SiWatts69

There are options within the app that mean you can prevent the iPad from sleeping whilst the connection to the M20d is active (ie whilst the app is active). If it does go off, either you knock it or turn off deliberately, or switch apps, it takes approx. 3-4 seconds to re-establish the connection (assuming your WiFi signal is strong enough.

Hmm, OK seems (after re-reading the manual) that is indeed the case. Trim Tracking only decreases trim and increases main output to maintain the perceived volume. But, this does go some way to explaining why individual channels drop out of monitors. If the trim is decreased on the fly, that affects everything downstream in the chain, ie less fed into FX, less into monitors. It is only the main output gain that is boosted to compensate. As Digital-sound says, if you get your band to soundcheck at full volume then auto-trim should get it pretty spot on from the off and any adjustment made by trim tracking will be small thus having less impact on monitors.

I reckon this one is about as high as it gets on most M20D users wish lists. L6Link compatible In-Ear Monitoring system would be awesome. Similarly, an increase in monitor sends (even if only via L6Link) would make this system truly astounding.

I reckon trim tracking is like anything else... ie not infallible. Example, If you're using a mic'd electric guitar and your guitarist suddenly opens the gates of hell for his solo, you want the trim to be reduced whilst maintaining the overall output level. Too much trim and the input starts to distort, reduce the trim, distortion is all but eliminated. Trim tracking in this instance *should* reduce the input level by (lets say 2db) and at the same time increase output channel gain by the same (2db). The overall net effect being that the output volume still rises BUT that the distortion created by the increase in the pre-amp section of the chain is removed. BUT, here' we're talking about a backing vocal mic? Typically, backing mics are NOT used constantly. They are, however subject to picking up other background noise (and in the case of a drummer, I'd suspect dramatically more than for most others. So, lets say you're a computer. You work on basic logic. You're logic is told to increase trim and decrease gain when the input level falls below threshold and decrease trim and increase gain when the input level rises above threshold. Increased trim will additionally increase monitor levels. Decreased trim will supress monitor levels. Had a bit to drink so I'm not entirely certain where my own logic is going with this, BUT to my mind (after alcohol) this is a potentially disastrous situation if used on inputs where the level is expected to be non uniform. So, here's what we do: LEAD vox mics are set WITH trim tracking Drums, Bass and Guitar are set WITH trim tracking Brass and Backing vox are set WITHOUT trim tracking. Keyboard set WITH trim tracking. My rationale: Is it a mic input with a pretty consistent anticipated input. If yes, turn trim tracking ON. Lead vocals, drum mics and mic'd guitars are good examples. Is it a line or DI level input with a pretty consistent anticipated input. If yes, turn trim tracking ON. Keyboards and Bass Is it a mic level input with erratic input levels. If yes, turn trim tracking OFF. That'll be brass and backing vox. Trim tracking is likely to increase and decrease the trim too often as the performer starts and stops their segments so, to me at least, this is something I wouldn't want. A guitarist playing normally, or lead singer will perform most of the time at a fairly constant input level. Trim tracking simply adjusts the input and output stages to reduce distortion when the input level rises. I may be wrong (most likely) but I thought trim tracking would only decrease from the defined trim level. Hense, when using auto-trim, best practise is to have the performer(s) play/sing at their maximum anticipated level.

B-stock from Thomann doesn't affect your warranty. Indeed B-stock from any supplier shouldn't affect your warranty.

With an unbalanced cable, you've always got a significant risk of hum... interference from external power sources. The longer the cable, the more scope for interference. Keep your signal cables short and away from power cables and sources. In a balanced cable, the interference appears in both the hot and cold signal lines equally, the two subsequently cancelling each other out almost perfectly, but in a mono cable, no such cancelling can occur. In simple terms, the signal processed from a balanced cable is hot - cold. If we have interference picked up equally in both hot and cold, the effect is no interference. Hot = signal + interference Cold = interference Hot - Cold = signal! Additionaly, if you are connecting a mains powered source to your L2T, then, again, there's a strong possibility of "ground loop hum" which is created when the two 'ground' signals become slightly out of phase with each other, typically when the mains sources are separate to each other. When connecting signal from a mains powered item, such as a keyboard, it is often practise to utilise a DI box OR inline signal isolator box unless the powered item already has an isolated output, or the speaker/mixer an isolated input. Bass rigs and Keyboard backline amps commonly have "DI out" sections which take care of it, but if you connect a keyboard direct, you'll very likely get ground loop hum.

