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i use my l3t as a full range pa for percussion, bass, vocals and guitar so always have it set to reference/pa mode. in theory you you should set your l2t to electric guitar mode and connect the hd5oox via the L6 link. but i would also try some other modes, especially pa mode. also try running the hd500x line outs directly into the l2t inputs and check out if it sounds any different to using the L6 link. there is no short-cut to finding the sound you want and only your ears can decide that. what is optimal for one can sound like cr--p to another and if you've ever done any recording you would realise how processing/effects can make guitars go from sounding ordanairy to great.also try different cabinet/amp settings in the hd500x as this can vary the sound quite markedly.the easy answer is there is no best setting 'coz if there was we'd all sound the same wouldn't we..............and we don't want that!

i use an L3t and im pretty sure you will find that is effectively exactly what you are after- an L2t with a small sub woofer. i use it to put vocals , guitar, bass, kick and snare thru and it handles it no problem and i'm quietly confident that even though i haven't tried it personally that it would handle electronic drums easily. i have used it using a looper with its on-board drums and other percusssion layered over the top and it handled it easily and sounded brilliant as well. i have seen a web site that i think inadvertantly had a pinpoint presentation from a trade show up-loaded onto its website and in 2014 we're getting an Lt1 apparently. it appears to be an l2t but with an 8" speaker but all in/outputs and processing seem the same and it's 650 watts. keeping my fingers crossed that we see it sooner rather than later

hopefully i'm opening a can of worms here. just bought my first l3t and while i was waiting on delivery i was surfing the web and came across a german site that it appeared had inadvertantly posted on their website a pinpoint presentation from a trade show- and down the bottom was -------Coming in 2014 the lt1. Appears to be the same as an l2t except it's only an 8" speaker and 650watts no other information about it but visually it seemed to have identical input/outputs and processing as an l2t. I do a lot of coffee house gigs and although i'm loving my l3t an lt1 would probably be far more suitable in terms of portability in many cases. does anyone know anything more about these or when they will be available or even better can some-one from line6 come clean. i reckon the cat's already out of the bag.

had my first hit out with my duo partner me on vocals/ guitar and him on bass. i use an jumbo acoustic strung with nylon strings ( i like the way it sounds so stop your laughing } into a digitech rp-500 and yes i use all the overdrives, delay,reverbs, wah etc. Percussion is a boss rc-30 looper using the on-board rythms as well as tambourines , hand-claps, spoons , shakers,beat-boxing and what ever else we can hit that makes a sound ,layered on top.the bass player uses an old-school 80's ibanez musician bass (think Sting) DI out of a roland cube 30. the roland's only purpose is as his personal monitor and the volume is turned really low. the l3t on the other hand is cranked really loud. as stated in my previous post i can't understate the clarity and purity of the tone. obviously at the levels we played at with normal speakers using an acoustic with overdrive would lead to barely controllable feedback (but you learn a few tricks on how to minimise it ) but the thing i found super impressive with the l3t was that i could hear when feedback was building and could hear it being killed off by the feedback suppressor (set on green mode ). i'm sure no-one else was aware of it as it wasn't obvious and some-times i was using the feedback as a sustain before dampening it my self. just super happy that i can use heavy overdrives at high volumes now where-as i used to use a "crunch" sound at high volumes to avoid any un-controllable feedback.we generally play small rooms up to 200 people and will get another l3t but that would only be for dispersion ,not for pumping out more DB's.i really enjoy how an audience (usually other muso's) wonder how i get such a heavy sound out of an acoustic. they appear bemused by it. and now i can do it at any volume!!! i used to use a fishman soloamp and some msr 400's as extension speakers when required. i used to think the soloamp was hi-fi clean sound (which it is for vocals and traditional acoustic guitar- ie. with-out the the effects i put on it) but i was pushing the limits of its designed purpose ,especially putting percussion through it (tried putting bass into it at low volumes as well but it doesn't handle it at all) . the l3t on the other hand can handle everything (vocals ,distorted guitars, bass and percussion ) that i put thru it with ease and headroom to spare.i just simply wouldn't fail to recomend it to any-one as an all round weapon thats as good as and often better than any-thing else on the market. perfect for a soloist, great for a duo/trio/quartet, a small band has a vocal PA that they can now put a kick & snare through to give a bit more punch(i've done this as well) or if you think your Motorhead ('coz they're definitely the loudest gig i've been to) just add some l3s under your l3t and you won't be "Killed by death " you'll be killed by volume .(haven't done this but i'd like to try it) do you think i like 'em ? sure do!!!!! PS just as a footnote i've noticed in a lot of topic's that people seem to be causing themselve's a lot of pain by "fiddling with all the knobs on their equipment". in my experience i've found that if i shape my sound/tone from my guitar and effects unit, which is always set the same, then it doesn't really matter what i plug into after that wether it be an amp, powered speaker or DI into a pa. i just set the EQ flat and master volume to 12 o'clock of whatever it is i'm plugged into. sure it affects the sound to a certain degree but if you're plugged into a crap PA then it's always going to sound crap even if your onstage sound is brilliant. this brings me to my point- i have my l3t pulled straight out of the box set to Pa mode, feedback suppression on green mode, master volume at 12 o'clock indent, all eq set flat, reverb on 9 o'clock for vocals and-- abra cadabra , sounds absolutely brilliant . set up and rung-out almost as quick as i can turn the power on. this thing is pretty much idiot proof ( i say pretty much only because it never ceases to amaze me how idiotic some people can be and no matter how they design the stagesource speakers i'm sure they will never be completely idiot proof. ) so if you can't pull a great sound out of these speakers then i suggest you look further back into the sound chain because i'm pretty confident the problem isn't with the stagesource speakers. PPS some people have also commented that they believe the stagesource speakers to be over-priced. what is the price of the perfect sound we're all trying to achieve? if you spread the price over the number of gigs you play over the speakers life-span you'll probably find that you will have spent far more moolah on guitar strings over the same time frame and i don't hear any-one complaining about the price of guitar strings. also add up the cost of a small mixer , reverb unit,feedback destroyer,compressor/limiter,eq unit , a powered speaker to go with it and what ever other processing is tucked under there - along with cabling ,a longer set-up/pull-down time and then have to tune the whole system which not many people (including myself) can truly do properly. by any reckoning at it's current price i think the stagesource is cheap cheap cheap!! you only get what you pay for except in this case i feel like i've got more than what i paid for. PPPS any-one want to buy a second-hand fishman solo-amp and pair of yamaha msr 400??????

