SiWatts69

Can you find the original thread where the initial solution you followed was presented? It might give us an idea about what you'd got created and thus the solution to removing it.

Does it have a brown/beige outline? If so, it is a group controller. Just go onto the SETUP screen. Highlight the group and press the trashcan icon.

Just check with the vendors of those pieces of kit to ensure that phantom power on the line wouldn't cause an issue. 99.9% of the time it won't and pretty much all gear that plugs in via XLR to a mixer is likely to be immune to phantom. Ultimately though, the only people who can advise are the people who made the outboard gear.

As TheRealZap has said, nothing will happen if you plug an SM58 into a channel which has phantom powering enabled. 99.9% of the gear you'll plyg in to a modern board will suffer no ill effects from phantom being present on the line. All modern mics will be fine and most outboard equipment will also be fine. BUT read the instructions for the device and see whether an exclusion exists and, if so, move it to a channel on the M20 where phantom won't be present. Run phantom on 1-6 and then move everything that *might* be at risk to channels 7-16

It's a grumble brought up many many times and one for which there has been a perfectly good answer given. If Android control is a deal breaker, go buy something that offers android control... there's considerably more that don't than do! I didn't own an iPad at the time, but it didn't put me off... I just went out and bought an iPad too.

No. As per manual, you can assign phantom on channels 1-6 or channels 7-12 but not individual channels. Like you, I don't really like having phantom power on channels which don't need it, so I have a couple of external phantom power supplies: A Palmer 2 channel and a Canford 2 channel. I run the overhead condenser mic (Rode NT4) via one of these external sources and leave phantom turned off on the M20d.

timothy... Why decrease Rick's reputation simply because he hasn't given you the answer you seem desperate to hear? I concur with everything he has said. You are misunderstanding what is going off here. M20d loads the last settings it had at powering down. This includes main out levels and main monitor levels. In this instance, the M20d is NOT loading the saved setup, it is loading its last settings. If you neglected to save before powering down, it wouldn't matter. Everything would be there, as it was as soon as you boot up again. Scenes are not intended to be used in that way. Your band lineup is a setup: Input preset assignments, eq, fx, trim and channel levels etc Your band in a different room is a different setup. Granted one with the same input preset assignments. A scene is a change of levels/fx that is applied split second during a sinlge performance, (as an example) you have a song in your set which needs considerably more or less reverb on your vocalist's mic that the rest of your set OR you have a really quiet number where it would be beneficial to have the multiple backing vox mics muted. When we've had a great gig, and it looks like we'll be back to a venue, I save the setup before I do anything else on the M20d. When we return, I load the setup, check the trims and we still soundcheck as if we were doing it the first time. Where we gain is that the mix is a lot faster to accomplish the second time round. Set monitor output levels and the main outs and we're good to go.

Figured a diagram may be easier to understand than my ramblings!

I'm not entirely certain I'm understanding exactly what you're doing here! A preset is a collection of settings predefined for an input of a certain type, or in the case of the main output presets it is an eq model for the main speaker outputs. If I am understaning correctly, you are saving all the tweaks you make from a stock preset with the intention of calling that back the next time you visit the room? If so, you're coming at it from the wrong end. By all means, load a preset against your output (it's what they're there for and, tweak it to fine tune the sound. But, instead of trying to save the preset, any changes you've made to the preset will be reflected in the "Setup", so simply saving a setup for the venue will suffice. Assuming you are playing the same venue, with the same band/lineup, saving the final setup at the end (or any way through the evening) as a setup, under the venue name will save EVERYTHING except main out, mon a, b, c & d levels. In my view, whilst many many of the presets are great, they should always be viewed as a starting point. The same is true of output presets. A certain degree of fine tuning to adjust for variations in acoustic response "on the day" would be normal.

Also worth remembering; If you save a setup and then create scenes, you need to save the setup again else when you reload the setup, the scenes will be gone. Create and save setup Create X scenes, saving each one Resave the setup before exiting.

