SiWatts69

Not that I am aware of.

Interesting you say that as it is the same for me... they drag on the floor. As a result, I only use them as covers in storage, and remove them before loading up my van. Aside from anything else the covers take up space and the two subs stack better in the van without the covers on. As the wheels are built into the subs, they're easily moved around from van into venue and back again anyway. An L3t/m is a big beast. Could the bags for them be better? Yes, I guess they could. The wheels would be spaced further apart to improve balance and the end and base could be made more rigid. And, the wheel shrouds could be repositioned so as not to encroach into the main bag compartment, keeping the speaker itself off the housings. But that's all wishful thinking. I'm with you also in recognising that just because a speaker is in a bag, it isn't sheilded from the jolts and knocks of dragging it across a rough surface or worse still up and down steps. I watched as my band mate walked down a pair of concrete steps (usual 9" ones) and carry on walking whilst the speaker, in its bag, crashed down the two steps in turn. That was when the first tab got broken. Once one is broken, the second will go pretty soon after, which it did. Needless to say, I now avoid allowing him to move the speakers around in their bags. It would be nice to be able to replace just a wheel, but it's not the end of the world. Break one, replace the bag and learn from it that these things are not indestructible.

I think you're missing my point... I agree, a 20mm riser with these bags should be no bother at all... and it isn't, if you take it more steadily and accept that dragging a 30KG speaker across a 20mm drop/rise needs adjustment in speed, approach angle, and any number of other factors to be taken into consideration. If you just simply drag it up/down that lip/step or across that cobbled surface, or allow the speaker to bang down the steps of a flight of stairs then I'd reckon you're likely to run into breakages. Is the breakage the end of the world? No. Is the breakage the fault of the supplier or a flaw in the design? Hard to know. Would I say the wheels are *easy* to break? Hmm, in my opinion, no, they're not easy to break unless you don't takle *some* level of care. As soon as I spotted the guy in our band do what he did with one of my speakers, I relieved him of the task. We've not managed to break another wheel since. Your version of treating your gear well, may well be different to my version of treating gear well. Flight cases are flight cases. They cost hundreds of pounds and I would expect one to be pretty durable. These are essentially cloth bags with a bit of padding. The designers threw in a pair of wheels. I don't expect them to be bombproof, I just expect them to do the best they can to protect my investment so long as I do my best to protect them. If you feel you've been sold duffs, that's fine. I seek no argument with you. I merely wish to point out that I have five all of which are now 3 years old and all are brilliant, aside from a few scuffs here and there. I also pointed out, I've had one wheel break, BUT I know pretty much exactly why it broke. In my humble opinion, you, or me, or anyone else breaking a wheel doesn't automatically make that breakage the result of a design flaw. In the first instance, it points to a flaw in the way the bags are handled.

Let's put this into context... I'm assuming that your bag's wheel snapped in a very similar fashion to mine in that there are two almost semi-circular flat plastic tabs that extend from where the wheel shroud is and these have snapped directly across leaving the wheel shroud with no tabs. As the wheels are riveted to the back body via those two tabs, the remainder of the wheel casing (wheel and shroud) then simply drops off. That's how mine went. I know exactly when mine got snapped and who was manhandling it at the time. The first tab snapped after one of my band mates dragged the bag, loaded with speaker down a pair of steps, the full weight of the cab landing onto the wheels as it hit each of the steps below. By the time they got to me with the bag, I noticed that the wheel was looking a bit lop-sided. One of the two tabs was snapped. I took it really steady with that bag, nursed it home and it was used (by me only) at the next outing. At the next outing after, one of my other bandmates brought it out, the bag flipped over and he "righted" it which created another whack on the wheel which I'm pretty convinced snapped the second tab, but it wasn't until I unloaded the van that it gave way. I've got 4 L2 bags and these have all been great Balnce of the L3 bags can be a bit iffy though... the wheels are a little closer together, but the overall rigidity of the L3 bag is lesser than the L2 bags which have the suitcase style handles. Again, I've noticed that the wheel casings encroach somewhat more into the main compartment of the L3 bag than the L2 bag so the speaker will be sat on the wheel housing either in upright OR flat orientation. So, whilst it could be considered a design flaw, I'd look on it more as a design limitation. The snappage will be the result of the wheel housings getting whacked and most likely through our own usage when rolling them over rough/uneven surfaces and up/down small and large edges, but whether our heavy handedness is Line6's fault would be open to debate. I've had one bag do it. I have 5 that are still perfect +1 that was bought as a replacement. The original lated about 2 years before it got damaged, and the other five are now three years old. Most people take care of their gear. But how many of us truly take care of the gear our gear is stored and transported in? Yes, the bags are pricey, but I'd not be without them.

