system (which I just got BTW). My report is my method works perfectly. Channel A is everything I want into the left side Channel B is everything I want in the right side. Then I just play with the levels that I send to each monitor mix. If I want Bass dead centre I just send the exact same level to both channel A and B. If I want my guitar a bit to the left I just send more of my guitar to channel A and less to Channel B and so on until I have the band completely mixed in stereo in my iems. As it was just a theory before I tested it out, I figured it would be more cumbersome than it actually turned out to be. It was actually quite easy to do and as I said before instead of setting levels and volume separately your just setting left and right volumes separately so it's kind of a wash. I actually didn't realize how nice a stereo in ear could be I think using stereo you could share a mix with more musicians. In fact the mix I set up I'm sure my whole band would be happy with. Panning the voices just slightly and the guitars a little off to each side it's really easy to pick out each instrument and voice in the mix. So I think if you are going mono you may need more separate mixes but if you are going stereo, I can't see needing more than a couple. I'm sure if I wanted for my band I could make two stereo mixes one that's a little more drum and bass heavy for those two musicians but really I think they would be happy with the mix that I listen to, you can hear everything very clearly, and really don't you want to hear everything so you can play off each other? With that on mind it might be a simple solution to just get more belt pack receivers and then everyone can share the one mix. I must say having messed the the iems a bit, I'm converted... I love it...

Well yes you could it would just be that you would have to turn two volume knobs instead of one pan knob. It wouldn't be as clean and elegant but you could do it. So as previously stated you have monitor A from the M20d to the left input or your IEM transmitter and monitor B to the right input of your transmitter. Then from Monitor Mode on the M20d, touch the first input, say lead vocal mic, tap monitor A and turn the volume of the lead vocal up then tap monitor B and turn it up the same amount. Then you will have the lead vocal panned to the centre. Then let's say you want guitar 1 panned a little to the left. Tap the input of guitar 1, then tap monitor A and turn the guitar up to say 60%, tap the monitor B and turn the guitar up to say 40%. That guitar will now sound like it's panned a little to the left. If you need it more or less play with the levels in monitor A and B until it's sitting the way you want. So you are essentially setting the monitor level in your IEMs at the same time that you are setting the panning. So instead of setting the level and then the pan (two knobs) you are setting level A and B (also two knobs). This admittedly will feel a little clumsy but once you have the entire band panned and levelled the way you want in your IEM monitor mix. You can save it and likely not have to tweak much at future gigs, since the IEMs block out the outside sound the room will have far less impact as you go from room to room.

Well that's always the case, and when you listen to stereo there are lots of mono tracks that still get panned to some degree to one side or the other. So if for instance you want the vocals straight up the middle equal volume from Monitor and Monitor B. Then you can pan any of the mono instruments slightly left or right just to give a little separation until you get a mix that is comfortable for you to perform to.

But if you used two monitor signals, say monitor A and B, into a single transmitter, wouldn't you be able to use the volumes of each instrument into Monitor A and B respectively to create a stereo mix in your in ears?

They are tri-amped speakers. The top speaker handles the low end, then you have the horn and the bottom speaker handles the midrange. So depending on the patch you had up in your eleven rack, it may have been primarily mid frequencies which would explain why most of the sound was coming from just one of the 10" speakers.

I think one issue might be the way the SD card sits in the slot. There is a spring mechanism but it doesn't lock the card in place. In other words you don't need to push down on the card again to get the card out of the slot, you can just lift it out. So conceivably the card could lift from being seated properly just from vibrations. Which would be the same as lifting the card out before the recording is stopped. I've been lucky so far with my recordings, and I haven't tried recording to a usb drive. so i don't know if it's any more robust than the SD card.

The same thing happened to me when I first got the unit I'd be interested in knowing the correct procedure as well, just in case there is another firmware update.

I picked it up a couple of days ago. I used Logic for 4 years and then switched over to Studio One. For the price this is quite the release. I am used to using melodyne but Logic's version is very intuitive to use and delivers great results for tweaking. The drummer is pretty cool. Some of the updates to the plugs are really good as well.

Well when you say feedback was creeping in. The FBS isn't going to fix anything under those circumstances. In my experience with this board it needs a solid feedback signal to occur for a couple if seconds in order to identify it as feedback and then notch it out. That creepy feedback that is just kind of on the edge as you sing can't get picked up in this manor. That's why whenever I can I go into the room I'm playing when there is next to no one there and ask if I can ring out the room for a few seconds. Then I make sure all the mics are live, crank the volume up past where I intend to have it for the show, and slowly bring it up til the system starts to feedback. I let it do it's thing, 1 by 1 identifying the frequencies and then silencing the feedback and then I turn the volume back down to playing levels and I don't have to worry about it anymore. But don't turn off the m20d or you'll have to start all over again. I've made a feature request to be able to save FBS settings with the setups or presets... still waiting on that though.