SiWatts69

The K&M poles are all 35mm tops. The K&M T-bar shown in the picture has a 35mm inner diameter mount which slides down over the pole and then has a locking screw fastener. 21393 CROSSBAR - black http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Lighting-stands-accessories/21393-CROSSBAR-black I've recently bought some new (lighter but more powerful) lights to go atop those poles, but they only have a 28mm socket mount so at the same time, purchased a set of K&M reducer flanges and 28mm TV pins: 24521 REDUCER FLANGE - black, M10 x 12 mm http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Lighting-stands-accessories/24521-REDUCER-FLANGE-black-M10-x-12-mm 24519 TV PIN - zinc-plated http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Lighting-stands-accessories/24519-TV-PIN-zinc-plated I then have a set of 28mm diameter lighting stands which I can "step up" to 35mm giving me full flexibility.

IIRC, when the subs are laid flat you help empower their bass effect. Stood upright, the effect of the bass is minimally reduced BUT I seem to recall seeing somewhere that a lot of people believe the effect to be more psychological than actual. I've actually (yesterday) ordered up a pair of each of the Line6 poles. Doubt they'll get used very often but better to have them for those occasions where we're somewhere with a low ceiling! They can live in the bags and be dragged out if necessary. I have to admit that like so many others, I'd love to double up what I've got and have the twin subs with twin L3's either side... but that's just another pipedream! Just heard today, the first outing for my rig where we'd be fully able to let what I've got at present flex its muscles has just been culled due to a lack of funding for the whole event. Gotta say I'm gutted as I was really looking forward to letting it loose at full song!

I don't think I'm alone in mounting a second pole to run a set of lights from. In the venue above, the ceiling was low and we maxed out without putting any lift on the K&M poles. Out the box though, the horn in the L3 is at approx. 6'6" with the sub on its side and the K&M 21367 on it's first fix point which is pretty much spot on for good throw full frequency. Any lower and the upper frequencies can get blocked by the front of your crowd. The Ring Lock mounts are pretty awesome. Once tightened, the L3m ain't going anywhere! Very solid connection.

Back to poles... I don't have the Line6 poles. We have (so far) always run the L3s on their sides, then using two K&M "distanz poles" into the two threaded sockets. Onto one we mount the L3m and the second is used for a small lighting t-bar with LED pars. 21367 Distance Rod »Ring Lock« - black to mount L3m http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Distance-and-extension-rods/21367-Distance-Rod-Ring-Lock-black 26736 DISTANCE ROD - black PLUS 213/3 EXTENSION ROD - black to mount lighting t-bar http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Distance-and-extension-rods/26736-DISTANCE-ROD-black http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Distance-and-extension-rods/213-3-EXTENSION-ROD-black Using adjustable poles means we can always get the horn (vertical centre of the L3m/t cab) at 6'6" for the best throw. The only time we'll not use the above setup is when we're not on a perfectly level floor (eg outside) at which point I have stands that will replace the poles. Not needed them yet, but we have a marquee gig coming up in May so will be running the stands out then. As to whether or not to get the subs... I wouldn't consider running without at least one but have so far only run out the full rig. Last gig we had it a little boomy, so selected the "Lounge Music" preset and took about 1/2 a mark off the gains on the backs of the subs... at which point it sounded sweet :-)

Ditto to BucF16's comment... save yourself a heap of headache and get the apple ones. Only a few quid more but WILL work.

Sorry Buc... Section 4.3 Multitrack Recording... "plug a Class 10 SD Card" Section 4.7 Recording Times 32GB is largest quoted There is then this... http://line6.com/support/page/kb/_/live-sound/stagescape-m20d-mixer/wifi-usb-adapter-sd-card-compatibility-an-r112 The following SD cards are compatible with the M20D: •Any class 10 SD card is compatible with the M20D. Only class 10 SD cards formatted as FAT32 are compatible. •32 GB maximum SD storage space SDXC cards are (by default) formatted as exFAT so have to be reformatted to FAT32 and even then, may not be reliable. There's loads about SD cards all over the net. As a 32GB card is plenty big enough for two full gigs for us, I don't see any benefit to trying to bend the specs to push a bigger card in. I did however buy an SDXC card first in error.

