Jump to content


  • Posts

  • Joined

  • Last visited

  • Days Won


Everything posted by SiWatts69

  1. No particular reason and certainly not one with a technical basis. The only technical advantage I can see is that by going into the JBL's first you leave yourself the option of running passthru to the remaining Line6 tops in analogue from the L3s *if* the l6link doesn't play ball.
  2. In follow up and reviving this old thread yet again... I inadvertently let the same bandmate who broke one of my wheels loose with my bagged L3m's and guess what... He broke another one. This was early last year, so by that point one of the bags was 6 years old and the other 3 years. Following gp4leigh's move, I spent about 2 hours and approx £50 and replaced all four wheels on my L3m bags with Penn Elcomm 0153N-BK, using stainless allen button head bolts and stainless nyloc nuts (8 per wheel) with large stainless flange washers on the inside of the bags. I mounted mine with the nuts inside the bag though Really simple to do, just a little bit fiddly.
  3. *TO MY KNOWLEDGE* Yes, it will work The analogue outputs on the back of the L3s are straight forward pass-thru's so whatever is on the analogue inputs is on the analogue outputs. The L6Link should send on a digitised L/R signal But, if it were me, I think I'd be more likely to run into the JBL's first and then passthru them into the L3s and onward with the L6Link
  4. Simply chain them sub > sub > top > top without engaging the xover on the first sub Main out to sub (xover switched OFF) sub out to sub (xover set to your preferred) sub out to top top out to top In reality though you are *best* to run analog to the first sub and then use l6link between the four speakers in the stack.
  5. I always use l6link, but if you wanted to run your FOH via the analogue inputs, just connect them the same way you would any other brand of speakers: Main out to Sub, sub to top. Set the xover frequency on the back of the L3S. BUT you can also mix l6link with analogue... Run analogue to the sub, then l6link from sub to top There's an elaborate sequence of setup examples in the pilots guide https://line6.com/data/6/0a06434d9ac8502007180aca2/application/pdf/StageSource%20L3%20Pilot's%20Guide%20-%20English%20(%20Rev%20C%20).pdf
  6. Not too shabby a start. Your first few outings, you'll have a sweat on... I know I did! Gig set-up - Masters all down (some monitor level ok) - Set vox levels to unity gain - Set all other instruments to -5db - Auto trim Kick and Snare independently for baseline (mic) - Auto trim the overheads while drummer plays full kit (mics) - I tend to skip this step now and retrim kick and snare whilst overheads are being done - Re-autotrim all three drum channels. - Auto trim bass independently (line level input) - this, if your bass player has a decent DI out shouldn't need doing every time after the first few outings, though it is wise to check again for the first two or three - Auto trim guitar (mic) - This is best done by getting your bass, guitar and drums running a groove on stage so each mic'd guitar can get their necessary backline level right before you trim. Might be worth mentioning you can always throw a little guitar back through monitors if its getting a little loud on stage or convince guitarists to use a kickback stand for their amps. - Auto trim keys (direct) - I always ran keys via a DI box rather than running line level cables all the way back to the desk. - Auto trim vox mics seperatly - Record sound check song(s) - Tweak FOH ***CAVEAT*** If you plan to tweak FOH from a recording, bear in mind that you will NOT be subject to backline levels and will be judging your "mix" only on what is coming out of FOH. Don't underestimate how much the backline noise bleeds out into the audience area. Take a few dB off amplified instruments (bass and guitar) to compensate, else you'll likely end up with your vox not projecting sufficiently over them. For the first year or so, I'd go out front with the iPad (I run on radio mics) and get a primary tweak whilst everyone is playing "for real". These days, we've got our mix pretty nailed so aside from going out front to check the overall volume and balance, we don't have to tweak much. Can't remember the last time we mixed from the recording though.