Ditto to using Setups. I did a 4 band event a few months back. I emailed the organiser beforehand to try and get as much information about the various band lineups / setups as possible. Assuming the bands play ball, you need to know: How many vox and whether any have preferred mics plus male/female, lead/backing How many guitars amp to mic Keys? Does bass head have post eq DI Drums... how many mics you gonna need (suggest staying simple, Kick, Snare/Hat and 2x o/h Any other instruments, fiddles, brass etc. Midi/Computer inputs for drum tracks? The more you know about the lineups of the bands, the more you can preset the M20 As the 4 bands that were playing that night all knew each other (indeed some played in more than one band) They shared some of the backline making it easier to keep track of what was where When setting up the M20d, try to use the same input for the same purpose across all the bands. It will save unplugging and plugging in again between bands. Thus a male lead vox mic with band one is make lead vox mic for band 2. Bass DI stays in the same, drums stay in the same. HTH

I don't believe so, well not as you describe anyway. Simplest solution would be to pan your inputs to reduce the output to the rear speaker, or alternatively, knock a few db's off the speakers own gain knob :-) You *could* create two setups... one with balanced L/R and a second with the inputs panned, then just jump between the two depending upon venue :-)

Perfect... That'll be a second L2t winging it's way to me to complete the quad :-)

In the StageSource pilots handbook, one of the suggested configurations for a pair of L2t/L3t's is as a mix desk free 10 input pa system. L6Link round robin connects between the two L3t/L2t speakers shares all the inputs across the two speakers. What I'm interested in knowing is whether it is possible to extend that 2 speaker setup? I own a pair of L2m's and a pair of L3m's already I've just bought an L2t to go with (to use as a third floor monitor) and am seriously considering a 2nd L2t for a fourth monitor. So, for small gigs, where I didn't want to mic up the backline, I'd consider running out with the four L2's (2 L2t and 2 L2m) and plug the vocals and my sax direct into the FOH speakers. BUT me and the singers would still want monotors. If I were to L6Link the four speakers as: L2t#1 (FOH) - L2t#2 (FOH) - L2m#1 (monitor) - L2m#2 (monitor) - L2t#1 Would I simply get the combined 10 inputs from the two L2t's repeated into each of the L2m's?

Personally... FX channels run at 0db Individual channel FX sends adjusted to get the required amount for that channel. I then mute each of the four FX channels between songs to make spoken sections more listenable :-) Simples. But, I may be entirely wrong!