I've had an L3 bag do this. Sadly, it's a replacement bag job as I wouldn't see anyway of repairing it... plus I''d not know where you could get a wheel anyway.

The 3 band EQ with sweep mids is only present for the side panel inputs. A way of shaping the tone of a direct input source. It has NO impact on either L6Link input or the LINE/RAC inputs on the back panel. The multiband global EQ is only present in the M20 and is controlled by the mixer, not the speakers.

For the sake of any of my fellow Europeans... We run at 240V In the UK, a standard "mains" circuit would have a 32A breaker, however a standard UK wall outlet is limited to 13A by means of a fuse within the plug of the device you are connecting. 13A at 240V gives us a single outlet maximum wattage of 3120W. Putting that into context, that's *theoretically* 12 Line6 speakers on a single outlet Right, so I've never actually pushed it that far, but I have run eight, plus the rest of our gear off a single, though I wasn't 100% happy about doing so. My normal preference is to run a power line down each side of stage, each from a separate wall outlet/socket. The two sockets can be on the same ring without any issue, but I prefer two separate outlets. Might seem a little OTT, but I really hate domestic "4 gang extensions" and the likes, so I have a complete customisable power-rig all interconnected with Neutrik Powercon couplers and a variety of different lengths of H07RN-F rubber outer 2.5mm core cables to interconnect the outlet pieces. I then have powercon boxes with UK socket outlets (3 with 6 each), powercon boxes with IEC outlets (2 with 10 each) and a variety of powercon splitters http://kelseyacoustics.co.uk/product-category/power-distribution/floor/ The IEC powercon boxes were custom made for me by Kelsey. I ban domestic power cables from our stage, and from the stage of any band I do sound for, and they all plug in to my power rig. Guys in the band with me think I'm mad, but the rig has never yet let us down!

To be fair to Behringer Robert, the X32 is a *very* good mixer. Very competent. BUT, I wouldn't trade my M20 for one! Not because I have a downer on the X32, simply because mine still performs flawlessly and I see the whole M20 with L3/2 speakers as a complete ecosystem! It all works best as a whole. The M20 enables the L speakers to perform exactly as they were designed. The only way you'd know for certain would be to try them with the X32, but do so before you let go of your M20! My final BUT though would be that I'd buy an A&H QU series before buying an X32!

Both T and M models have the 12 band feedback suppression built in. The difference between the 2 models is the sidepanel mixer. On the T models, you gain a pair of mic/line inputs, each with a 3band EQ with sweep mids and it's own dedicated feedback suppression, one of which has acoustic modelling (for an acoustic guitar) Each has an combi XLR/TRS input so will accept either a mic cable or jack. These two channels can be "stereo linked". Couple a pair together and the two inputs in stereo link mode are split L/R across the pair. The second, if a T model, will add a further 2 mic inputs, along with the standard back panel connections (1 XLR (line) + an RCA pair). If you plan to use your outboard mixer then 2x L3M will be sufficient. Connect desk L to one and desk R to the other using ordinary XLR mic cables BUT, if a fair proportion of your work could be accommodated with 4 mic inputs and 2 stereo AUX inputs, go for the T models, round robin connect with L6Link cables and you can pretty much do away with the rest of the outboard.

