SiWatts69

Not familiar with your RP1000 but if a guitarist turned up with one to use with my rig, I'd: Run either mono or stereo XLR outs to the M20d AND run a 1/4 TS jack to the players own L3t, assuming you can use both the XLR and jack outs simultaneously. Ideally, I'd want the raw output from the pedal board at the desk, unaffected by anything going off on the performer's L3T

Hi don... the redbox DI is built in to the tubemeister amp and has no pad option. Pad is only an option on the standalone redbox from what I can see.

Just read your manual for your H&K Redbox DI out. It states "Use a microphone cord to patch this signal to a mixing console. Make sure the mixing console’s XLR input is set to line level. If the mixing console lacks XLR inputs or if these cannot be set to line level, you will need an XLR-to-6.3 mm-(1/4")-jack adapter readily available in music stores. The channels’ MASTER settings directly affect the signal level, but the selected POWER SOAK mode does not." So, even though it is feeding a DI output, that DI output is at LINE LEVEL. When you plug into the M20d with an XLRM it sets the input up as MIC level input. Line level is a lot hotter and typically doesn't need to pass through a mic pre-amp. Change the cable to an XLRF to 1/4" TRS balanced jack and input on any of channels 13-16 for a line level input. You can also plug in to 1-12 but make sure you select a LINE level preset.

Trim is trying to get your input signal to a nominal 0db. Some signals are colder than others and need to be trimmed upwards, increasing their pre-amp gain, whilst others will be hotter, so trim applies a negative amount of trim. I've received "Input Level Too Hot" warnings a couple of times. It most commonly occurs with active DI connections direct from amplifiers/heads though I did once get it when top micing a snare with a thrash metal band using an SM57! If it's an active DI output from amp, check the settings on the amp to see if the DI output level can be lowered to bring it in to range. If not, the signal is possibly already too hot even for that amp and the input itself needs decreasing. On the occasion I saw this, I asked the guitarist concerned and he said he could reduce the DI signal level. As it happens, when he looked, he'd got his DI output set to post gain (it was a Kemper) and apologised profusely! I solved mine with the snare by switching to bottom micing the snare, but could have also increased the distance between the mic and snare. No, it means the input level is already higher than the range the M20d can cope with. Auto-trim applies an adjustment from it's current pre-amp gain setting. So, if you start "hot", auto-trim will decrease pre-amp gain/trim to bring it down. If the input signal is low, it will increase pre-amp gain/trim to bring the level up. It wants to send equal levels through each channel where the level is just below clipping Yes. It just means that the pre-amplifier stage is not boosting the input signal.

Here's my "take" on it... A setup is a stage/gig setuip. Channel assignments, eq within channel, DSP etc. I can save a setup and if we return to a venue and were happy with the sound last time we played, I can load that venue's setup (assuming I saved it) and, with the exception of master outputand monitor output levels I have everything as it was. I then set those main output levels (FOH & Monitor) and we're good to go. A scene is something entirely different. A scene is something that occurs within a show. It could be that a particular song needs more reverb on a vocal, or some chorus on a guitar channel, muting an open mic that won't be used, level boost on a particular channel etc. Switching between scenes gives instant recall without affecting anything else and takes no time so can be done as you are progressing through a set. Loading a setup takes roughly 4-5 seconds and will require the master outputs and any monitor outputs to be set again. The setup stores everything as it was at the point of save APART from those output levels. Loading a scene is instantaneous. Scenes belong to a setup, but will only be saved as part of an existing setup if you resave the setup AFTER saving the scene. Personally, I've never bothered with scenes. There's enough going off trying to remember everything else without remembering to load a scene part way through a set and then remembering to reload the original scene after the end of that song!

Not to my knowledge. This is normal behaviour. I'm sure there's a specific Line6 reasoning, but I can't recall what it is off the top of my head! To do this you simply need to record the main outs on to an external recording device, eg a zoom recorder or similar. StageScape was NOT designed for recording studio type usage.

From what I recall from previous threads of this nature, this happens if the memory card runs out of space during the recording session or if power is lost before the recording is stopped.

This was covered in a previous thread... Whilst you can't shut down the 2.4GHz network on the airport express, you CAN set it up such that your iPad and iPhones only connect to it using 5Ghz. This will at least reduce some of the potential crosstalk clutter in the 2.4GHz band even if it can't remove the channel altogether. Keep your Airport Express a significant distance away from your XD receivers and you should be fine.

I suspect because L6Link carries considerably more information down the line that simple multi channel digital audio. The M20d controls the speakers making them part of an intelligent network.

M20d recording takes place directly at the input, ie raw. Any processing you apply does not form part of the recorded wav file, so you can set the output gain for any channel to zero if that is what you want to do without it affecting the recording. You DO, however, need to trim the inputs. Recording takes place post trim IIRC.

