SiWatts69

The only person who can answer that for you is a tech, with the unit in front of them.

I dunno what it means when connected to a Helix. When connected to the M20d, the light flashes when it is being "pinged" by the desk.

Don't touch the session.dat file at all. In the odd circumstances I've tried to reload a folder I'd removed from SD card, where I'd removed session.dat, M20 doesn't recognise the contents at all. If I tried to copy a session.dat file back in, M20 still wouldn't recognise the files. My suspicion is the formatting of the WAV files. Good luck!

Well, to be honest, I've done the above but only with files that were originally recorded on the M20. I've never pulled in an externally created WAV. It could be some kind of compatability issue within the WAV format.

I think so... If I have it correctly... you want to be able to playback (and mix) a set of channel recordings but which did not originate on the M20d? If so, you firstly need to create a recording session on SD card on the M20. It doesn't need to be extensive but MUST map your eventual channel lineup/setup Take the SD card and place it in your computer. Locate the recording session you just created on the car (typically a folder named Recording1, Recording2 etc) Inside the named session will be a number of WAV files, one for each defined channel. Each Wav file will be named based on the input channel setting on the M20, so for example if you have a Kick mic defined in channel 1, with the channel named "Kick Drum" there will be a corresponding wav file called "1_Kick Drum.wav" There will be one file for every input channel you have defined in your setup. Next, Locate your tracks you want to import. Name the wav's identically to the names of the target wav files in the recording session folder, then copy them into the session folder, overwriting the original file with your new file. Repeat for all channels. If when playing back, you want one of your channels to be a live channel (ie to not playback a recording) simply delete the relevant wav file from the session folder on the SD card. Place the SD card into your M20 and it would now read the folder and playback your new WAV files into the correct channels.

Not sure I entirely understand what you want to do. You should *NOT* amend the session.dat file in any way. Tell us what you want to achieve and we'll do out best to assist.

A mono preset is routed to both L and R main outs an the pan control governs how much each side gets. It's still a mono signal, just fed to both sides. A stereo preset anticipates stereo inputs (ie 2 channels) BUT the pair of inputs are linked within the M20 to a single channel control. In this setup, the pan control governs how much of each of the two channels is fed to L&R respectively. This is a stereo signal and only the L input (5 in your case) will go to the L side, and the right input (6 in your case) will go to the right side. Pan is adjusting the relative level of those two signals against each other. Your HD500 has a stereo output because, I assume, many of the inbuilt effects output in true stereo.

POD HD500 is a stereo preset To use it, you need to run 2 cables from the HD500 to the M20d. Plug L into 5 Plug R into 6 The HD500 preset is not available as a mono preset To run it mono, you'll need to unplug, delete the input then plug back in to just 5.and use the Guitar Modeler preset

Outs A, B C and D are the monitor outs. Each one can easily be set to receive a FOH mix by setting all the channel levels (for example to monitor A) to "linked" Then for the channels you want "more me" of, increase the (monitor) level for that channel When viewing the "MONITOR" screen, tap monitor A on the screen You are now controlling channel outputs to monitor A. In the row of buttons beneath the stage, set each channel to "linked" Set the levels on each channel til the little upside down triangle goes green; in this state, the level is identical to that being sent to the main outs. For "more me" on that channel, raise the level ABOVE the green triangle Repeat after tapping monitors B C and D respectively Then set the master output for each of your four monitor channels. This can be done in any of three places: On "MONITOR" you'll see your 4 monitors as buttons in the control strip On "PERFORM" you'll see your 4 monitors as buttons in the control strip On "PERFORM" with "SHOW FADERS" selected, choose "Mains" from the options at top of screen, at which point you'll see fader style controls for your four monitor channels and the main outs.

Sounds like you've inadvertently created a stereo pair between 5/6 If you then only plug into channel 6, you're only routing to the right Go onto the "SETUP" screen, tap the guitar input on screen and look in the upper left corner of the stage area, where there should be a stereo pairing control which should allow you to unlink the two.

