Rewolf48

:rolleyes:

I did also try it with just a single link and using the RCA input and the speaker went into L+R (on the display) as soon as it was turned past a certain angle. The obvious option I suppose is to simply forget L6 Link and take L and R XLR's or 1/4" to the speakers separately. I get Global EQ that way which doesn't work on L6 Link, but so far I haven't felt that I needed Global EQ while using L2t as a floor monitor. Which is funny because I was desperate for Global EQ with the old speakers

Nuclear isn't that cheap - it is subsidised in the UK: we the public have to "top-up" the price paid to the nuclear station to double the current open market rate just to get somebody to build and run a station for 35 years, which according to reports means that we will pay $17B in support (additional to what is honestly earned) for a power station that only cost $16B to build. Thanks to our "National Grid" we do have a choice of Suppliers, the Big Six of which are being being criticised for over-charging according to our Competition and Markets Authority because "choice" just means choice of who you give your meter reading to so that they can charge you too much anyway!

I thought that Paul Hindmarsh was a demonstrator through Line 6 UK; an organisation that no longer exists having been incorporated into Yamaha UK and subsequently "rationalised". There is certainly equipment appearing that is "Line 6 UK demonstration" on second hand sites. Maybe Paul Hindmarsh is no longer working as a demonstrator for LIne 6? Perhaps somebody from Line 6 could confirm this before we all pester the hell out of a bloke who has been made redundant?

I wasn't intending to criticise - I grateful for any help. The one thing that I haven't tried is whether connecting to the HD will allow it - it might behave differently with a master device rather than peer to peer.

One part is that the mixer has "character" that it adds to the signal - it EQs the signal, typically with high and low cut thus effectively boosting the mids even when the EQ is apparently set flat. The other aspect that I alluded to in point 3) my first post on this thread - gain staging. The XLR output of an HD500 is quite quiet - even when the HD signal is right up at 0db (maximum possible) the output is only microphone level, but if you try to keep the signal neutral along the hd amp+effect path the signal will be around -12db to -18db. The input level on the K12 needs to be balanced with with output level of the HD, the mixer provides additional amplification so the input to the K12 is much hotter - on my old speakers I think there is some FM compensation that doesn't work properly unless the input was at the right level. I have never used a K series, but using L6 Link to a Stage Source it isn't a problem because I think the full digital signal is passed along with a volume control setting that the Stage Source respects rather than the HD attenuating the signal. (the Master Volume knob on the HD controls the gain of the analogue output stage so it can't directly impact on the L6 Link).

Good guess... but not quite I did some experimentation now I am at home and this is what I discovered: On their sides they are in "b" L+R no matter what you do in terms of speaker mode or connections or powering up sequence. So it appears that without an M20d you can't change this [damn - I know somebody with one for sale for a good price, but I can't justify a mixer when a mixer isn't needed] When vertical it is different: If only a single L6L cable is used the From Speaker always is Left and the next one Right (as per the manual) If a L6L loop is created, then the first speaker powered on appears to be Right and the other Left What I don't appear to be able to get is a Left Floor Monitor and Right Floor Monitor because turning them on their sides puts them into L+R which I haven't worked out how to override. As I see it I can: 1) Live with it and only expect stereo as backline or when on poles 2) Use an analogue connection (how archaic!) 3) Perform surgery and see if the orientation sensor can be disabled in some way so that they think they are vertical all the time Any better ideas?