well i talked to people on hear about the stagesource speakers and finally took the plunge and got my first (of many i hope) l3t today.I did something i don't normally do but i ordered it without ever seeing one or let alone hearing it!!!! in australia they don't seem to carry them in-store at many places, so i don't know how they expect to sell them if you can't see them.Anyway i digress, i un-packed it and plugged it in - HOLY F(lollypop) S(lollypop)-those of you in the know can see that my posts have been censored before so i thought i'd beat them to it this time. i've always had quality speakers- bose l1, fishman soloamp,yamaha msr400,jbl prx.This thing blew 'em all out of the water.I am a vocal/guitar & use a boss rc30 looper in a duo with a bass player. the percussion on the looper always sounded "jumbled' & unclear. The kick had no punch and tambourine had no definition or clarity.But not on the l3t, i was blown away by the clarity and how each instument i had going through it sounded. the improvement in tone and fullness had to be heard to be believed.In my youth {i'm sure i'm not old enuff to be saying that] in the late 80's i used to own a single 3-way PA and light show, back then i needed a 5 ton truck to transport it. As well as my band using it, i used to hire it out and would mix for other bands.i thought i did a pretty decent job of FOH &FB , bearing in mind that some people don't realize that cr**p on-stage = cr**p out FOH. That was until the day i got some regular work from a full-time professional (in the true sense as these guys were red-hot players) cover band. They had there own sound engineer and he made that PA sound way better than i ever did,i tried to learn as much as i could off him but that sound he produced always alluded me. it's something that has always haunted me and has always been the standard that i have used to compare other systems with-until today. The curse has finaly been broken and i did it straight out of the box with-out any effort at all. i finally have found that sound , clarity and definition again. i only hope my l3t loves me as much as i love it because a one-sided love affair never works!!!!!! Sound and tonal characteristics are a personal thing and i appreciate that , but in a lot of peoples cases they don't realize how poor their sound is as they've never used pro-quality gear for a decent amount of time.It's a bit like the time we first heard fm radio - initially we didn't understand what the fuss was about until we had been listening to it over an extended period of time , then after a while when we heard am radio again we realized how bad am really sounded. i'm sure not every-one will love stagesource speakers the way i do but i don't think any-one with experience with quality gear will deny the sound quality of these. anyway thats my thoughts and if you're thinking of getting these then just do it - you won't be dissapointed i'm sure. PS- i would rate myself as fairly competant with PA gear so if you don't seem as pleased with your stagesource speaker as i am then i've only one thing to say READ THE MANUAL!!!!!!!! to learn how to use them.