IIRC, it is to do with the inherent audio latency issues within Android that make it unusable.

If you "plan" your L6Link run, the number of points you need a 50' cable are pretty few IF the M20d is on stage. My run is always: M20d [5m (16')] FOH L3m [2.5m (8')] FOH L3s [10m (32')] FOH L3s [2.5m (8')] FOH L3m [5m (16')] Monitor L2m [5m (16')] Monitor L2m So, all my FOH speakers are first in the chain coming back to centre stage for monitor at the end of the chain. I can't imaging there'll be many venues with a stage wider than 16m/50' where you'd be struggling, but even if you are, you can always place the monitors into the chain before the far side FOH stack, reducing the distance between connects. I prefer not to if at all possible since if I have a problem (which I haven't yet) with signals being disturbed en-route, I'd prefer to retain more of my FOH. AES/EBU cable is perfectly at home doubling up as microphone cabling. Analogue signals work just fine. If you're getting crackling on the analogue main outs too, you ought to run a couple of diagnostics tests to isolate the component which is introducing the crackle. It could be in the M20, one of your speaker or, most likely one of your cables. swap cables at the speaker ends but keep them plugged into the same outputs on the M20d. Does the crackle move to the other speaker or remain with the speaker? completely reverse the cables... ie move both ends of each cable. Does the crackle move with the cable or remain with the speaker? Disconnect both and use whichever cable has no crackle associated with it to connect ONE speaker via L6Link. Do you still have a crackle or is it gone? Try again with second cable. Does crackle return? The commonest cause of crackles is degrading cables. As for where to buy AES/EBU cables stateside, sorry, I can't answer that one for you. I'm UK based.

Correct on both counts. There's a little more to it though as you will no doubt hear from other users that they run their L6Link over standard mic cables and it works just fine and dandy. You'll also hear from users who regularly run in excess of 50'. If you run from the main analog outs, you lose some of the M20d > Stagesource "smart" functionality like speaker eq'ing. Remember, the M20 is one part of a smart network, all designed to work together. It can't perform that smart network over analogue. I'm well known on here for promoting the use of AES/EBU cabling and sticking within the guidance given by Line 6. the 50' limit is not for the whole run, it relates to any coimponent to component connection. ie Your M20d can be 50' from your first stagesource. That stagesource can be 50' away from the next stagesource and onwards up to 18 stagesource speakers. You can run all 18 as FOH speakers or assign some as monitors. Put a stagesource on its side and it reports back to the M20 that it is acting as a monitor and is auto assigned either MON A, B, C or D. One daisy chained cable run. So here's the interconnect best practise based on Line 6 advice; Use a quality AES/EBU 110ohm cable Use quality XLR interconnects Make no individual cable run any greater than 50' NEVER connect two or more cables together to make a longer cable. For your signal inputs to the M20d, there's no real issue for lengths though you will lose some signal strength on longer runs.

AES/EBU Digital cable with quality XLR connectors. 50' (approx. 16m) None. Seriously, YES, Line 6 designed an on-stage mixer for musicians to do their own sound ON STAGE. The market for digital desks for sound engineers is already crowded, but the market for quality gear for bands/performers who want to do their own sound ON STAGE was limited. Seriously, there's the difference. You used an analog board with regular 50' mic cables with no problems. L6Link is a digital transmission and has different cabling requirements and limits. Can't answer that one for you but unless you buy a snake made up with digital AES/EBU multicore cabling, you are likely to run into problems. By the time you've looked at the cost of a custom made 16 send, 6 return plus 1 digital return you're likely well into the same budget as for an iPad and wifi router.

What you're most likely experiencing/hearing is a ground loop hum. These hums occur when the ground connections of two *powered* items which are connected to the same mains supply but where there is phase shift between the two earth outlets (or summat like that). Common where the two mains outlets are on different circuits but with a shared earth or where the two outlets are on the same circuit but a distance part from each other. To get rid of the hum, you need to isolate the two powered items from each other. This is achieved typically by using a DI box OR 1:1 line isolator. In items where they are intended to be connected in this way, the isolation is often built into the device eg bass amps/cabs often have DI outs. BUT it would not be expected that you'd connect a foh pa speaker's signal out to a desk directly. Desks most often don't have isolation on their inputs. You'll commonly hear hum if you connect the line level output(s) from a keyboard directly to the M20d. It goes though if you insert a DI box into the chain. The DI box also converts the keyboard's unbalanced signal to a balanced one. You need to either run a line isolator on the speaker mix out. OR Run into a DI box from your pedal board, running the "thru" on to the L2m and the balanced output to the M20d.