Matrix are highly rated on the Axe FX and Kemper forums: http://uk.matrixamplification.com/q12-active-monitor.html And they are quite local to me at about 20 miles away. Unfortunately also higher than my budget and I wanted a floor monitor option so I have Stagesource L2t

After the success and great sound of a L2t with my HD500 I have gone mad and got another on the theory that I might have some fun with stereo - especially when using my Motif XF keyboard as well. So last night as soon as I got home I was testing the L2t as a stereo pair with a closed loop L6 Link placed on the ground (because my old speakers are on the stands and I haven't had a chance to shift them yet) and it sounded quite good from the iPod, except it was a bit bass heavy due to the floor, so I tried turning them on their sides as floor monitors and lost Stereo. I do appreciate that the Quick Start Guide does explain that when put on their sides that they go L+R (displaying "b"), so the behaviour is not unexpected. Is there any way to set a specific speaker to be "L", "L+R" or "R" irrespective of mode (such as Floor Monitor) - and even if that is not possible how do you define L and R correctly if you have a closed loop pair because I got it wrong and couldn't see how to change it. It would be quite cool to have the pair as stereo floor monitors but that appears to be only possible if they are fed an analogue signal independently.

I was chatting yesterday to an ex-employee of Line 6 who used (before Yamaha) to repair HD500 and other kit. He said that when the switches start becoming a bit unreliable that you need to act quite fast to avoid damage and that (out of warranty obviously) you should remove the inner plastic bits from around the springs which apparently helps to make the click noise as that causes the problem - without it spring pressure alone triggers the switches on the board and the switches are virtually silent. I haven't had a chance to open my unit up (it has two slightly reluctant switches, but I program around them) but if I am feeling brave I might have a look...

Do you wear stilts or something? I would have thought your head needed to be on the floor above just to see the display of the Pod!

That is a solution that I found worked quite well with my old FBT speakers - going through a really old Samson M9 mixer that I have rather than direct to the speaker changed the character of the sound for the better even when everything was "flat" - it is something worth trying especially as this will allow you to apply some EQ. While better in a studio situation it was no good for my live rig as that was another power supply, set of cables another box to locate where it wouldn't get kicked etc.

Lots of possible reasons: 1) The HD patch was tuned for a speaker of one sort or other and naturally sounds best on a speaker closest to that in response - use an empty patch and add a single Full Amp model that is the one you are most familiar with. Be aware that some people think the K series are a little harsh at the high end, and that having resonance DEP at the default setting may exaggerate this. 2) Different volumes - it is a sad fact that the human ear is fooled the majority of time into thinking the loudest is the best (as long as it isn't noticeably distorting) 3) Gain staging - hit the speaker with a hot signal and low speaker volume and it will sound different to a low signal and high speaker volume even though the resulting volume is the same - had this problem with my old ones - I was doing the latter and the result was rubbish at stage volume. There is hidden processing going on with these speakers that also comes into play. I suggest hitting them with as hot a signal as you can from the HD without overloading the inputs. 4) Different placement - the test is only valid if each speaker is placed in exactly the same position in turn. The speaker is not in isolation, it is in a room and therefore some parts of the sound will cancel out with reflections of walls, floor, ceiling depending on position, plus being on the floor as a monitor, on the floor standing as backline or placed on speaker stands all have an effect. Use the biggest and deadest room you have or go outside to eliminate Room Modes that completely ruin your perception of the sound, and put them on stands if you can. In the end the general aim is to have as neutral a speaker as possible so that the same HD output can go to a PA or recording set-up without needing a large amount of EQ to fix, and which is loud enough to accurately represent the models at full gig volume. That doesn't necessarily mean the one that sounds best in your home studio because you will be really unhappy when it doesn't work elsewhere. The Stagesource L2t I now have is wayyyy better than my previous 'best 10" PA Speaker in the shoot out', and is cheaper than the K series (at least in the UK) - I really recommend trying it.

I now have an L2t that I have used in rehearsal and studio, sensible volume in rehearsal room where it just sounded so great compared to my previous speakers, and the patches that I had spent so long getting to sound right just needed the parametric eq removing and some resonance added back in. Had it really loud in the studio when recording the solo as the producer wanted the guitar to be feeding back but with low preamp gain. Was only 12 o'clock on the speaker and 4pm on the HD master over L6 Link, and the modelled amp volume as neutral, so plenty more input available, but there is no way that I would have any hearing left if I wasn't wearing protective IEMs (don't like the weight of over the ear headphones). I would say that it probably keeps up with a 50W valve amp - certainly the 2x12 combo I used to have. The spread is great - it is louder right in front of it, but it sounds exactly the same anywhere in our rehearsal room (floor monitor position). As for the low end that I was worried about - the L2t has plenty for standard guitar - it may not quite work for a bass or 7 string but I am sure a L3 would. A DT might sound a bit better, I really don't know, but for my purposes L2t has triggered a bit of GAS; I want another one... just got to sell the old speakers and I will be allowed :)