Cheers Rewolf... I knew the guitar setup was Dream<something> ;-)

Once again though.... there is no such thing as the "Line 6 dreamscape system" The M20d is codenamed "StageScape" The L2 and L3 series speakers are "StageSource" Collectively, the mixer and speakers combined into a full PA rig is referred to as the "Dreamstage" though I believe this also applies to combinations of L2/L3 speakers and some of the POD/Helix etc

Really. Can you point us all to the "source" of this gem? If you bought on an understanding that your system would be upgraded then your argument is with the vendors, not with Line6. It's been said several times over... Does your rig still do what it did when you bought it? If so, you have got what you paid for. Nothing more and nothing less. You can sell yours. Perhaps I'll make a bid for some of your rig because I still have a system I paid for three years ago that functions flawlessly, delivers stellar audio quality and does so without the added headaches of analog systems. Digital isn't new, but digital at the level of the M20 is still in its infancy and Line6 were the first to take it mainstream and the system still leaves the competitors behind, even now after 3 years without improvement. Expecting any product of this nature to be maintained ad-infinitum at a manufacturers expense is plain daft.

As Rewolf48 has pointed out, yes. Get yourself a pair of equal length AES/EBU cables , connect the two L2 speakers "round robin" ie L6Link out from L2t to L6Link In on L2m then L6Link out from L2m back to L6Link In on L2t. Alternatively, get a 2 core multicore AES/EBU cable made up that can take the place of the two separate cables. With the above cabling, any stereo input source on the L2t will be split to stereo across both speakers. Any mono source will be present in both speakers equally. The L6Link "return" adds the inputs from your second L2 speaker to the mix, and send it's input back to L2 #1 Most effective is a pair of L2t models since you then have a total of 4 mic inputs, 2 line level mic inputs and 2x stereo (phono) inputs but it will work equally well with an L2t and L2m combined, just fewer inputs.

I';m no mixing expert so won't try to suggest distinct FX to apply to your girl's channel, but a good place to start is normally the Female w/Reverb preset. It (IIRC) defaults to a -25dB level onto the master FX A bus. M20d works in a different way to a traditional analog mixer... the FX busses (4 of them) do not have returns to the individual channel strips. Instead, FX A, B C and D are essentially submix busses with their outputs routed directly to the main output bus. Each FX bus has its own output level. AFAIK, the amount of a channel you send to FX A (or any of the others) does not affect its own channel level. In other words, even if you sent a 0dB level of channel 1 to the FX A bus, but had the FX A bus level set to -infinity, the unprocessed channel output would still be present on the main output bus. So, here's what we do for vocal channels: Each of the lead and backing vox channels are set to between -28dB and -26db (slightly more on the backing vox than on lead) We use the standard unmodified preset for Reverb A which is Hall Reverb Return level is set typically at about -5dB Send level set to 0dB If the reverb level gets too hot, I tend to find it creates more feedback issues than the increased FX is worth! Certainly, a couple of dB too hot on either the main FX channel level or on individual channels sends and we create whistles that are hard to kill. One note... ensure the FX to mons is OFF!!! you'll suffer with feedback if you don't. I'll be honest and say I am yet to use FX B, C or D! Haven't ever felt the need in 3 years of using it with our band and using it for other bands I've done sound for. There is a temptation to believe that FX is the answer to everything, yet in my experience it just creates problems. Use the presets. EQ to get her vocal to project. Get the rest of the band to turn down on-stage so nobody is struggling to hear themselves and then with a good mix, you should be able to crank the levels up without too much bother. I did a festival a few weeks ago, indoors over 2 days. 8 acoustics ranging from solo (guitar and vox), duo's and up to a 5 piece acoustic band on the first day, then 3 acoustics, 2 4-pice bands and a 5-piece band on the second day. All done with presets with only minor tweaking. No sound checks. Had just 30 minutes between performances. Trimmed all inputs initially using auto-trim. Acoustic guitars DI'd. Vox channels set to 0dB. All others set to -5dB. "Do you trust me?" to the performers and a few puzzled looks when they realised they weren't going to get a soundcheck and straight in. Afterwards, friends and family who had been to watch their respective loved ones commented on how it was the best they'd ever heard them sound. Moral. Trust the presets. Don't tweak for the sake of it, only when there is need. Of all the performances, only one gave me issues and that was solely the result of a drummer who was busy building a shed at the back, him being being so loud that guitar and bass were both up way too loud as well and I simply couldn't get the singer enough monitoring without it whistling to high heaven. Partly the fault of the space in the venue being tight and amplifying his drums, but also partially the drummers own fault for not being able to reign it in. https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fpahirerotherham%2Fvideos%2F1054000507968468%2F From personal experience with our band, our best sound is always achieved when we are (relatively) quiet on-stage and we let the dreamstage do it's thing. Everyone is happier on stage because no-one struggles to hear themselves and, as a direct result plays better/tighter.