No worries. The nature of forums is that (hopefully) we all take/learn a little but at the same time we give a little back when the time comes. Forums have often been my useful resource when trying to crack a problem. BUT if I'm entirely honest, the Line6 rig has been a breeze to use so I've not often had to ask for help. Maybe not quite what you imagine though in terms of running a fairly full/live gig; Lead vox, Guitar, Bass, Drums, 3x backing vox and me on one or other sax. We're only a 5 piece ;-) BUT we were (when I bought the rig) a 7 piece with keys and a female vox and 2 extra backing vox on top. As for depping in Brisbane... Can I get there on the bus from South Yorkshire? Can't say we've needed to. That is however, quite possibly as a result of our band having a particularly awesome singer. I'm saying that, but I don't do the majority of the mixing for our band. I started us out with a standard presets setup (Male with Reverb for our singer) and after that, only our guitarist has done anything with his particular channel. I did once try upping the level of reverb on his channel but it wasn't successful. He has such a great voice, fx just spoil it! Surprised though that you are trying to tweak so deeply before you arrive at a venue... too many variables introduced by the room will doom you to failure more often than not.

Late to the party here, but, like ReWolf, we "soundcheck and record a full song (2 actually - as I'm a sax player and have both tenor and bari on individual channels) We trim, then do a quick play through of some short sections and get monitors sorted first (without the FOH levels up) and then play and record our two full songs. Our guitarist (who is a better mixer than me) then does a "cans" mix before bringing the main outs up to get a room level. If we've time we may then do a quick blast with everything on just to make sure that the backline (which we deliberately run as quiet as we can) isn't bleeding through too much. The "Inputs only" recording is brilliant for this. As stated above, the quick capture doesn't get used. 20 seconds might be OK for some smaller setups (just a guitar drums and bass) but with multiple backing vocals and brass, all of which aren't in all the time, the 20 seconds isn't adequate. I can't actually remember the last time I did a main outs recording. What I tend to do is inputs only recordings. If I want a main outs recording, I will play the full set(s) back on the M20d back at base and record directly from the analogue main outs direct into my DAW to create the output mix recording. Enables me to tweak it slightly to compensate for backline not being present. If the recording is worthy of it, I can then pull in the individual tracks and do a full mix from dry in the DAW.

Just remember that with a new setup, and swapping between them,. that the main levels (master and monitor outs) are set to -infinity when the setup is loaded, so it wouldn't be an appropriate solution mid gig.

It is as you suspect.. If an input channel has been defined, a recording is made of that channel regardless of its state. The only solution, and it probably isn't a solution for you, is a separate "setup". Might work for your solo gigs, but I doubt it's an option for your expanding lineup gigs.

If there's a "through" output on the back of your main FOH speakers, you could run from there. Alternatively, you need a pair of 1->2 XLR splitters (of a dual channel one!)

Brilliant :-) Long may it continue ;-)

One last suggestion then... Start again FROM SCRATCH! Start with a blank new setup. Rebuild your inputs (you can do this before getting to the venue) and then load standard presets with nothing whatsoever tweaked. That way, if your lovely (but inexperienced) sound guy (or anyone else in your band) has inadvertently introduced any gremlins in your attempts to sort it in the past, they'll be gone. Clean slate. Let us know how you get on!

What auto-trim is trying to do is set the signal level into each channel strip as close to 0db WITHOUT "clipping", ie distortion. Ultimately it DOES affect the output volume stage for the channel, but it does so early in the chain. Distortion that is then supressed by a lower output level doesn't disappear. When you auto trim, if you are not giving it enough welly (ie if you are not performing exactly as you will during the performance) auto trim will set the initial gain stage higher than it should be. You then kick off your performance, and your sound guy is battling a "hot" mic. Imagine it this way... If I stood next to you and sang, the chances are the volume my voice would generate would be different to the volume you generate. You may be louder than me, I may be louder than you. If we both sang into an SM58, the mic would create more signal from the louder voice than it does for the quieter voice. When the signal from the mic reaches the M20d, the "trim" stage (or gain stage) aims to make those two voice levels the same. It might pre-amplify the louder voice by 3dB but need to pre-amplify the quiter voice by 10dB By doing so, the signal strength in the two channels is now equal. Trim is there to equalise the input signal strengths. It is true that fixed level output devices are unlikely to need trimming every time. Indeed, many of us don't bother to trim vocal mics every time, BUT we do so knowing that the trim level was set correctly on a previous occassion, and nothing in the chain has changed; same singer, same (exact) mic. You can only do this though if the same singer uses exactly the same mic, processed (pre M20d) in exactly the same manner every time. I'm not sure how the output stages of your guitar boards work, but I'd strongly suggest that they get trimmed, at least a few times. If they've never been trimmed the signal could also be too hot. Get them trimmed. Then at the next outing, trim them again, and again the time after. Once you are confident that auto-trim is not having to adjust the trim level, you can stop trimming them, but you should still do it every now and then just for checking. Your TC-Helicon vocal boxes have likely got Mic-Pre's built in. I use a TC-Helicon voicelive solo pedal on my sax, but before hooking it up, I check that the mic-pre level is fully down. You need to check that the mic-pre levels on your TC boxes aren't up and if they are, consider turning them dow somewhat before trimming. Not certain which TC boxes you have, but if they have external analogue mic pre level controls, they are very easily nudged in transit. Auto-trim will show you the change it makes. It'll be either +XdB or -Xdb. The figure displayed is the amount of adjustment from the existing level. Trim level is distinct to the channel. It will happily auto-trim multiple channels at the same time. But, as Silverhead has pointed out, auto-trim needs to be done at the loudest section to be truly effective. The only way you'll find that out is by daring to run out without the L3s! Don't be scared of taking it and not plugging it in. Don't be scared of reigning your volume in a little (too many bands play too loudly IMHO) If it puts it into context, I have two subs. One of them gets used around five or six times a year. The second one gets used ten to twelve times a year. We run out without either sub around 20-25 times a year!