AFAIK you shouldn't need to "PAD" the mic. Whilst it is picking up its normal signal levels, just run autotrim on it and the trim level should be set more appropriately. If it's running too hot still afterwards, you can manually decrease the trim level within deep tweak or just try autotrimming again but with the sound source delivering a level closer to their/its performance level.

We've run out keyboard'ists Yamaha EX5 direct as a stereo pair and my L2m's sounded awesome with his keys running stereo through them. Likewise we've run just bass through them and again they performed equally well.

They're not specifically bypassed, but will not aid anything if turned on IF you're using the M20d hooked up via L6Link. Can't answer you as to what's wrong with the gyroscopes, though it would seem odd if both were duff. Do you power up and position, or position then power up? When looking at Manage L6Link Devices, how does the M20d report your L2's? Is auto configure turned off?

Just wondering why the cable needs routing through the audience. Are you running the M20d from the back of house with a sound engineer and running a multicore to it? If so, have you considered running the M20d on-stage with the band and your sound engineer running sound from an iPad out front? Big problem is that whilst you *might* not have issues running a cable longer than 50' (if you're doing as I suspect) then that longer cable run is the first(?) in the chain and any errors that occur would subsequently affect everything downstream, ie ALL your rig.

No. Scenes allow alteration of levels and FX settings but NOT alteration of preset type. For that, you have to use setups in which case, you're back to no saving of FBS.

In which case, you're out of luck. FBS settings are transient and not stored as part of any setup configuration. Understand why you want it, but sadly, it's a nogo... Scenes on the other hand do retain the FBS settings.

Something I forgot to say is that generally, an overall reduction in on-stage noise, typically the noise generated by over-exhuberant back line amplification can go a long way to helping you since if back-line is quieter, singers and toher monitor supplied performers don't need their own monitor levels so hot. The side effect is that the backline amplification adds a reduced colour to your front of house mix. More of the sound heard out front will be what runs through the PA rather than a combination. Get the on-stage levels down and it makes a massive difference. We only run two monitors. Once for each singer. I run "in-ears" BUT I only have one in as I'm not keen on the separation effect they bring. It also means I run my in-ears with minimal stuff in except a good level of "me".

Typically, it's a case of pushing the main and monitor levels hard to get to a point where the M20d can no longer notch out enough of the feedback, then pulling your levels back down a good 5 or more dB. Most feedback is created in the monitor loops so do them separately and deal with the monitors FIRST. Get your band a decent on-stage level they are happy with, then push the levels to ring out. If you can get 5dB above the level they were previously happy with you should be ok for the gig but there are still likely to be odd little whistles here and there as people move about but the worst of it should be gone. Works best if they understand the technique and are willing to stand infront of the mics, up close while you do it. My guys are now pretty used to it but we've only done it in really boomy and echo'ey rooms where FB is more likely to cause us a big problem. As far as "saving" the FBS settings, it's a no-go. The FBS system is dynamic and notches out offending spikes as and when they occur. As the natureof the resonances in the room changes throughout the evening, as more people come in and move around, saving the settings would normally be counter-prouctuive since an offending frequency early on may well not be an issues later on. With it saved, you're using up a slot that might be needed later on. Better is to learn placement of monitors versus different mic pickup types, and monitor placement in relation to the performers. No amount of FBS will compensate for bad placement or a singer who gets a little lively with their mic and just gets too close.

Hi bassman24... Thought that's what I'd said, just in different words! ;-) "it shouldn't make any difference whether you input on a 1/4" TRS jack or an XLR" BUT you will only get presets with FBS on channels 1-12.

Hi tochiro, SO far as I am aware, it is a limitation of channels 13-16 only (Line level channels) and the preset you've likely selected is one aimed at channel 13-16. If you use your acoustic guitar in to channels 1-12 (where FBS is available) it shouldn't make any difference whether you input on a 1/4" TRS jack or an XLR. Plug in to channel 1-12 and load the XLR version of the preset (not available on channels 13-16 and FBS should be there for you.

No worries, they are on Google Drive so should be accessible indefinitely, unless I need the space. Each file is approx. 350MB, zipped up

In the vain hope they'll be of use to you... https://googledrive.com/host/0B69ePXD1tWblemR6WXI1WXB5Sm8/ Setup as: 1) lead male vocals channel name "Dave Vox" 2) lead female vocal channel name "Laura Vox" 3) backing vox 1 channel name "Mark B Vox" 4) backing vox 2 channel name "Rob B Vox" 5) backing vox 3 channel name "Steve B Vox" 6) backing vox 4 channel name "Si Vox" 7) Kick channel name "Kick" 8) Snare channel name "Snare" 9-10) X-Y stereo overhead mics (condensers) channel name "XZ Overhead" 11) Guitar (off SM57) channel name "Steve Guitar" 12) Sax (Bari) channel name "Si Sax" 13-14) Keys (stereo via DI box) channel name "Basic Keys" 15) Bass (via DI) channel name "Bass"

If you're interested, I can upload a few files for you. 1) lead male vocals 2) lead female vocal 3) backing vox 1 4) backing vox 2 5) backing vox 3 6) backing vox 4 7) Kick 8) Snare 9-10) X-Y stereo overhead mics (condensers) 11) Guitar (off SM57) If interested, let me know and I'll package them up for sending... 12) Sax (Bari) 13-14) Keys (stereo via DI box) 15) Bass (via DI) 5.5GB in total...