:o Nnnnnooooooooooooooo !!! :( No problem silverhead, I've done that myself when scrolling using a touchscreen - dragged my finger down the side of the screen and hit down vote by mistake. It is something that you should be able to change, but from what I can see that is only possible if you can get to the underlying database and delete the vote row which is way too much trouble for something that doesn't really mean anything. [You could always vote this one up to cancel out the mistake]

WRT the solo boost - I use a Tube Comp but I use Exp 2 to control the Level of the Tube Comp - from 0 to 25, I use a variety of picking styles from the gentlest finger picking to hard plectrum strums and get a wide variety of tones that way; even on 100 threshold the tube comp is doing quite a lot of levelling and being able to control the output level means that the gentlest picking can be used for the Solo while the hard strums fall into the background. Your style will of course vary - and our band does play acrss a very wide dynamic range

The most obvious way to do this is to link both L3t together using L6 link creating a stereo pair, and then connect the HD in stereo to the mixer inputs on your local L3t using XLR. The position of the sound will be defined by the Pan on the HD - if a single input is used the it should come out of both speakers equally. Or at least that is what the manual says for the "Small Club Duet" scenario

We I have to be fair here - the dealer did come good and I got the exchange to a new unit for the price of the bag, it arrived just before rehearsal last night so it got taken out right away with no time to tweak any patches. I am gobsmacked, the difference compared to anything I have used before is amazing; all I did was to remove the parametric EQ after the amp and set it up as 60 monitor. The sound was so clear and responsive it really felt like a real amp going clean to breakup smoothly; and it sounded the same everywhere in the room just a bit louder on the direct line. This is exactly what I had hoped the Dream Rig would be like - the rest of the band were really impressed. And just in time as we are recording this weekend. If anybody is doubting whether Stage Source speakers are worth getting, then I have to say that they are, and that unless you really need an extended low end that an L2 has plenty for most purposes at reasonable volumes. I will have to tone down some of the effects because they are coming across stronger that I had thought, but I really should have done this ages ago; now I am just going to have to sell the old speakers and get an L2m to got with it giving me stereo!

:angry: Really not impressed - the Dealer; let us just say it is a big name in the UK based in Guildford, name begins with A and ends with TON which often does big video reviews on the net has turned out to be completely unimpressive when the item turns out to be faulty. I had heard this about them from other sources but never had a problem before. Obviously I want a working speaker as soon as possible, but all I get is "sorry we don't have any more B stock. What do you want to do?" Err.. how about laying out my options for me? I can return it or perhaps you can do some sort of exchange to get me going as soon as possible? You know that additional money of mine you have also taken for the speaker bag that you are not expecting to deliver until October, how about cancelling the bag and using it towards the difference between the one I have and a brand new one? So I get a new speaker in a few days for a total discount of £25 off the £535 bill (4.6%) as a goodwill gesture. It is not much but a disappointed customer, having to wait in all day because the email telling me when the delivery slot will be doesn't arrive until 10:45 when obviously I am committed to taking the whole day off work only to have the actual delivery after my normal time getting home, only to discover that it doesn't work within 3 minutes of the delivery van disappearing, perhaps might need slightly more than a token "sorry". Their suggestion is that I return it to them so they can forward it to Line 6 Service (who didn't notice that the speaker didn't work after they "repaired" it last time) and then in maybe 3 to 4 weeks I can get it back after it is repaired. As in I accept the faulty item from them as good thus relieving them of all responsibility and then I can get it repaired under warranty and maybe I will have a working speaker a week or so after I really needed it (which they know) while they bank my money and presumably laugh all the way to the pub. And if it is still faulty I should do it all again until it finally works. They will do an exchange for new, but only if I pay the full difference in price because don't value you as a Customer or have any consideration for the inconvenience. Fortunately UK Distance Selling regulations mean that even if you deliver a perfect item I can return it because I didn't see it before I ordered it, and items that are faulty when opened are also returnable no matter how purchased, the problems only really start when you follow their advice and accept the item. Needless to say it is going back, the bag order is cancelled and guess who has just lost the replacement L2t, bag and planned L2m, bag and Helix purchases. Not that Line 6 come out of this in a good way at all - if you send an item as repaired to a dealer to sell as B Stock then surely you test that it actually works to full factory QA specifications - like testing that a PA speaker can be used at volume?

