ColonelForbin

Here's my take on that; I bought a used DT25 head and cab with the intention of letting my buddy who plays guitar in my band use it when we play live. He uses analog pedalboard type rig, no POD. I have a DT25 combo, using the L6Link POD route. For his rig, looking for a decent dual latching footswitch, so he can use the A and B as a two channel amp. Now, we were thinking it would be cool to load up four amps on typology I-IV on the A side, and four different amps on typology I-IV on the B side. Kinda, A is rhythm and clean, B is lead boost, etc. He would have to manually toggle the typolgy settings between tunes, but definitely some cool options for reconfiguring it in standalone mode for pedalboard use, when not linked to a POD. And, you can switch up the reverbs, so that is cool too.

On a side note, they (QSC) included pitch correct with the onboard fx.. not judging, it can be good, or bad, depending how you work it! just interesting. I would imagine that is a DSP intensive effect. "Curious! Very curious..." -Mr. Ollivander

Meanwhile, Musicians Friend is now running the price for a new JTV69 sunburst at $899.... http://www.musiciansfriend.com/guitars/line-6-jtv-69-variax-electric-guitar And Sweetwater is doing the black JTV69, new, for $748! http://www.sweetwater.com/store/detail/JTV69BK

lol, just saw this comment from Don Boomer- I guess I was already wrong about 12 being the limit for mic inputs!! "dboomer Actually you currently can input 16 microphones. The 1/4" inputs are balanced and can accommodate mics ... phantom power is not available on these inputs however.

I hear ya, not trying to be dismissive of your original post! :) Good point, well said... Some things, regardless of being broken, or not, can stand to be improved. To a certain degree, my use of this mixer has not utilized it's full potential to the extent that, I don't (yet) find myself yearning for it to do more than it already can. The 12 XLR limit is something that can't be altered by firmware, and that is quite frankly, it's greatest limitation. I happen to use mine with a four piece often with only one vocal mic, and due to budget constraints, I only have two monitors.. Obviously, six or eight monitors, not gonna happen with firmware.. It's second greatest limitation is only having four monitor sends! I literally just sent links with a bunch of YouTube videos to our soundguy, to try to entice him into wanting to learn up in this thing so if we need him for a show where we use my rig, we can hand the reigns to him, and let it rip! I have used it to mix from stage, and I run it at rehearsals, it's done what I want and need it to do. Call my needs 'simple', and that would be accurate. But I will take the time to read up on those suggestions, and look at it from beyond my own 'simply satisfied' approach.. I would guess, if I was trying to use it for someone else's band, with more vocals, and more players, I would run into those limitations *way* sooner! Anyway, my 'broke / fix' comment was flippant without much thought to the original intent of the post, and was not intended to be construed as negative, though I can see why it came off like that. Cheers! :)

"If it ain't broke, don't fix it!!!"

yeah, I hear ya! I just turned 42, and lifting things too heavy for me sets off back problems and multiple chiropractor visits. I need to get in better shape so I can survive gigs! that was my thought process, the L3m are relatively heavy, definitely don't need to be hoisting those overhead and risk back, neck, shoulder injuries. will scope out the crank up stands!

good question! in theory, it should ignore it.., but I have the same concern., on my mixer it sets up the phantom power across XLR inputs 1-6, independent from 7-12, so I make sure the mics that need phantom power are not in the same group as any of the direct signals, coming from the DT25's and the bass DI

I think they are all guessing at this point, most likely trying to estimate the west coast port backlog

wow! it says they are 12lbs each, 24lbs for the pair would be hefty, considering the typical weight of a speaker stand is much less I'd guess

you can use it to send to DAW, multitrack. and you can play from DAW through M20d. However, as 66d35 mentioned, in terms of both I and O while tracking, latency!! meaning, you can't do both at once, in terms of playing existing track from DAW while recording new track to DAW, without bad latency. recording live with the USB streaming to a DAW should work, but seems like it would be easier to just use the onboard sd card.

nice score! the DT25's are pretty cool, I started with one of the 1x12 combos, then added a second, for stereo and dual amp models. just to clarify, you also have an HD500? for now, leave out the MIDI. make a blank patch. start with one amp model. put a ping pong delay after the amp model mixer section. connect line6link from the HD500 to the first DT25. connect link from there to second DT25. in the HD500, go to the l6link settings, and make sure to assign Left to DT#1 and right to DT#2. you should now have stereo, turn on the ping pong delay to test. from there, if you want dual amp models, pan them left and right. keep in mind, regardless of panning, when you have two amp models going to two DT amps, the sync behavior still assigns the typology of each amp model to each DT. the panning only impacts the signal chain, fx, preamp. if you want two independent channels, one to each amp, put ALL fx in each amp model section BEFORE the mixer block. I run the FX loop in stereo after that point to add post stereo effects. with a single chain single amp model you can also do wet dry. set in the link page one DT to get the left right sum, and the other to get only the amp model. that sends before mixer block so any post effects are routed to only one amp

Hmmm, will check the specs! thanks! They are also $150 each!! x'spensive

Sweet! I think that's the one I had my eye on, will take a closer look., thanks!

How does the Netgear hold up compared with the 'recommended' Apple equipment? Feeling like some version of this feature is the 'next step' for me with this rig!