i run my guitar ( a nylon string with a fishman prefix+t pick-up -i kid you not) into a digitech rp-500 and i use all the effects distortion ,wah etc. on it.its then ran into ch 1 on a fishman soloamp and my vocals into ch 2. this will then be run into two inputs on an l3t. this allows me to adjust my guitar and vocal level to my own requirements on stage and by sending them separately to an l3t i can have a different mix thru FOH.our bass player has an 80's ibanez musician bass (same as sting used in the police) and a peavey bass he got used off e-bay for $300 which is an absolute killer. he's had bass players at gigs ask what the hell it is as its only branded on the neck-bolt plate and i can see them well up in tears when he tells them what it is and how much he paid for it.they literally break-down as they tell him it absolutely beats the sound of their $3000+ (insert any top name brand here) bass. he plays thru a roland cube 60 bass amp (i can hear you laughing) and straight from the di out of that we'll go into the aux in on the back panel. as far as drums go he uses a stomp box as a kick ,snare, hi-hat ,ride and splash - thats it,no toms-apart from that who cares about drummers anyway?????. the third speaker we will use for monitor is purely so we can clearly hear what is coming out FOH and make adjustments as nesessary on the fly as we're roadies, sound engineer and muso all in one (sound familiar) our personal monitor of vocals/instruments is taken care of via our backline gear. this sounds like a crazy set-up of instruments , pa and even back-line but it works for us and we dont do covers we do "versions" ( think of un-plugged sessions that bands were doing a few years ago ,put it on steroids throw in the occasional punk beat and thats us) we've found you don't have to be loud on stage and you can still pump it out FOH. i know a lot of bands don't put bass thru FOH at most bar type gigs as the onstage bass amp is usually cranking it loud enough, but we've found by using smaller backline gear you dont overwhelm other members on-stage gear and you can rely on FOH for volume and that makes it much easier to mix when theres little sound bleeding off the stage which competes with the FOH.laugh if you must but other bands we play with are surprised at the sound we are able to produce with the gear we use but it's all quality you won't find any sub-par gear amongst us and we like it loud out FOH. we're older blokes in our 40's and treating it all as a bit of a joke (saves a lot of aggrevation due to people you have to deal with in this industry!!!!) but fortunately for us people seem to get the "joke". bottom line is i' ll only be carrying about 1/3 of the equipment that i currently have to and it should have more volume and i suspect better clarity. we currently use jbl prx speakers and yamaha mixer and msr 400 speakers so no complaints there. in respect as to your comment about perhaps using an l2t, the price difference is about $150 in australia but thats not really an issue because as i said we're older blokes and don't rely on our music as a primary income - i'd rather buy once and buy right 'coz in my experience every up-grade is a money losing proposition. so your point is taken and i will get either an l2t or l3t. one of the great things about these stagesource speakers is their scalability as we play coffee shops , bars,surf-clubs and private functions where sometimes all we need is our backline and sometimes we need a full pa but anything this system won't be capable of doing will probably be big enough and pay well enough for us to hire a pa and engineer. thanks