I reckon you've perhaps hit the nail on the head in your last statement. In your efforts to keep the noise to a minimum, when you create your mix, you're not firing on all cylinders and as such, any auto-trim level set at the outset is not going to be representative of your actual sound at performance time. Blow the audience that might be in the venue at the time! They know its a live music pub when they arrive and likely know that at some point or other, there's the likelihood of the band needing to strike up for a short period. If necessary, announce that you'll be doing a short soundcheck and apologise, but you MUST soundcheck at full pelt. Here's what we do! (there's two scenarios here with us since we don;t always roll out the full rig and often play backline only for drums and bass.) Scenario 1 (Full rig) 2x L3m, 1 or 2x L3s, 4x L2m/t as monitors, everything mic'd and run through PA. In this scenario, it is typically larger venues where we are less likely to have "company" during setup/soundcheck. Drums auto-trimmed (kick, snare and a stereo overhead) one by one. Bass (DI from back of amp head) trimmed once and rarely needs changing. Guitar mic'd from small fender combo. 4 vocal mics 2x sax mics (radio) We then perform a full song with monitors only (ie no level out front) and record all inputs. If necessary, monitor levels are tweaked based on individual needs. We then perform a second song (with my other sax) again recording it as we go. A FOH mix is then done in headphones from the two recordings. Finally, we playback the recording and whilst all stood out front, the masters are raised and small tweaks made to adjust for the room (lifting vox above backline for example) Once everyone is happy, we leave it well alone and just mute mics Bear in mind, we pull the main outs up to full performance levels in this process, and with mics open on stage and monitors blaring, any feedback that might rear its head is often revealed. I'll do a final walk across the mics, cupping each toward the nearest monitor, again trying to induce feedback. If we're on the edge, I will sometimes force the main level up a little to try get the M20d to notch out the most obvious feedback frequencies. Rarely do we get feedback during a performance and we don't run anyone "out front" tweaking things. I have my ipad on my side of stage and the M20d is on the opposite side near our guitarist. Even if people are in the room, we typically follow the same routine. Indeed the whole playing back the recording often piques the interest and we've had people stay on to watch us after hearing the soundcheck, people who normally leave before the bands start! Scenario 2 (Small pub), 2x L3m, 4 vocals, 2x sax mics, and guitar (mic'd from a small fender combo). Drums acoustic. Bass backline only. In this scenario our only option is to do a live soundcheck. The guitar, bass and drums have a quick riff to get their backline balanced and for the guitarist to get his fender to an appropriate level for his on-stage needs. We then trim the guitar combo mic (I use an Audix D4). Vocal mics are identical for each of us every outing so trim levels are retained from previous outings, rarely needing to be changed. Likewise, my sax mics are radio mics so their level simply doesn't alter from one gig to the next. We have two songs we sound check to (I have two saxes so do one song for each sax) As I'm on radio, I typically go "out front" to listen whilst we play through each of the two songs. Typically, we use a saved setup which is a (scenario 1) mix we know was great. Masters are simply brought up to level that balances my saxes, the guitar and vox against the backline. Don't need to touch anything related to drum or bass channels as the inputs aren't present. I'll not pretend that it was easy at the outset. Most of my/our issues at early outings was created by overpowering a room. Learning when to drop to one sub and even when you don't need subs is a difficult lesson, but one which once learnt will ease some of your issues. I don't bother with subs for small venues (up to 125'ish people) - typical UK "pub". One sub rolls out when we're pushing 125-200 capacity and the second sub only typically comes out for venues over 200 capacity. The L3t/m speakers have remarkable bass handling capabilities and are more than capable on their own in small venues. Perhaps your issue is the sub being present though your low level hum style feedback isn't one I've ever experienced. If you turn the main level (on the sub itself) down whilst the hum is present, does is go? Worth trying. Though beware that when you have an L3s in your chain, everything below 120Hz is routed to the sub and turning it down will kill your bass. The L3m/t will not be receiving those low frequencies. Better to unplug the L3s from the L6Link.

