SiWatts69

Have you updated to V1.2 of the StageScape firmware?

If you haven't already done so, update to V1.2 of the StageScape firmware. There were recording issue fixes in the release.

Nope this can't be done. as Larry has stated, you have 4 independent monitor mixes available on the M20d. Additionally, you have the main L/R outs which can be used for "more me" style monitor mixing. Thus with most IEM systems, you can have just the four independent DISTINCT mixes. 4 monitor sends > 4 IEM transmitters -> 4 IEM receivers (though you could have more than 4 receivers if band members share the same monitor mix. Some IEM hardware has selectable stereo inputs where you can control how the "sides" are split at the receiver. The only benefit here would be being able to reduce the transmitters to 2. Some IEM hardware has "loop thru" options (like my Shure PSM200). For this method you can create a base front of house mix which is fed in along with the artist's own input signal (their input signal goes to IEM trasmitter BEFORE getting to the M20d). This gives you a "more me" setup. The FOH aspect of the mix can be tapped either from the main L/R outs (if you are using L6Link for your speakers OR have a signal splitter) OR from one of the four monitor channels on the M20d. As this can be daisy chained, more than 4 independent mixes can be achieved, BUT your limiting factor is the number of available frequency channels IF you want to run all IEM's as wireless). You are also limited where you have other radio equipment. For example, I have radio mic gear and IEM, one running on channel 2 the other on channel 4. That leaves just 2 free channels for others to use for IEM. You *may* have more than 4 frequency channels available where you are. You'll need to check with your national radio licensing authority. Larry... You were technically correct in what you stated; there are four monitor sends and that's all. But as I found when first using this forum, the posts of greatest use are often the ones which describe workarounds that guide us toward our own solutions. Often those workarounds with the greatest insight discuss the additional equipment used/needed to achieve what was asked (see some of Ron's excellent posts for examples). I'll not comment on sound quality of your Galaxy system vs the Shure, I'm sure you know your own gear. For me, the "more me" mix is exactly what I want so the Shure made perfect sense for me and my solution at the time (we used to run through a desk with only 2 monitor sends). As it happens, we've still a spare monitor channel left. I use one for a full FOH mix for me (though since we got the Line6 rig, I am no longer looping my mic signal through the PSM as I just boost it in that monitor channel on the desk), then we run 2 L2m's for the 2 singers. Keyboard player uses a pass-thru method with a single monitor near him so it only has his keyboards in it like a backline amp, and everyone else is reliant on ambient stage noise BUT we could, for bigger gigs run a FOH mix out as side fills and run a dedicated monitor for the drummer if he needed it. Then again, we are still playing in the traditional fashion with bass and guitar backlines. And so we're back to the request of Line6 to make a 2.4Ghz/5GHz digital IEM system where there are more frequency bands available.

Not strictly true. My Shure PSM200 has two input channels and is very easy to use to set up a simple "more me" based mix. On the front of the PSM200 are two XLR/Jack combi inputs, and on the back are two XLR outs. The out is a straight pass-thru of what goes in at the input. So, by feeding a single summed main FOH mix into channel 1, then routing the instrument in thru channel 2, we can boost the relative signal level (channel 2) for the individual. Channel 1 out then daisy chains on to PSM200 # 2 channel 1 in. Channel 2 out goes to the performers input channel on the desk. PSM200 has a maximum of 4 available channels (though country restrictions may limit this) so it is possible to have up to 4 independent IEM mixes from a single monitor send on the M20d. The other three monitor sends could then be used for other purposes. Channel numbers may be limited by other radio equipment like radio mics if those items are not 2.4Ghz items and are therefore using the same UHF channel space. There are (more expensive) IEM systems that can do similar for a higher number of IEM channels

I use in-ears, but the rest of the band use wedges. Firstly, how big is your band? ie how many independent mixes are you looking for? Which in ear systems are you looking at? I have the Shure PSM200. The only disadvantage of this being channel availability as it is UHF band so you need to take into account your locality (for the UK we've 4 royalty free channels, so a maximum of 4 channels for radio equipment like radio mics and IEM systems). What IEM systems are you looking at?