Scoping out some speaker stand options; the assisted lift / hydraulic stands look appealing. Any specific brand I should look at?>

Somewhat related here; anyone have a good recommendation for a stage snake to use with the M20d? Does anyone find that useful and/or use one, or do you typically just keep the mixer on stage? I was starting to scope out some 12 XLR 25' to 50' length stage snakes, and they are expensive! Mostly thinking in terms of when my band uses our own gear, but have our guy doing sound for us, so we can run a snake to the side of the stage, or somewhere reasonable for him to access the mixer, without having to daisy chain XLR cables to get all the way to the mixer. I like to mic everything, and run it all to the mixer whenever possible, primarily to get a decent multi-track recording on the M20d. I have a decent set of Audix drum mics, which makes it pretty easy! And as of now, my band is only a four piece, at most only three vocal mics - but usually only one vocal.. When I only use one vocal, I typically just add more drum mics; tom-tom clip ons or a snare under sometimes. So I have some flexibility. Looks something like this- 1.) guitar 1A (lead electric) 2.) guitar 1B (lead acoustic) 3.) guitar 2A (rhy electric) 4.) guitar 2B (rhy acoustic) 5.) bass 6.) vocal 1 7.) vocal 2 (or drum mic) 8.) vocal 3 (or drum mic) 9.) kick 10.) snare 11.) overhead L 12.) overhead R (I put all the drum mics in 7-12 so I can activate the phantom +48v power on those mics, and not on the signals with direct XLR connections - which in this case, is all four of the guitar signals.) Seems that vocal mics that don't need phantom handle it better than direct / DI signals that definitely don't want it.. At least one of the vocal mics does require phantom power, so that works reasonably well. I found these; comparable priced snakes; not sure I need the four returns, but can't hurt - right now using a pair of L2t's for our stage monitors, and a pair of L3m's for the mains - but I could see using the extra XLR returns for in-ears or some other non-L6 powered stage monitors.. 50', 12x4: $160 http://www.zzounds.com/item--MUPHWSNK?siid=102767 50', 12x4: $200 http://www.zzounds.com/item--PRCSTAGEMN?siid=106094 25', 12 only, no returns: $270 http://www.sweetwater.com/store/detail/Mini12-25 50', 12x4: $150 http://www.musiciansfriend.com/accessories/musicians-gear-stage-snake/j12018000001001 I already have a newer iPad, so "option B" is fairly obvious - get an Airport Express for less cost than any of these snakes!! I have been somewhat reluctant to utilize that particular aspect of the M20d, and I don't really have any good reason for my hesitation.. I suppose the idea of handing our soundguy an iPad is still probably more attractive than getting a big, heavy, expensive snake..

I am wondering if the delay is more due to the west coast port issues? I know they ended the strike, but I think the backlog remains. I think this same delay is also hitting their brand-new Variax Standard; which was due out in March, and is now being pushed back to end of May or beyond..

I think of the Firehawk as more akin to the Amplifi, as to the HD. Bluetooth with a merging of some of the HD models, and most or all of the XT X3 models.. It has no L6link, so that killed it for me. I have three DT25's so.... As for Bluetooth? Meh. Not for me. Cool idea! But no dual amp model patches. Another no-go for me. As for porting non HD models, since the Firehawk doesn't do Preamp only versions, it's intended target veers well away from HD land..

Bummer!! I have been interested in the G70, haven't put the funds together for it yet

Two months?? whoa.. I also bought my M20d from Sweetwater, the two year coverage made the decision easier.. Unfortunately I bought mine before the price drop.. That being said, after Sweetwater replaced my first unit which was hardware defective, the unit I have now has been flawless. Looking forward to putting it to use for gigs this summer- recently added a pair of L3m speakers to the rig. Bought the pair of L2t last year around the same time as I got the M20d. I guess the question being, what do *you* need it to do? -Are four monitors sends enough? -Are twelve XLR inputs enough? -Do you intend to use the Line6 link -feature, as in, with L2 and L3 Stagesource speakers?

Quite simple actually, Apple is the only person making Apple hardware. As for Android, there are a plethora of different operating systems under the guise of 'Android',and just as many DIFFERENT companies making the hardware. Zero consistency between Android by HTC, Android by LG, Android by Samsung, etc. As for the comparison to Windows, while there are many vendors making Windows hardware, again, ONLY Microsoft makes Windows software. Take a look at all the stupid variations on Android... Too many to count. Lollipop, Ice Cream Sandwich, Jelly Bean...

vaguely related post here, check out this lefty beauty!! https://reverb.com/item/655242-gibson-les-paul-custom-1981-tobacco

You can do what want, but you will need to spend some time programming it. Not all of the FX will need the same range. Basically, get your wet set, and note the top end of how you set them, IE, reverb at 35% mix, delay at 27% mix, etc. When you program those values to the EXP pedal, set the minimum to 0, and the max needs to be set individually to each FX. Not all FX have standard 'mix' parameters, so you will need to get creative. The suggestion made previously about using the EXP to slide between two different signal chains is probably wayyyy easier!

Nice!! Sweet preamp.. Seems like you would want to run the UA in front of the POD? Maybe even make some recording patches so you can capture the 'dry' signal of just the UA to the left side, and the processed POD signal to the right? POD sends stereo to the recording, but you can treat it like a dual-mono situation.