Further to the suggestions by pedromleite, and based on Arne's original plan, I had a brain churn and came up with the following: M20d-1 XLR #1 Available M20d-1 XLR #2 Available M20d-1 XLR #3 Available M20d-1 XLR #4 Available M20d-1 XLR #5 Available M20d-1 XLR #6 Available M20d-1 XLR #7 Available M20d-1 XLR #8 Available M20d-1 XLR #9 Available M20d-1 XLR #10 Available M20d-1 XLR #11 Available M20d-1 XLR #12 Available M20d-1 TRS #13 Available M20d-1 TRS #14 Available M20d-1 TRS #15 Available M20d-1 TRS #16 Available M20d-1 TRS #17/18 Available M20d-1 Mon A To M20d-2 TRS #13 M20d-1 Mon B To M20d-2 TRS #14 M20d-1 Mon C To M20d-2 TRS #15 M20d-1 Mon D To M20d-2 TRS #16 M20d-1 Main L To M20d-2 TRS #17 M20d-1 Main R To M20d-2 TRS #18 M20d-2 XLR #1 Available M20d-2 XLR #2 Available M20d-2 XLR #3 Available M20d-2 XLR #4 Available M20d-2 XLR #5 Available M20d-2 XLR #6 Available M20d-2 XLR #7 Available M20d-2 XLR #8 Available M20d-2 XLR #9 Available M20d-2 XLR #10 Available M20d-2 XLR #11 Available M20d-2 XLR #12 Available M20d-2 TRS #13 FROM M20d-1 Mon A Nil to mains, Mon B, Mon C, Mon D. 0db to Mon A M20d-2 TRS #14 FROM M20d-1 Mon B Nil to mains, Mon A, Mon C, Mon D. 0db to Mon B M20d-2 TRS #15 FROM M20d-1 Mon C Nil to mains, Mon A, Mon B, Mon D. 0db to Mon C M20d-2 TRS #16 FROM M20d-1 Mon D Nil to mains, Mon A, Mon B, Mon C. 0db to Mon D M20d-2 TRS #17/18 FROM M20d-1 MAIN L & MAIN R 0db to mains, Nil to Mon A, Mon B, Mon C, Mon D M20d-2 Mon A To Monitor A M20d-2 Mon B To Monitor B M20d-2 Mon C To Monitor C M20d-2 Mon D To Monitor D M20d-2 Main L To Main Speaker/Amps M20d-2 Main R To Main Speaker/Amps This, in simple terms gives you; 24 x XLR 4 x TRS 1 x 1/8" stereo TRS 4 x monitor mixes (all channels accessible). All monitor mix output levels and Mains controlled from M20d-2. Special cables required: 4x XLR-F to 1/4" TRS 1x XLR-F+XLR-F to 1 1/8" Stereo TRS Things to note; M20d-2 channels 13-16 must have NO channel gain set and must only have monitor gain set for 13->A, 14->B, 15->C, 16->D M20d-2 channel 17/18 must have no gain set to any monitor. As has been previously mentioned, key to getting it all running would be mastering the gain structure. I think the "theoretically possible" is the point. I can imagine *any* of the suggestions given could rapidly run away with you!

I've an XD-V75TR now (just done my first gig with it and WOW!) but position it on my side of stage, away from the M20d and the Airport Express. General recommendations are that you build in some distance between competing 2.4GHz devices. I had zero problems with mine but YMMV.

Here ya go... took a bit of digging around but: You cannot specifically disable the 2.4GHz band on the Airport Express BUT you can set it up such that your iPad only connects on the 5GHz band. Apparently, the method you can use is to give the 5GHz network a distinct name. By default, it adopts the same name you've given the express but by giving it a different name and then altering your iPad WiFi settings to only connect to that newly named network, it should keep the 2.4GHz band free. http://forums.prosoundweb.com/index.php?topic=144200.0

Gotta say I'm *very* impressed. Previously, I've been using an AKG Perception set (SR45 & PT45) and it did a good job, freeing me up from cable clutter. Ran out for the first time last night with my XD-V75TR and I noticed an immediate improvement in the "fullness" of my tone. Very pleased :-)

Just to iterate, I haven't gone this route. We get pretty close to all inputs used but I haven't had to go over 15 (12+3) yet. We run keys into a stereo pair on 13/14, and bass DI into 15. BUT I do have a separate Yamaha MG124C analogue mixer which gives me 6 XLR inputs so I can increase the M20 by 5 (if running mono) and when doing this, my plan is to free up channels by running backing vox into the Yamaha. Our guitarist suggested running drums into the Yamaha but I was approaching it more from a recording point of view. I'd sooner retain individual tracks for the drums than backing vox! If I were running a second M20, I'd add the channel effects individually on the (submix) M20 to which the input is routed, then run the inputs that (submix) M20 is routed to on the second M20 completely dry/flat. (if that makes sense!) As I said first time, I'd only be tempted to use a submix in this way for "groups" of similar inputs, eg a complete drum mix or backing vox, even a brass section. Thinking about it further, if you were to run backing vox and drums as submix on M20(1), you could pan all the drum inputs hard left and all the backing vox hard right, then have a drum master on M20(2) and a backing vox master by NOT stereo pairing the outputs. Run all FX for the drum and backing vox inputs on M20(1) then run in to 13-16 as you'll not need full additional FX processing. All theoretical however, not done for real!