To follow up, used the same 32GB Samsung SD card this weekend after having deleted some files on the PC and everything recorded perfectly.

Yes, that's normal. The assignments screen only works for StageSource speakers, connected using L6Link. Anything connected via the analogue outputs is "invisible" to the M20d

Simple really... stop trying to prove to be the exception to the rule. Line6 quote class 10, 32GB capacity "SDHC" cards are the limit. To have a 64GB card, you've got an SDXC card which, although some people seem to have gotten them to work, is almost always the cards that cause problems for people. I have TWO SAMSUNG 32GB SDHC cards and BOTH have worked perfectly EVERY time including one which has been out, into a PC, out again and into a MAC, then back into the M20 and recorded our last nights gig both sets (45min + 1hr). It's a little like the wireless dongles... Line6 give advice. If you choose not to follow that advice, don't blame the M20 if it doesn't always go smoothly.

MixCraft 6 Pro here :-)

I'd suggest the weight difference negligible. Probably no more than 1/2lb We've pumped out an M20d recording of our bass players DI input through a pair of L2m's for use in a rehearsal and I was mightily impressed with the quality of sound.

There are apparently a couple of other USB to Ethernet adapters that work, but as I got one (not one of the listed ones) and it failed, I figured it simpler to go all apple (yuk!) for an easy life. A few quid more in initial expense but at least it works! Streaming from the iPad is really easy and like you plan, we use it to pump background music through before and between sets.

I tried a 64Gb card with no success. Switched down to 32GB cards (I have two) and since then have had zero problems. If it's not a stooped question, what level do you have the gain controls on the speakers set to? I've been in shops where sales guys recommend whacking them up full and leaving them there, whereas it is best practise to set them to the notch of 12 o'clock and leave them there unless absolutely necessary. It all aids in correct "gain structure" as is the term my compatriots here use :-)

Apple USB to Ethernet adapter plugs in to USB port Network Cable to LAN port of Apple Airport Express 3/8" to 3/8" stereo jack cable from back of Apple Airport Express to M20d 3/8" input (17/18) Create your wireless network. (there's fairly straightforward info on the forum in other threads though try to do a clean setup with the Airport) Now connect your iPad to the created network. Open iTunes Drag up from bottom of screen and route the output to "AirPlay"

What is your lead vocalists mic? We played a multi band fdo the other night where the soundman wanted our girl vocalist to use a C1000 of all things! She sounded great through it, BUT as it was a mic she needed to "stand off" from, she was out of her comfort zone... Changing mics on a gig night isn't such a good idea though! and how many of us have access to arsenal of mics to try to find the right one for a given performer. She, like your singer, has a great voice but sings relatively quiet. We originally tried an AKG C5 for her but feedback was an issue so dropped back to a D5. The D5 still has the mid range of the C5 but without the very high end you get with a C5 and feedback issues were dramatically reduced... to the point that every now and then we get a tiny whistle for a second until the M20d notches it out. She sounds great through it. As others have alluded to though, the best way to get rid of feedback is to reduce the overall stage volume, such that you don't need to run your monitors so loud. We're still experimenting but learn something new every time we head out.

Can't help you with that particular case. I have the Line6 attaché bag/case for the M20d and am very happy with it. As we use the M20 for rehearsing where we don't need any of the rack mounted gear, it didn't make sense to rack mount the M20. I've a separate 3U shallow Gator for the rackmounted aspects of my power rig (the only stuff that is rackmounted). I have a very solid K&M mixer stand for the M20 to sit on when we're gigging.

At 25 feet, you are unlikely to have problems. Certainly, the signal should be strong enough. The question would be whether you get any interference from other nearby cables and or general electrical equipment/transmitters. Personally anything over 5m (about 15feet) I'd be tempted to run a DI box and convert to a balanced signal. All the signal cabling in my rig is 10m (30 foot) but with the exception of keyboards (which we run to the desk via a 2 channel DI box) it is all balanced signals anyway (mic on guitar amp and an XLR DI output on the bass stack.