  7. It is a complete digital system. Each speaker tells the M20d what it is (ie model) and what it is being used for (based upon orientation). Crossover points are then set by the environment with simple/easy switch of purposing via the manage L6Link screen. Use autotrim to set input gains on each channel (assuming your performers understand what you need them to do). Let feedback suppression on individual channels take care of the rest. If you place a driverack type system in play, you lose all the benefits of digital interconnect because you can not run L6Link. I've used my rig in a multitude of places, including some challenging rooms, and almost never had a problem. Problems tend to arise with a) singers with poor mic technique, b) performers who fiddle with their on stage volume when cabs are mic'd up. c) drummers who refuse to use dampers but have ridiculously loud kits meaning everyone else needs ridiculously high on stage volumes. d) over-rigging (too big a rig) or under-rigging (too small a rig) a room. Most feedback I've encountered has always been monitor first. IMHO cutting out a feedback frequency across all performers is just ruining your overall sound. Why cut a particular frequency from drums when its not the drums creating feedback on that frequency?
  8. The Stagescape and Stagesource setup is a complete environment when used with L6Link. There is no need for driverack type management.
  9. Simple answer is, I guess, NO. Most of the functionality of that item will be irrelevant when used with the M20d To use aither of the two remote channels you need a simple on/off switch for each. Some of the control options allow use of a momentary type switch, others require a latching switch. I bought a BOSS FS-6 (to control both) though an FS-7 (new since I bought) will do the same job. Alternatively, two FS-5's will suffice. I rigged up a two channel multicore cable with a TRS jack at the footwsitch end, and TS jacks on the mixer end. Used the functionality... ONCE and decided not to bother lol Palmer have simple switch options too and Radial may even do something though it seems overkill to go down the Radial route for what is essentially an on/off loop.
  10. I have the Line6 carry bag for my M20d and use a K&M 42040 https://produkte.k-m.de/en/Accessories-for-stagestudio-and-home-recording/Ampmonitor-and-mixer-stands/42040-Mixer-stand-black
  11. Yes. Simplest method; Duplicate your channel on the M20d. (save your channel as a preset, then add a new channel and apply your preset to it). Playback recording with your original channel muted, you playing/jamming through the new duplicated channel The slightly more complex method is to remove the recording of your channel from the memory card, but this can sometimes result in your M20d not being able to read the memory card back in.
  12. Have to say, I've not floated around the forums for a while now but, I have a complete setup (2x L3s, 2x L3m, 2x L2m and 2x L2t) and have NEVER been underwhelmed by the bass. Indeed I've just done a weekend festival with 13 bands and not one (most were rock covers) were disappointed by the sound delivered, indeed a couple came over afterwards and commented that they'd discounted the line6 speakers and were now going to take a look more seriously. What you do have to understand though is that the system is precisely that... a system. It is all designed to work in perfect harmony with all the components in the chain, running via L6link (which I have *never* experienced a problem with except when we mistakenly used a right angle connector into an L2 in monitor mode and the connector rattled out) and driven from the M20d
  13. Simple with an apple router capable of "AirPlay" Connect the apple router to the desk as usual and add a 3/8" stereo jack to jack connector from the back of the router into the 17/18 Aux input On ipad, swipe up from bottom of screen (when your isingworship app is open) and select the airplay option, then just choose the apple router to receive the audio.
  14. Mine works fine with the new version of the app. Have used it several times since app release, though I did wait to update the iOS until the app was out!
  15. I was going to reply with much the same as said above. Get a pair of L3S before a second pair of L3T/M BUT for the sake of helping out... I have mounted a pair of K&M 20mm pole recepticles into the tops of my L3M's BUT I do not use them for mounting another speaker! I use them for a lighting pole to reduce on tripods/stands. There was a thread some time ago which included my "how to" BUT do not mount another speaker on top!!! http://line6.com/support/topic/7024-solutions-for-mounting-and-lights/
  16. L6Link is a proprietary system, so any connections form other desks needs to be analog. Run an ordinary XLR from main out L on your Midas to first L3s on Left Run an ordinary XLR from main out R on your Midas to first L3s on Left Run L6Link cable to daisy chain all the Line6 speakers via their L6Link in/outs Set Crossover frequency on L3s Alternatively, you can cable each side of the stage from its dedicated L/R output and just run the L6Link daisy chain within the 4 speakers in the stack on each side. There's a visual of the recommended setup on page 22 of the stagesource L3s manual: #http://uk.line6.com/data/6/0a06434d9ac8502007180aca2/application/pdf/StageSource%20L3%20Quick%20Start%20Guide%20-%20English%20(%20Rev%20C%20).pdf