This for information only in the hopes that it assists someone else... I own an XD-V75BP wireless kit with the TBP12 transmitter. I am a sax player (though some might disagree ;-) ) My current setup is for Bari sax and consists of: 2x AKG C519ML micromics (TA3F connectors) 1x AKG B29L minimixer and phantom power supply XD-V75BP Wireless. In this full gig setup, the connections are all simple: TA3F to TA3F cables connect each micromic to the B29L XLR-F to TA4F cable connectos the B29L to the TBP12. The XLR-F to TA4F cable is wired as: XLR pin 1 = TA4F pin 1 (cable shield) XLR pin 2 = TA4F pin 3 (audio +) XLR pin 3 = TA4F pin 1 (audio -) No connection to TA4F pin 2 or pin 4 This wiring is identical to the Shure WA310 connector TA3F to TA3F cables for the micromics when used with either the B29L or an AKG wireless kit (I was using an AKG Perception WMS45 rig prior to acquisition of the Line6 rig) is: Pin 1 + sleeve Pin 2 + Pin 3 I have previously enquired before about connections for making up a cable so that I could run just a single AKG C519ML with my TBP12 and subsequently tried but failed. I wanted the option of being able to run with just one mic for rehearsal etc, or if I was playing tenor (which only requires a single mic). At the time I gave up on the quest but have recently returned and done more research. What I have now succeeded in is in matching the impedances to allow my AKG mic to work with the TBP12. From the TBP12 Pilots guide: TBP12 Beltpack Pinout To TA4F Connector Use the following wiring protocol when using other headset, lavalier, or instrument microphones or cables with the TBP12 beltpack transmitter. • TA4 pinout • 1 = GND • 2 = V+ • 3 = Signal • 4 = Z (This pin is tied to Signal for lav mics and tied to Gnd or open for gtr) You can either make a TA3M (male socket) to TA4F plug adapter or make a TA3F to TA4F cable of the required length. My personal choice has been to make up a short adapter piece as it aavoids confusion with cables in my gig bag. Wiring is as follows for a TA4F to TA3M Adapter cable: Parts required: REAN (Neutrik) RT3MC-B Tiny XLR Male REAN (Neutrik) RT4FC-B Tiny XLR Female 4pin Length of quality 2-4mm diameter microphone/instrument cable; 4.7Kohm surface mount (SMC) resistor Pin 1 (TA4F) -> Pin 1 (TA3M) Pin 2 (TA4F) -> 4.7Kohm -> Pin 3 (TA4F) Pin 3 (TA4F) -> Pin 2 (TA3M) Pin 4 (TA4F) -> Pin 3 (TA4F) TA3M Pin 1: Shield Pin 2: Audio Pin 3: No connection TA4F Pin 1: Shield Pin 2: Bridge to Pin 3 through 4.7Kohm resistor Pin 3: Audio Pin 4: Bridge to Pin 3 Wiring is as follows for a TA4F to TA3F cable: (direct connection of mic to TBP12 Parts required: REAN (Neutrik) RT3FC-B Tiny XLR Female REAN (Neutrik) RT4FC-B Tiny XLR Female 4pin Length of quality 2-4mm diameter microphone/instrument cable 4.7Kohm surface mount (SMC) resistor Pin 1 (TA4F) -> Pin 1 (TA3F) + sleeve Pin 2 (TA4F) -> 4.7Kohm -> Pin 3 (TA4F) Pin 3 (TA4F) -> Pin 2 (TA3F) Pin 4 (TA4F) -> Pin 3 (TA4F) TA3F Pin 1: Shield and bridge to connector sleeve Pin 2: Audio Pin 3: No connection TA4F Pin 1: Shield Pin 2: Bridge to Pin 3 through 4.7Kohm resistor Pin 3: Audio Pin 4: Bridge to Pin 3 I have quoted REAN connectors but you can use any mini xlr connectors available to you. I just happen to like working with the REAN ones :-) The mic/instrument cable needs to be 1 way shielded. You can use 2way if you like but there is no connection via the 2nd signal cable. I use Van Damme Pro Grade Classic XKE flexible 1 pair p/n 268-100-000 which is 3.6mm o/d. You could also use Van Damme Pro Grade XKE Unbalanced Pro-patch cable but it has a larger 4.5mm o/d and isn't as flexible. Just ignore one of the pair cables in the 2 pair cable! For surface mount resistors, if you choose 1206 pattern/mount (approx. 3.2mm x 1.4mm) these will solder directly between the pins in a TA4F connector :-) Use solder paste for this job otherwise it is really fiddly! PLEASE NOTE: The above is correct ONLY for the AKG micromic series; AKG C519ML, AKG C519M, AKG C518ML, AKG C518M, AKG C516ML, AKG C516M and the AKG C411. For mics from other manufacturers, the resistance required to bridge pins 2 onto pin 3 will very likely be different. Hope this helps someone... took me long enough to get it nailed! <edited>I cocked up when writing the above out. It is now corrected</edited>

Something gives me the impression that, as the pdf is from early 2013, that once the L2 and L3 were launched, the consensus at the time was that it wouldn't be viable to actually put the L1 into production; not enough demand for the breadth of range from what was, at the time, a completely new entry into the live sound market. Longer term, given the quality of the current models, I don't see why it wouldn't be, but company policies and future plans will always adapt to market demand. Perhaps, at the time, dealer feedback was that the L1 wasn't going to be a seller?|? Whether that would change with the release of an M20d V2, I guess we'll just have to wait and see. Shame if it never sees the light of day though...

Yep, I'd love a couple of those L1t's if they ever get produced. Might even consider a pair of L1s's for smaller gigs too!