Thanks dboomer. I hadn't realised you could do it like that. I'd only seen 2stereo" presets with the jack icons. Anyhow, set up as per your suggestion and ready for next usage :-)

Is it possible to create a stereo pair on the 1-12 inputs? I can't see a way of doing it but would like to. We're going to start running an XY pair of overhead condensers on drums and I would ideally like to be able to set them up identically, albeit panned L/R but I can't see an easy way of doing it. When we plug in to 1/4" inputs 13+14 or 15+16 we're prompted to make a stereo pair but not on XLR inputs... which mics use! I could run the condensers into 15/16 (we're stereo pairing for keys in to 13/14) but then lose the phantom power so would need offboard phantom supply AND we lose the feedback suppression afforded us on 1-12. So... does anyone have a solution, or have I missed something obvious?!?

I have a BOS FS-6 (effectively 2 FS-5u in a single housing) and it also works perfectly. Rigged up a 10m length of 2x core multicore cable with colour coded mono jacks rather than have two cables running to it.

Not specifically to join two ipads together, but if you use an apple airport express router you can connect the 1/8th jack to the router and then play your music over airplay.

Sorry to correct you theShowmakers BUT you can be in either SETUP, MONITOR or PERFORM mode for this to work. Indeed it may well be easiest in MONITOR and PERFORM as the icons are larger. It is true though that icons may move if you drop them onto an occupied space but there is logic in how the shuffling works... If you move an icon to an occupied space, the icon which was in that position moves to the next available open space (next highest number). The spaces are organised as: 1 3 5 7 9 11 2 4 6 8 10 12 as you view the strip. ie the top row is "odd" positions, the bottom row "even" If there isn't an available space, the icon will be on the next screen in the first available space. I have on screen one male and female lead vox in 1 and 3 repectively male and female lead vox monitors in 2 and 4 repectively Guitar in 5 Keyboards in 6 Bass in 7 Drum kit (group encoder) in 8 Sax in 9 Sax monitor in 10 Backing vox (group encoder) in 11 FX Returns (group encoder) in 12 On screen two Kick in 1 (assigned to Drum kit group encoder) Backing Vox 1 in 2 (assigned to Backing vox group encoder) Snare in 3 (assigned to Drum kit group encoder) Backing Vox 2 in 4 (assigned to Backing vox group encoder) Drum overhead in 6 (assigned to Drum kit group encoder) Backing Vox 3 in 6 (assigned to Backing vox group encoder) Media Player in 7 Backing Vox 4 in 8 iPod in 9

Create Scenes. Within a scene, you can modify any aspect of the mix. So, if you create a scene for each song (or group of sings) you can cycle your way through them. If you have an out front sound man, he just selects the correct scene as the song starts. There's negligible delay in the switchover from one scene to another. If you're mixing on stage, someone will need to make the switch on-stage but again, it's pretty easy. To alledgedly simplify matters, you can add a footswitch to control scenes too.BUT as I found, it's not as usable as I thought it would be.

Yes, touch and hold the icon you wish to move until it goes slightly transparent and looks like it detaches. Then, without releasing, drag either left or right along the control strip and release when it is in the location you want it. I found it easiest to move things out of the way, then move things into the freed up space.

Interesting observation Jim. I've used my 32GB class10 in the PC, copied all files and have no issues with them. Put the card back in the mixer; no issues. Erased some files (to make space) on the PC and now the remaining recording starts to crackle BUT the crackle isn't consistent, as of there is a problem reading the card. I'll use a fresh card for our gig on friday, format the original and see whether the card is fully usable again. I just daren't record to it on friday, but I need to as at our last gig I managed to not set the recording off for the first three songs of first set... all done back to back so I didn't get chance. As an aside, I've now mixed down the tracks from that gig (except 2 where an error was too big to cover up!). Used Mixcraft... Lovin this option :-)