Yes... and No You can route the L&R main (analogue) outs from the first M20d into a stereo paired pair of XLR (1-12) or balanced jack (13-16) inputs on the second, ie use the first like you would any other sub-mixer. Pay *very* close attention to gain structure on that first M20d as, once the output is set, you shouldn't use the master output level control on it. You would also need to very carefully consider what you would place through the first M20d... certainly not things where their levels are likely to be needing regular adjustment throughout a gig. Better for groups of things like Drums, Backing vox, brass sections etc where the overall mix within each group of inputs and collectively the groups will remain fairly constant. Put the stuff that needs spot boosting, lead vox, lead guitar etc into the second M20

Hmm, made up the cable as above and tested. I get signal through (the desk registers it) but it is very very weak. Upping the input trim makes little difference So, on the premise that I have possibly misunderstood the usage of pin 4 "Z" I disconnected it. It made no difference whatsoever. So, now I'm truly stumped and will temporarily cease this quest. The cable to connect the B29L works without flaw so I'll just have to run single mic through the B29 or use my akg woreless for rehearsing. In the long run, it would be nice to get an adapter cable that works though!

If I can follow up... From the manual: 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) I made up an XLR-F to TA4F identical to the Shure WA310 and it works perfectly. Can I ask specifically the purpose of pin 4 "Z". Ideally, what I'm trying to do is, in addition to running both mics into the B29L, I'd like to be able to run just one of my AKG mics direct from the TBP12 so need to make up a TA4F to TA3F cable AKG quote the following for their PT45 transmitter which is what I've been using: Pin 1: shield Pin 2: audio inphase (+) Pin 3: supply voltage (4V) When my original cable for C519ML to PT45 got damaged, I seem to recall having a few fun and games trying to make a new one as the pin connections weren't straight through. If I recall correctly, connector sleeve and pins 1 and 3 were tied together with only pin 2 standalone. This implies that the bias voltage is applied to the shield. Would that be normal? If so, I'm guessing I need to create a cable: Pin 1 (TA4F) -> Pin 1+3+sleeve (TA3F) Pin 2 (TA4F) -> Pin 1+3+sleeve (TA3F) Pin 3 (TA4F) -> Pin 2 (TA3F) Pin 4 (TA4F) -> Pin 2 (TA3F) As these connectors aren't re-usable, I'd sooner get it right first time! If that looks right, I'd appreciate a nod! If it helps, this is the service documentation for the mic(s) which appears to show only pins 1 and 2 connected to the capsule; http://www.akg.com/media/media/download/7758 I realise I'm asking for help with non Line6 products! EDIT Have done some continuity testing on the AKG supplied cable; Pin 1 + sleeve Pin 2 + Pin 3 So, contrary to my supposition earlier, V+ is tied to Signal This leads to: Pin 1 (TA4F) -> Pin 1+sleeve (TA3F) Pin 2 (TA4F) -> Pin 3 + Pin 2 (TA3F) Pin 3 (TA4F) -> Pin 2 (TA3F) Pin 4 (TA4F) -> Pin 2 (TA3F) I've not had chance to make up and test this configuration but, for the sake of keeping others informed (I can imagine others who might wish to use an AKG micromic with the Line6 transmitter) thought I'd post my findings. I'll build and test a cable tomorrow.

As a quick follow up, I did make a suggestion a few months ago that it would be a nice feature to be able to, when playing back the recorded inputs, select which of the batch of channels should be played back, muting the playback into specific channels but whilst leaving the channel open for a "live" input. eg, we record a gig. The next time we play, a band member is missing. Same set list so we could playback the last gig but only playback the missing member, with the remainder of the band playing their parts live. We do it for rehearsals sometimes but to achieve it, I have to remove wav files from the SD card for those who will be present.

I reckon you've answered your own query there... If it's going to be busy and you're controlling from back of room, raise the express so it is above head height (if possible). Everywhere is different though. Sometimes extra metalwork in a venue can cause issues. RF interference from other electrical devices and so on. The express is a great little router, I like it because it is small/compact and no bits and pieces sticking out of it (aerials etc) but ultimately, it is designed for domestic usage.