ok then, another couple of questions... The gain knobs on the back of your speakers... Are they set at the 12 o'clock position? What amount of reverb (or other FX) are you running? What mics are you using? Auto-trim really ought to be set and forget. If he's messing with trim levels during a performance it suggests there's something seriously wrong in his methodology because unless you all sing/perform at one level for sound check and then crank it up for the performance there shouldn't be any significant variance in the input level. BUT, having the input trim level too high is a surefire way to create problems. The occasions where I struggle with feedback are when any one or more of the following is true; Onstage backline volumes too high so monitors pushed high to get vocals over the top Running without subs (as in these instances we're using backline for FOH for guitar and bass) Weak vocal strength, meaning greater input trim required Too much FX on a given channel. BUT, in all cases, the feedback is typically always in the upper frequency ranges atypical of microphone feedback. For want of a better suggestion, your guy has quite possibly tied himself up in knots, desperately trying anything and gradually making the overall setup deteriorate and it may be better to scratch the setup and begin again from scratch with a clean set of presets.

Low level hum doesn't sound like mic feedback to me. First things to check: Are your guitars and the kit going in to the M20d via outboard DI boxes or direct? Have you "trimmed" the input levels for all inputs? Are any of the guitars "active"? Low frequency hum is often an indication of ground loop hum. This could be being generated by your electronic drum kit and even sometimes guitar pedal boards. Does the "feedback" present itself in your in-ears for everyone? I don't typically plug instruments directly in to the M20, almost always using a DI box with the ground lift engaged to separate to two devices. Keyboards and other "powered" instruments are the biggest issue for ground loops but you won't necessarily experience a ground loop hum at every venue... it depends upon the mains circuits over which you have no control.

Yes, the two Sandisk Extreme cards were: Class10 Formatted FAT32 Did not read successfully. I'm not trying to debunk your assertions that the SDXC cards work, just pointing out the caveat that class10 SDXC cards, even formatted to FAT32 *might* not work. If you've not spotted it by now, I'm one of those people who follows the advice and guidance given by manufacturers on the whole. If Line6 recommend 32GB SDHC Class 10 then that is ultimately going to be the best recommendation to follow. Whilst a number of people have got their SDXC cards to function perfectly, it can't be assured and thus becomes a case of YMMV. If someone points out the caveat, and I or any one else choose to ignore the caveat then I/they do so at their own risk. Neither the community nor Line6 can be blamed for a non-functional SD card :-) FWIW, a 32GB SDHC card is sufficient to record over 4 hours worth of material as all inputs + output

CAVEAT: Your mileage may vary!!!! There are plenty of postings on here from people who have purchased 64GB + SDXC cards which have failed to work (me included: I bought two 64GB Sandisk Extreme SDXC cards and neither would work in my M20d). So, whilst I do not doubt the above two success stories, anyone reading should be aware that you *may* find yourself with SDXC cards that you cannot use in your M20d. Indeed, I would suggest you would be more likely to find the cards don't work than do.

Penn Elcom are a UK based company. I've emailed them to ask for an outlet for the 0153N-BK model wheels and we'll see what they come back with :-)

I'm with silverhead on this, but would suggest a slight deviation... You need to create a few seconds recording with the new channel lineup. That will then give you a folder with the *correctly* named files in place. On your computer you can then do a file > save as with each of the old lineup files to make them match the new lineup. ie you will over-write the freshly recorded files with your old files, the old files gaining the new filenames. Hope that makes sense!