Are you perhaps referring to something like this: http://www.heermusic.com/news/images/2013-06-13/StageSource_L2_Serie.pdf At the end of that document there is specific mention of an L1t and L1s

I may of course be totally misguided in this (I only own L3m's not t's) but I understood that the feedback suppression is only applied to the two side panel mixer based inputs and is not applied to the back panel main input. If you're plugging your tonematch into the main input, this would explain why the FBS doesn't function.

Like Silverhead, I also think consumers now unrealistically expect upgrades to the gear they've bought. When I buy a car, and a new variant comes out a year later, I don't expect the manufacturer to upgrade me for free! If I want the newer features, I've to pay to upgrade. So why is it that we've come to expect it for products which are essentially software driven? I'd expect for free: Patches, firmware updates and hardware updates which FIX something that is either dangerous or which is unreliable (manufacturing defects) I'd be willing to pay for: System software/firmware upgrades which extend the feature set I have at my disposal (if the upgrades are relevant to me!) Certainly, other manufacturers have joined the fray and, their products look like they might address some of the things that aren't there on the M20 or which cause some users problems, but they've had the benefit of dissecting the M20 (no doubt), finding the shortcomings and developing matters a little further along the way. From what I've read and seen, for everything they've individually improved upon, they've cut corners elsewhere. Whether or not updates were going to be made available and the frequency of those updates had no impact on my buying decision when I bought my system and the lack of updates will not affect my decision to stick with what I've bought for some time to come. At present, it fits my needs entirely and I've yet to experience anything negative that would change my perception. Sure, a software update would be nice if made available, particularly if it solves some of my user issues (my fat fingers!) but if and when it comes along, I'd not be averse to paying a nominal amount to get it.

Glad that you've found happiness with your M20d... I am one of the (what I believe to be) many fortunate who have flawless system. I've had just one problem, a blown power supply in one of my L3s's but that is currently away being fixed by Line6, but otherwise the system works spot on every time except where I fook up! Still extremely happy with my rig :-)

To my knowledge, the key is to get the channel the way you want it then save it as a preset. There are instructions on how to do so in the manual. However, you can't alter the "setup" using scenes. A "setup" is a complete stage, ie the inputs assigned to whichever channels and presets you need. A "scene" is a child of a setup and as such contains the same input assignments as its parent setup, however the scene can have selected channels muted or levels dropped. Switching from scene to scene is instantaneous and causes no audible interruption to the performance (aside from the channel level and eq etc settings) A setup change will load the alternative channel assignments BUT with all levels down. You should not really alter the setup during a performance (unless it is a change of band)

Sort of see where you're coming from, BUT the subs have the transit wheels built in, unlike the tops, so a complete wraparound cover is less feasible: the transit wheels would need to be spaced further out (larger diameter wheels) and subsequently the feet would need to be taller to accommodate the thickness of the cover. My only small niggle with the L3s covers is that the bottom edge drags on the ground when you are wheeling the sub around with the cover on. I've now reached a point where I store the L3s's with their covers on, but transport them with covers off. The extra couple of inches I gain is worth the low risk to the subs in transit! Need every square inch! The tops do however get transported in their bags.

And a second seconder... All mine are Sommer AES/EBU with Neutrik gold plated xlr's that I hand soldered myself. http://www.thomann.de/gb/sommer_cable_binary_234_aesebu_mkii_gr.htm Cost wise, an AES/EBU cable per meter is only around 20% more than a good quality mic cable and if you are capable of soldering, it's easiest and cheapest to make your own up. UK cost wise, a 10m (33 feet) AES cable using the above sommer cable is around £20 to self build, (about $35) and about £27 ($43) for 15m (50') Perhaps best note is that an AES/EBU XLRF to XLRM CAN be used as a mic cable without any issues. I bought 50m of sommer and made up the following lengths: 1 x 10m (~33ft) 6 x 5m (~16.5ft) 4 x 2.5m (~8ft) I have 2x L3s, 2x L3m and 2x L2m plus the M20d and the above cables have yet to be insufficient for a venue we've played or a gig where I've done hire of my system for another band. Moreover I have had zero issues with speakers dropping in/out.