  17. You don't say whether you are using the M20d as mixer. If you are, run the M20d to your Line6 speakers using L6Link, then use the analog L/R main outs to send to the HK's. If you're not using an M20d, then yes, in/out through should suffice.
  18. If the files appear empty, it is usually because you forgot to stop the recording before shutting the M20d down. They can be recovered, but I can't remember how off the top of my head! Try searching the forum as the topic has been discussed before.
  19. No. I assume you mean saved with a setup. But, NO, the main out level and the Monitor 1-4 main levels are not saved with a setup, and there is no way of doing so. They are however retained between power cycles, ie the levels will be retained when you switch off and switch back on again.
  20. The simple fact that your mic plugs into the keyboard first suggests it is likely your prime candidate. Probably a stoopid question, but is there a phantom power option on your k/b and is it on? If it is on, does it need to be? If it isn't needed, can it be turned off and does the issue go away? Another possibly stooped question, but does the issue seem more prevalent when you are wearing specific clothes? Just wondering if it is static and the source of the power is you! Is the behaviour exhibited if you take your k/b out of the loop, ie plug only the mic into your L3/L2. You could place an inline isolator into your mic>k/b chain and a DI box (with ground lift enabled) into the k/b>speaker chain which would physically isolate the three/four elements of your chain. Must say though that given your chain mic > k/b > speakers, it seems unlikely that the ground issue (if that is what it is) originates from the speakers.
  21. Quite possibly, the venue has a powered attenuator or amplifier on their aerial signal. When you plug into the mains "in the room" it's unlikely that you're on a different mains circuit (except in big venues with multiple circuits), but the power for the attenuator/amplifier is quite possibly on a different circuit entirely and it is this (to my understanding) that creates the ground loops that give you the hum/buzz.
  22. Masters all down (though you could have some monitor level for them. Auto trim Kick and Snare independently to get a baseline I then auto trim the overhead while drummer plays full kit. As they often give it more beans whilst playing the full kit I tend to get the o/h first then re-autotrim all three drum channels. You'll likely find it takes a bit off snare and kick. DI'd input should ideally still be auto-trimmed if its the first time you've encountered them. If its DI direct outs, check they are set to PRE GAIN on the amp head. All these inputs can safely be auto-trimmed at the same time. Mics are different beasts. Unless you have a passage of a particular song where ALL mics are in play, auto trimming them together will be impossible. I tend to get each individual to do a 1-2 into their mic initially to get a reasonably close trim level, then run auto trim whilst they play a passage/. (which helps take the backline bleed into account). Ask your band to isolate passages where a number can be autotrimmed together to save time. Auto-trim will NOT adjust the output level for a channel. SO, if you've set output levels already and auto-trim adjusts, the channel will either get louder or quieter. Nothing will prevent it doing that. If I do run auto trim in the middle of a song, I tend to review the modification being suggested and only apply it if I feel it safe to do so. Drummers tend to play much louder at performance than they do at soundcheck! When I did a festival with my rig last summer, I reset all the channel levels for vox to 0db, guitars and everything else to -5db, had each band do a run round of each instrument for auto trim and then set them off and did an on the fly mix in their first song as I only had 30 minutes between bands. Worked well for all but one whose vocalist was a little on the weedy side, giving me feedback headaches. Just stress to the band, they need only create enough volume so they can hear themselves. Keep a lid on that on stage volume and all should go well :-) Like you though, I always know what the lineup is and have the basic presets setup up on screen BEFORE I depart.
  23. The only person who can answer that for you is a tech, with the unit in front of them.
  24. I dunno what it means when connected to a Helix. When connected to the M20d, the light flashes when it is being "pinged" by the desk.
  • Create New...