It's not quite as simple as you might first imagine. For the WAV's to work, you'd need them to be aligned to an ideantical "setup" on your M20...

Just wondering... Your right angled Neutriks... Are you using them on speakers used for monitors on their sides? From what I've seen of the right angled connectors, they weigh nearly twice as much as the inline connectors and I guess might be susceptible to vibration gradually easing them out. As such I reckon your Velcro strap idea is a good one. All mine are inlines. The upward pressure formed in the cable curve possibly helps keep them in place... anti-gravity for cables ;-)

Seems odd that no-one has responded to your question... unless it is because they don't have your specific setup and planned addition so can't answer definitively. I'll try to add what I can: As far as the M20d mixer goes, the L6Link it is equipped with is an OUTPUT only. For L3m/t L3s and L2m/t speakers each has an L6Link IN and OUT but ONLY ONE OF EACH So, whilst your HD500 has L6Link, you cannot connect it to the M20d using L6Link. In this instance the purpose of L6Link would be to connect direct to a stagesource or other L6Link INPUT equipped speaker/device As such, you would connect your HD500 to the M20d using the balanced L/R XLR outs into two channels of the M20d If I've misunderstood your question, I'll apologise now! No need to apologise... it's often easier if we have the background for the question to get a handle on what you're asking. I'm sure there must be guitarists here who have the DreamRig and the DreamStage who will be better placed to answer your question more fully, perhaps with full example schematic connections!

Hi BucF16... Here's my understanding of it (and why I always elect to use cabling of the specified type for the application)... AES/EBU 110ohm cabling would tend to be tested to conform for the impedance quoted. Typical mic cables can be very variable across their length, with the impedance varying and thus allowing more interjection of noise from outside sources. Additionally, with varying impedance, the digital signal can be disrupted. Bear in mind that a digital signal of the type used for digital audio carries not only the actual audio information but time information which assists in the reconstruction of the audio signal at the far end. Whilst a straight binary digital signal will typically retain fidelity over any cable, certain impedances of cable and cable types have been found (through extensive research) to be best suited to certain types of transmission. In the case of digital audio signals using balanced connections, that impedance is 110ohm. I can't explain the physics of it for you, though if my son were here, he would be able to! (he's at university at present doing a degree in bio-medical engineering and signal transmission and processing is a big part of what they do and one of his recent assigments involved running signal integrity tests over different cable types to determine levels of noise/disruption). Likewise (at least in Europe) 110ohm is recommended for DMX signalling also although DMX signalling is considerably simpler than digital audio. So, whilst a simple digital signal is indeed more likely to retain integrity in any given medium, the complex nature of digital audio (plus what ever else is bundled into the L6Link) is better served by a cable of the specified type. As AES/EBU cable is only fractionally more expensive than standard mic cable, you might even consider running 110ohm shielded twisted pair for all applications in your rig since analogue audio runs perfectly happily in AES cabling. That way you'd have the flexibility of only one set of cabling to carry around, all of which would be interchangeable without issue. As has previously been noted, many many people have success running out standard mic cabling for L6Link without any issue... I just see it as an added risk that, as I wasn't encumbered with an existing inventory that I was reluctant to chuck out, I could remove by assembling my rig using the recommended stuff for each application.

I've previously reported not having this issue. I run out my L2's as monitors with very little in the way of low end frequencies running through them, mainly vox with a small amount of FOH. I run out my L3m's over the L3s subs so with the standard 120Hz crossover set by the M20d, there is again, nothing in the way of low end hitting them. When we rehearse, we run out just the L2's or the L3m's but are running just vox channels, my sax and keyboards.

Just out of interest... was the "new" cable a distinct AES/EBU or L6Link cable or just a standard mic cable? What end connectors? Neutrik or something generic? Who made the cable up, ie manufacturer? Not that I'm attempting to diagnose anything, but for the sake of clarity, it might be worth others knowing if there is inconsistency in a given suppliers cables.