I wasn't quite sure either, but the discussion is right in that there never has been a really good explanation of them all. Personally I always look at Master DEP which is often higher than I would ever use, and Hum especially on that Champ model where it needs to go down a lot

A quick update - I spotted a "repair with tatty box" L2t from a major UK retailer for a good price and jumped - after all if Digital Igloo uses an L2t then it is probably good enough right? And it was probably for the rattly fan issue, and as a repair it would have been fully tested so no chance of failure, and if I didn't like the way it sounded I could always return it because it was distance selling. Unfortunately I haven't had a chance to find out what it sounds like properly as out of the box it has the Limiter Fault: play music at very modest volume (using RCA inputs from an iPod set to low volume) and within 10 to 20 seconds the sound cuts out completely, the limit light comes on fully (solid red on front) and the fan comes on full. Same as: http://line6.com/support/topic/728-l2t-misbehavior/ and http://line6.com/support/topic/11519-l2t-starts-limiting-after-few-seconds-overheating/ What amazes me is that if this was a repaired unit how did a fault as obvious and easy to spot get though post repair testing? I mean surely any test must involve actually playing some music for more than 10 seconds? The little I heard sounded quite good - much more mids than my old speakers, just got to hope that I can get a replacement within a few days - I have a big gig in 3 weeks (for me anyway) and can't afford to wait.

I would add to DarrellM5's post... You can use your HD500 for this if you have one: Set up a patch with a Full Amp and select No Cab. Attach some FRFR monitoring solution to the HD500 or use headphones Connect USB to Computer and set up your DAW (Reaper?) so that Inputs are from HD500 and Outputs are to HD500, Set USB Hardware monitoring level to 0 (very important this turns off the direct path in the HD500 and routes everything via USB) On a new track set input to be HD500, add LeCab2 VST and arm so that you can monitor the audio on the track. Open the LeCab2 VST editor and load 1 or more IR's The audio path should now be: guitar -> HD500 [Amp] -> usb -> DAW [LeCab2] -> HD500 -> FRFR There will be more latency than you are used to, but it is a great way to play with the concept of IRs Personally I found that if listening over headphones (HD500) you could get an absolute wall of sound by using 5 or 6 different IRs (same Cab different mics and positions), but when sent to my lower quality PA speakers the extra detail didn't come across well enough to justify using it.

The MIDI sockets are 5 pin - you can see that on the main video, so no power over MIDI

If it helps... I am a complete amateur but what I do is to place a Tube Compressor last in the chain (100% threshold) with an external Expression pedal tied to the Output level and varying between 0 (neutral volume) and 20 (about double). At live volumes a bit of compression doesn't cause significant problems and it means that the patches have a degree of levelling applied that also copes with me changing from light to aggressive playing, and when the volume goes up as it often does during a gig I have the ability to go up with it just by rocking the pedal.

Yes IRs do sound like they act like filters, but unlike eq they have a time dimension and while they are not synthesis (replace the source) they are widely used for simulations - HD Cab and Mic combinations are IRs but with various effects and controls wrapped around them; the guitar simulations in JTV and the Acoustic Body on Stagesource almost certainly include and element of IR in the process.