Chances are, unless your vendor is carrying some *very* old stock, your L2t will be fine. There was a firmware update about 3 years ago.

LOL... I rarely appreciate feedback ;-)

As Rewolf48 states, feedback frequencies are session only. As soon as you reboot, or change setup, the notches are lost and the cycle starts again. Whether this is a good or bad thing is open to debate, but as it isn't just "the mic" and "the monitor" combination that creates the feedback frequency in the first place. You can go into exactly the same room on a different occasion and suffer no feedback on a particular frequency. There are simply too many transient and environmental factors that go into it. So, having saved notches would in many regards be irrelevant. Even a notch that is needed at the start of the night can "move" as the environmental variables change.

Also consider the possibility of it being ground loop hum?

It won't "sound" better, but it might have better construction that makes it last longer. I'm not (incidentally) pushing for you to spend $80 on an AES/EBU cable... make your own up if you're any good with a soldering iron. For true AES/EBU the length can be quite significant However Line6, for L6Link recommend a cable no longer than 50 feet (approx. 15 metres)

Not necessarily... If only part of the transmission is lost, you can end up with all kinds of weird goings off, from crackles, pops and buzzes though to complete lack of sound. In an analogue system, the signal is the sound. If parts of it go missing, the rest is still there. In a digital system, the signal is the instructions for how to build the sound, so if parts of it are missing, how can you be sure that what the instructions say will build the sound that was intended. OK, so I've oversimplified it, but the rough gist of it is there. To be fair, this kind of thing only really impacts with longer cable runs where the impedance mismatch can create the instability in the signal transmission. BUT I'd be a fool to say "go ahead use a standard mic cable, you'll be fine". I'm from the school of thought that says use the right tool for the job. At worst, you need to buy an AES/EBU cable. Consider how much you've spent on your Helix and the L2T and then ask yourself if the compromise over a £15 cable is worth the aggro *if* it plays up. I have three different cable types in my arsenal: • Standard mic; Variety of colours (except grey and black) of VanDamme and Cordial mic cable, Green or Yellow coding rings • AES/EBU Digital for Mixer to Speaker daisy chain; GREY Sommer AES/EBU cable, BLACK Neutrik gold plated connectors (1x 15m, 2x 10m, 6x 5m, 4x 2.5m) • DMX Digital for lighting daisy chain; Van Damme BLACK DMX cable, BLACK Neutrik gold plated connectors, ORANGE boots & coding rings (1x 15m, 1x 10m, 1x 5m, 1x 4m, 2x 0.5m) Might sound a little OTT (and members of my band reckon I have OCD!) but I keep it all bagged separately too. Then again, I'm rigging up a L6Link chain of M20d > L3S > L3M > L3M > L3S > L2M > L2M > L2T > L2T I've only had 2 issues with the L6Link "chain" being disrupted: Once, when I'd used a right angled connector into one of my L2's in floor monitor mode A second time when a performer in a band I was doing sound for yanked a monitor to move it, partially dislodging one of the L6Link xlr's