OK, to look really sad and post 2 replies to my own thread!!! Carried on testing. The halt at scene 5 doesn't appear to be specific. I started to remove some of the extras and the point at which the footswitch stopped advancing "moved". Not sure whether there was a corrupt scene. So, I deleted ALL scenes and saved setup then rebooted. Set the scenes up again and it now runs through all 6 without issue. Finished as: Background1 -> Play -> Background2 -> Failsafe -> Background3 -> Failsafe 2 "Play" and "Failsafe" settings are band channels open, iPod/Media muted So the final scene is always a band one. Still think it would be so much easier if all I needed were the two scenes and could use the footswitch to alternate; 1->2->1->2->1->2 etc etc or 1->2->3->4->1->2 etc

Further tests... Hmm, tried adding an extra 3 scenes, perform -> background -> perform, the last being a failsafe, so we can at least carry on a finish a set letting me fiddle when we get to the end of the set to put background music on after we've played. Hit an apparent snag but not sure if I'm doing something wrong; The footswitch will not advance beyond the fifth scene, even though there are four more set up after it Am I doing something wrong? I can manually load scene 6 at which point the footswitch again starts advancing. :confused: Incidentally, I've saved the "setup" and rebooted and this still occurs. The footswitch only want to advance through to scene 5 then stops.

Received my Boss FS-6 footswitch today along with 10m of VanDamme 2 core multicor to make up a twin jack to jack with Neutrik ends :-) Hooked it up tonight to test and play with footswitch operation and there's an issue I hadn't anticipated... My plan was to use footswitch A to mute the FX using the assignment FX Mute set to Momentary... This works flawlessly. The second part of my plan involved setting up two "scenes" and using footswitch B to alternate between the two. Scene 1 has the M20d ready for gig, ie all channels unmuted (except iPod/Menia) and scene 2 has all gig channels muted with iPod and Media unmuted. The idea: Soundcheck. Set background music to play using iPod/iPad over airplay through apple router. As we're about to start playing, press footswitch to mute iPad and open up the gig/band channels. As we finish the first set, press footswitch again to revert to background music from iPad. Ditto at start of 2nd set: footswitch to flip from iPad to band, then finally flip from band to iPad after finishing. Doing this, I haven't to worry about stopping the background music, it can just play on into a muted channel. So I set up two scenes... flipped the footswitch and it correctly jumped to alternative scene... but that's it! It stops there. So now I have to go back to M20d and reset the scene on the screen.So, I set up 5 scenes: background -> set1 -> background 2 -> set2 -> background OK, that works... but if I inadvertently stomp on the switch once too many and need to flip back I'm out of luck. The scenes have run out and we're stuck on the last one. What would make more sense was if the scenes list automatically reset itself to the beginning on the next stomp if the end scene has been reached... that way, 2 scenes, and it just alternates. Would be nice to think that this relatively simple extra option might make it into next firmware release.

I believe that the advise is that you ONLY use a MOMENTARY type switch. The "Momentary" setting in the Footswitch setup screen sets how the instruction is processed. If set to Momentary on the M20d, the action will take place whilstever the switch is depressed, then the action will stop when the footswitch is released. If the Momentary setting on the M20d is NOT set, the footswitch will toggle the action state with each press. ie press once to mute FX, press again to unmute them. This is NOT the same as using an on/off type footswitch. I'm not yet using a footswitch with ours, but am considering the Boss FS-6. The additional option I'd like to see for Footswitch control is an equivalent to the Mute Mics hardware encoder, ie being able to mute all selected channels with one footswitch press and unmute with a second... to save walking over to M20d to press the button. Failing that, the option for it to mute specific group encoders (whether one or more) to achieve the same thing. I'd also like to be able to start and stop full media recording, rather than just Quick Capture

I would summise that if there are few other 2.4Ghz networks in the vicinity AND you don't need to keep the 2.4 band "clean" for use by radio mics etc, then there's no real need for you so isolate to 5GHz. It would only really be relevant if you arrived at a venue where there was a significant number of other 2.4GHz networks operating AND where there networks were spread across the channel spectrum leaving you with no "clean" channel areas. Even if you are using a 2.4GHz radio mic you shouldn't have a significant problem, but if you have multiple mics, it might be worth limiting to the 5GHz band.,

To my knowledge, multitrack recording it post-trim but pre anything else, ie DRY except for trim. AFAIK, the main outs is recorded pre-fader, but in this instance that doesn't mean there is no signal pre-faders. The master out faders govern how much of the master L/R bus signal is output to speakers. At unity (0) there is no difference in gain from one side of the fader to the other and I believe the main outs recording is precisely that. As for why the rest of your band are getting the drums twice, I suppose would depend on how you've routed stuff. Without a schematic, it's impossible to throw light. I'd have no need of a metronome but whatever floats your boat I guess!