am i correct in saying that when you go out of the l6 link from either the m20d mixer or another stagescape speaker that the digital audio signal is being fed straight to the power amp section of the next stagescape speaker in line. thus completely by-passing its mixer section which is why when a third speaker is connected via the line-out xlr no audio is heard as there is no audio "appearing" in the mixer section and thus no signal at the analogue line-out.if you think of it in the traditional sense of a pa set-up of mixer connected to power-amps and then to foh speakers you could connect a microphone direct to the power-amp and you would hear it out the foh but there wont be any signal in the mixer, but any inputs you connect to the mixer will be summed with the microphone at the power-amp stage thus now giving microphone + mixer inputs from foh. this is my understanding of how the stagescape speaker works and why unless you apply a signal to the inputs on the side or rear panels, or use the analogue line-out connectionson along the whole chain of m20d+stagescape speakers, no external speakers can be used. technically this may not be how they work but this is my layman's explanation. stagescape speakers are a mixer to power-amp then to speaker all chained together in the one convenient box and the l6 link is an input into that chain at the power-amp not an input into the mixer. [and i didn't even mention all the signal processing that also occurs in that chain which is the equivalent of the out-board rack on a traditional pa full of effects,limiters,feedback destroyers,crossovers etc. etc.]<br />i would assume from all this (but haven't tried it in practice yet) that when stagescape speakers are connected in a closed loop via the l6 link the the inputs on all the stagescape speakers can be used with the signal from all inputs being summed and heard from ALL speakers. any other speakers connected via the analogue line-outs will only be fed the signal from the analogue inputs of the speaker it's connected to. ie if theres nothing connected to the analogue inputs then theres nothing at the analogue out-puts - and the l6 link is an in/out digital signal. this is why stagescape speakers can be chained together in a closed l6 link with-out producing an audio induced feed-back loop.try connecting the output and inputs of a traditional pa speaker to each other in a closed loop , connect a microphone and get instant feedback ,blown speakers and fried amps.<br />i wish line6 would put out a comprehesive explanation of how the l6 link works as i'm sure it's a mystery to %99.9 of people and it can be utilised in ways i'm sure that even their own design team didn't envisage. i for one am going to use 2 x l3t as foh and an l2m as monitor (connected in a closed l6 loop) for my 3-piece power trio with guitar+1 vocal straight into one l3t and bass ,kick,snare into the other l3t.bass will be di into input on back panel , kick and snare into side panel. this will give me approx approximately 140db out FOH and 128db monitor...IF I REALLY CRANK IT HARD.i bet the brains trust at line6 never "envisaged" me doing that!!!!!!that will be our total pa and monitor---nothing else and no external mixer.<br />please note that as previously stated i have yet to try out this as in australia i'm having trouble finding 3 speakers in the one place. after exhaustive research and questions i believe it should work but i intend to try b4 i buy and so should you - dont take my word for it. if any-one has experience with these please let me know thanx...

i'll be selling all my pa gear and going all stage source speakers now. obviously there is a limit to how many speakers and subs you could loop via l6 link. (i think 9 of each) but that is way more than i would ever need and scaling up to that size would obviously be impractical with-out the stagescape mixer. i read in another post how some-one had two l3t's connected via l6 link and then as a third speaker connected a yamaha dxr10 from the line out (mix) of speaker 2.audio was coming from both l3t's but not from the dxr10.i would assume (but am unsure) that if he had looped the l6 link instead of using a single connection then the dxr10 would have recieved audio signal,conversely he could have connected the 3 speakers using the line outs on the back panel and that would have produced the desired result. i think people have to get their head around the fact that with the l6 link even though you are using audio cables you are sending a digital signal that can send audio in one direction but parameter information in both directions.most people seem to think of the l6 link as an audio line out which its not- its way more than that.i would also assume that in the above example any audio conected to any inputs of the second l3t would be heard from the dxr10 as the dxr10 was daisy chained from its line out connection but no audio from the first l3t would be heard as it was connected via the l6 link to the second l3t thus by-passing its mxer section and going straight to the power-amps.sorry for all the questions but i'm in australia and at the moment i cant find any stores with more than 1 speaker in stock to test my theories.the sales people have no practical experience with these speakers and seem to still think in the way of traditional powered speaker conectivity. line 6 have designed these speakers "out of the square" so if you think 'out of the square' the variety of potential use of these speakers is unbeliveable. ps - i'm not from line6 trying to blow my own trumpet just a potential customer who hates lugging more gear than i have to. i'm always trying to find lighter , louder and simpler gear and for me these just might be the holy grail with the only possible improvement being a decrease in weight but over the years i've found that light-weight gear = light-weight sound. thanx pps - i just read it back b4 posting it and even i think i sound like a line6 exec.- perhaps they should give me a job???????????

i believe that two l3t speakers can be looped together via the l6 link thus enabling both mixer sections to be utilised , giving access to efectively a 4 channel mixer with all inputs coming out both speakers. can three (or more) l3t's be looped via the l6 link in the same way thus expanding the inputs. i play in a power trio where i would put my guitar and vocals into channel 1&2 on the first l3t and the bass & electronic drums into channel 1&2 on a second l3t this would be used as our FOH. a third l3t would be placed on its side to be used as a monitor. the l6 link would be connected as a loop across all three l3t's , just like the set-up for a duo as shown in the manual but utilising three l3t's.my question is would i now have access to 15 inputs (including those on the back panel) and with the dual mono switch selected would i get the same audio from all three speakers? ie a full mono FOH & monitor system.i don't believe looping the l6 link in this way would lead to a feedback loop of audio as it is a digital network and 0's & 1's can't feedback LOL. if this system works as i envisage we would have a kick lollipop system without the need for any external mixers/processors and could use our backline gear as our personnel monitors. effectively this is the way we are currently set-up but it just takes a hell of a lot more gear & leads to do it. all help appreciated thanx