Most will tell you that *most* of the time, you will not have a problem using a standard mic xlr cable for AES/EBU digital signals. Where the problems start to creep in is over longer runs where the impedance of the cable comes into play. Ultimately, a digital signal is binary. Either the signal is there or it isn't and as such it tends to not "degrade" well. Mic cables are a twisted pair shielded by a multi braided copper wrap. AES/EBU and DMX cables are a twisted sheathed pair with a twisted unsheathed drain wire, all wrapped in a typically foil shield In the full specs, AES/EBU is a 110 Ohm impedance cable. DMX is a 120 Ohm impedance cable. However in Europe, most DMX cable is just AES/ABU because DMX runs perfectly happily in 110 Ohm cable. AES/EBU can be used for analogue mic signals without issue and is appropriate (even if not perfect) for use for DMX DMX can be used for analogue mic signals without issue and is appropriate (even if not perfect) for use for AES/EBU Mic cable should be avoided for use with digital signals (AES/EBU and DMX) if at all possible although it will work along short runs. Where issues do arise, AES/EBU digital signals are the most likely to be affected. DMX is considerably more happy with the use of standard mic cable. BUT, the BEST COURSE OF ACTION is to ALWAYS TRY TO SOURCE THE CORRECT CABLE TYPE FOR THE APPLICATION. Anything else is simply adding to your risk. On the whole, AES/EBU cable is little more than 10-20% more expensive than a decent quality mic cable.

For clarification, this issue is with the handset sent out with the VD-V75 system. I don't know if it is the same handset in your V35. In reality though, a pair of quality batteries lasts me around 6-7 hours, whether it be in my THH06's OR in my TBP12 beltpacks.

If the power lights on BOTH L2m's are flicking off it certainly suggests a power stability issue... For BOTH to do it, that's not duff speakers (probability of both power supplies cycling at the same time due to internal errors is almost negligible) which suggests that the problem lies in your mains supply. If it is cured by deploying a power conditioner, then you need to get an electrician to check out your house/venue wiring.

OK, some outline questions to help us assist you... What volume level is your L2 set to on the master gain knob on the back? How are you interconnecting the Helix with the L2? (L6Link or analogue) If L6Link above, what *type* of cable? (aes or mic) What type/brand of connectors on your cables? Is the L2 upright or on its kick out stands as a floor monitor? Does the helix cut out when connected to any other speaker? Does the power indicator light on the front of the L2 go out? As much as I may get shouted down from certain quarters, the first things to check are always the external variables... Quality of cable, is it an appropriate cable for the connection type?, is the speaker clipping and cutting out as a result. Once you've isolated any of these more likely issues, its time to think the speaker might have a fault. BUT these speakers are very robust and apart from the known fan issue, they are extremely reliable. Check cables and connections and 90%+ of the time, issues disappear. For example, right angled XLR connectors used when the speaker is in a floor wedge orientation *can* work free sufficiently to break the connection.

I don't think anyone manufactures a balanced signal volume pedal. But I can't help thinking that you are over complicating your chain. Use just a single monitor channel from the M20d for you. Get your mix as you want it for the start of your show. Punch (in the face) anyone on stage who turns up! Once all band members "get" how much better *everyone* plays when stage volumes are lower and thus everyone can hear themselves and everyone else, the easier life will be. Sadly though it doesn't always happen. It took a bass player leaving our band for stage volumes to drop and it's amazing how much tighter we are now. Backline is for the band. PA is for the audience. Anyhow, that's probably not a helpful solution... But, to be honest, I don't think what you've described will be either doable or practical. So as a suggestion (and this assumes the M20d is yours... Consider setting up a number of "scenes", with each scene having your personal monitor level incrementally boosted by lets say 1db. Now, get a simple momentary footswitch and plug into M20d's footswitch input A Assign footswitch to scene control If you find yourself drowned out by the rest of the band onstage, use the footswitch to boost your monitor level by changing the scene. Granted, eventually, you will reach the max level and the next footswitch press will cycle it back round to the beginning, but if you've got that big a problem with onstage volume, you need to find a new band ;-) (or sack the selfish member who drives the volume up!) Your most practical option is an ipad with the stagescape remote, leaving it open on the monitor screen and with your monior selected, then just boost your guitar > monitor level as and when required. BUT I'd stick to using just one monitor channel.