This is actually one area where I think the manual and online support docs let the M20d down. Connecting using a router is only "touched on", ie it is mentioned that it can be done but there is no step by step instruction as there is for dongles. Likewise, the list of dongles supported is somewhat short... with at least one of the three now being discontinued. As the listed dongles aren't easy to get hold of, I guess most people would just assume that any dongle would work, cos it's just a dongle isn't it! I nearly went down the dongle route, but decided against at the last minute, getting the Airport Express in the end. I chose the apple product not because it was apple (I'm not an apple fan) but because it had the added bonus of being able to wireless stream music from the iPad via Airplay with the addition of a 1/8 to 1/8 audio cable from router to aux input on desk.

Genuinely gob-smacked at that Jim. I've no reason to doubt what you say the Monster reports, but it does seem awfully low to me. My calculations were all based on the specifications published by Line6 for power consumption. I guess their listed specs are rather generous. Nice to know your background in electrics... at least your Lord shouldn't be taking you away from us for making an error in your own arena!

Just checked the specs and the L3's, L2's and subs all list a power consumption of 250W... so 1750W for your 7 speaker rig. hat halves my amperage usage from above (though the amperage is based on 240V not the 120V you have stateside UK consumption: 7.5amps US consumption: 15amps Your Monster is listed at a maximum output of 1800W I'd still be a little cautious with how much extra you add to a single 1800W conditioner as your seven stagesource are pretty much going to max it out.

Further to your initial thoughts Jim, have you taken into account the total combined load of all your stagesource speakers. I don't think I'd want to run more than 4 on a single outlet... But our wall outlets are only 13amp fused and yours may be more stateside. IIRC an L3t or m draws somewhere between 2-2.5amps, the subs around 2 as with the L2's. 2 of each would be our full 13amps. This would, to my mind, be asking for trouble. Certainly over here, it would be unwise as it'd be drawing VERY close to the max the fuse can handle. A slight surge, the fuse pops and your great ministry falls into silence.

You can buy cable of this nature; ie combined 3 core power with DMX built into a single outer sheath. To be honest though, I'm not keen on the idea of long runs of low level signal cable (DMX) strapped to mains cable, just for the possibility of cross talk. Not sure whether my concerns would carry any merit, but it's not something I'd seek to do.

I've set up an entire power rig. The only thing I would add to it is power conditioning, but at this stage we;'ve not had any issues that would call for it. For my power rig, every bit of stage power is drawn from up to four separate wall outlets (depending upon what is available when we get there. At full deployment, I aim for two power outlets on the wall at each side of stage. On the side where the M20d is to be located: RCD protected plug into 2x 5m lengths of 2.5mm heavy duty rubber coated mains cable (16Amp rated). Each is terminated by a blue Neutrik PowerCon connector (PowerCon IN). These then plug into a 1U rack mounted 2-way PowerCon splitter I've made. Concealed behind the plate, I split off from each PowerCon IN, to a 1U distribution board; One is standard 13A UK sockets (6 in the 1U unit) and the second is an IEC distribution board (12 IEC outlets in a 1U unit). Each powercon source then loops back out of thePowerCon splitter via Grey PowerCon outlets (1 for each) So already, I've got 6 13A UK sockets and 12 IEC sockets where the M20d is. These are used to power the M20d, router, my radio mic receiver and IEM transmitter, plus our guitarists rig. Each of the two PowerCon OUT's are then extended to behind the StageSource stack. One run is terminated with a 4 way UK socket distribution board (read that as a "4-way extension cable") so the cable is made up as PowerCon OUT (grey) to Duraplug 4 gang mains Second is terminated with a single IEC plug. Cable made up as PowerCon OUT (grey) to IEC mains. That IEC is then plugged in to a Schurter 5 way fused IEC splitter block which powers the StageSource L3m and L3s on that side of stage PLUS the lighting rig on that side of stage For the other side of stage I've constructed PowerCon 2 way splitter boxes. So, after an initial 4m run from each RCD protected wall plug, we hit the first PowerCon split point. At this point, I can then tap off either for a 4 way UK sockets board or an IEC plug into IEC splitter box (4 way) then daisy chain powercon onwards out of the second powercon output. I can keep doing this until I run out of cable or connectors. One run will terminate front centre of stage with 2 IEC plugs for the 2 l2m's we're running as floor monitors. I built four 2way powercon splitter boxes using these: http://www.canford.co.uk/Products/86715/49-399_UNIVERSAL-Y-SPLITTER-T-PIECE-Box-only The Schurter IEC splitters are these: http://www.canford.co.uk/Products/20215/42-701_SCHURTER-STRIPBLOC-4740.3000 These are the two rackmount distribution panels: http://www.lindy.co.uk/networking-c5/cabinet-accessories-c254/power-distribution-units-pdu-c258/1u-12-way-iec-sockets-horizontal-pdu-with-uk-mains-plug-p4054 http://www.lindy.co.uk/power-c8/power-accessories-c341/power-distribution-units-pdus-c347/1u-6-way-uk-sockets-horizontal-pdu-with-uk-plug-p4211 Rackmounts are mounted into a Gator shallow 3U ABS case and when not in use, ALL except 3 pieces of the puzzle fit in the back. Used a total of 50m of 2.5mm 3core Heavy Duty Rubber mains cable. Lengths made up as: 2 of RCD wall plug -> PowerCon IN (blue), 5m 2 of RCD wall plug -> PowerCon IN (blue), 4m 2 of PowerCon OUT (grey) -> PowerCon IN (blue), 5m 1 of PowerCon OUT (grey) -> PowerCon IN (blue), 2m 4 of PowerCon 2 way splitters (one in, two out) 3 of PowerCon OUT (grey) -> Duraplug FC4134BLK, 2m 5 of PowerCon OUT (grey) -> IEC Female, 2m 1 of PowerCon OUT (grey) -> IEC Female, 4m I did a full power audit of requirements before setting it all up and took into account relative positions and quantities of wall sockets that we might encounter and worked back from there. Everything is protected by RCD at the wall outlets. As much as possible, it will be the IEC multiways that are used for the PA itself and lighting (all LED) with the uk mains outlets being used by bass, guitar and keyboard players. The rest of the band think I'm pretty mad! Whole setup cost was about £400 and about 4 hours work though I already had the gator case but have factored that in to cost. The real beauty of powercon is that you can tap off whatever you need at that point in the line (so long as you have splitters) making it pretty flexible. I did look initially at doing it wall with IEC but as each "union" is limited to 10A it restricts the total capacity of each run. With PowerCon I can use the full 13A available at the wall outlet. 4 separate wall draws gives me 32A to play with but we're nowhere near needing it. I believe the total current draw for everything on our stage at full belt is only 15A so it could, in theory, all be powered from 2 wall sockets if that is all that is available.

Thanks. I've downloaded the mixcraft trial and will give it a try

If it's not too stupid a question, or innapropriate for a Line6 forum, does anyone have any suggestions for a starter level DAW. Something I can easily import the channel WAV's into and get a reasonable mixing environment without busting the bank? Personally, I'm a windows user, not mac. Our guitarist has produced some pretty good results using GarageBand on his mac, so I'm looking for something similar for windows.

To come back to my own thread with my own experience... I two usb to Ethernet adapters. The apple one works flawlessly, the other isn't recognised at all, so I'd suggest that unless someone knows that the one they are looking at definitely works, go for the apple one (as much as it pains me to tell anyone to buy overpriced apple gear!)

Question as per the title really :-) I realise the compatability lists state 32GB but wondered if anyone had successfully loaded and used a 64GB card? I only spotted the declared 32GB limit after I'd bought a 64GB one, but before ripping it out of it's packaging to try it I figured I'd ask, as at present I can still return and exchange it :-)

Great. Thanks for the clarification.

In the interest of simplicity and reliability, I've plumped for the airport express route. I assume the M20d is plugged in to the WAN port of the router?

Got my rig on order, bought the iPad, now looking to get what I need to hook up the ipad when it all arrives... so... Given the list of compatible dongles but the recommendation that you hook up through a usb / ethernet adapter with a wireless router, what are you using, ie what specific products? Make/Model for each would be helpful. Equally, any combinations or inidividual products which have proved unsuccessful or difficult, ie ones to avoid. Many thanks.