SiWatts69

LOL, you're not giving it enough oomph then litesnsirens ;-) We run at about -5db but scale the rig to suit the venue: <100 capacity: 2 x L3m 100<150 capacity: 2x L3m + 1x L3s 150+ capacity: 2x L3m + 2x L3s Adding the subs in increases the headroom quite significantly to the extent that our FOH level on the M20d is rarely anywhere other than I the range of -7.5db to -2.5db, most typically at around the -5db mark. When I'm doing wet hire with the rig (I regularly do for a SKA band) they like it loud (as do their crowds) so it might get pushed up a little, but I've not yet got to 0db (or above!)

as per Silverheads reply... one is an LF driver, the other is mid high, plus the horn between for high. In upright position, the LF driver is at the top.

I would go XLR out > Scarlett > Mac You'll NOT have tracks 17 and 18, even if you have the main mix set to record... What you'll have is a "Main Mix.mp3" (I think that's what it gets called but may be wrong). The main outs mix appears as a single file but it is a stereo (2 channel) file. If you play that file back using the Media Player on the M20d it uses channels 17/18

On the RECORD screen, touch the Recording Folder and it will drop shown to show you all the sessions. Select each session in turn and playback :-) I found the M20d main mix recordings a little on the low side. Plus, they are a recording of the mix as it was when the drums and backline were also all belting out so tend to be a little vocal heavy. By playing back the channel recordings and adjusting the mix to overcome the missing backline noise, I find that the outcome is typically much better.

Possibly easier... The tracks on your memory stick are RAW inputs, ie with no processing. So, when you drag them into GarageBand, you'll need to EQ, apply FX and set levels accordingly to get your mix exactly as you want it. BUT, if you were happy with how it sounded on the M20d, why not play back those recordings through the M20d and record the stereo outputs of the M20d in GarageBand. That way what you record into GarageBand is what you heard from the M20d. Then just use GarageBand to output the MP3. I do it regularly. Playback on M20d. Adjust vocal levels down a little (as there's no live backline), and hit record in Mixcraft (my DAW) Once recorded into MixCraft I apply a small amount of their Mastering: Room reverb and Compression effect to he master outputs and save to mp3.

Bi amped in this setting simply means that the horn and main 10" driver are seperate

A single L2m/t cannot give you stereo sound. Your stereo input would be collapsed to mono. From the HELIX manual... (Page 21) L6 LINK Output Alternatively, the digital XLR connector can be used for L6 LINK output (use of a 110Ω XLR cable is recommended). L6 LINK provides easy digital audio connectivity between Helix and Line 6 StageSource speakers and/or DT-Series amplifiers. Two StageSource speakers or DT amps can also be connected in series via L6 LINK and your stereo Helix signal is intelligently split, with the left channel going to the first StageSource/DT and the right channel to the second. If you have one StageSource/DT connected, the Helix output is collapsed to mono and fed to the StageSource/DT. Connecting an L6 LINK device to Helix automatically disables S/PDIF out and routes audio out the digital XLR connector - no adjustments of the Global Settings > Ins/Outs > Digital Audio or Sample Rate options are necessary. TIP: With an L6 LINK connection to a DT-Series amp, often the Helix Preamp models are a better choice than Amp or Amp+Cab models. Manually configure the analog power amp options on the DT amp for more sonic possibilities! ========================================================== So, connect your Helix to a stagesource l2m OR l2t via L6Link OUT (on the Helix) to L6Link IN on the L2m/t Connect a second stagesource l2m OR l2t daisy chained fom the first using the L6Link OUT on l2m/t #1 to L6Link IN on l2m/t #2 and your Helix stereo output will be split L&R across the two L2m/t Thus you technically only need the L2m as your input is L6Link. Sidepanel mixers in this instance would be superfluous

Master colume knob on L2t/m L3t/m and L3s should *ideally* be set to their 12o'clock position (where there is a notch in the sweep for the control when the speakers are connected to an M20d using L6Link Then just control volume via the M20d.

I'm not going to diss the bags, because they are a huge assistance in moving them round... but The L2 bags seem far more sturdy capable than the L3 ones. I poped a when on an L3 bag too and when you look at the overall design, the speaker can sit directly onto the housing in one of two ways depending upon how well you've loaded the speaker into the bag. Either way though, with certain jolts, the full weight of the speaker is on the wheel housings and, as they are only secure by some 3mm thick plastic flanges with rivets, it is inevitable that one day, the jolt will be sufficient to sheer the plastic flange off along the point where it meets the more rigid box style part of the wheel casing. I'm really careful, but my colleagues (one in particular) are not. BUT, I still bought the replacement bag... easier to replace one of them than a trashed speaker!

What I've most commonly done: Record "Inputs ONLY" on M20d to SD Card Playback the recorded inputs on the M20d and tweak the mix slightly (bear in mind that there is no backline effect when doing so and as such vocals may need to be tamed a little) Run the MAIN L/R outs into a 2 channel audio interface (Roland DUO Capture EX) and record the outputs in my DAW (Mixcraft) Mix down to MP3 in Mixcraft have (normally) added the standard "Mastering Room Reverb and Compression" effect Typically yields a pretty solid recording. If I want anything more elaborate, then it's a case of importing the individual tracks and doing a full DAW mix.

Give your guys time to understand it. I used to be really anal about my rig... I'd concocted the setup and each outing played about with stuff so it was (in some areas) different every time for the first 5 or 6 outings. I rarely had problems until others, desperate to "do their bit" started trying to help out. In the end, I started to turning up to venues about 45 minutes before I would tell the rest of the guys I was turning up so I could get the task done without "assistance". Now the setup is settled, I've gradually been assigning tasks to others... give 'em just a single job that is simple (running out mics and cables etc) and I keep to doing the mains run (that's convoluted in itself) and the L6Link run... though I do now have one band member who now knows how the L6Link runs out. We're now rigged up and sounchecking with a 4 speaker system in about 50 minutes (including load in time) (about 60 mins for the full rig). It's new (to you) gear and will take time to learn. Once you are confident in your own abilities, then you can start to farm a few jobs out... just don't take too long leartning else your bandmates will let you carry on ad infinitum! I'm luck, I have 4 other bandmates who all want to do their bit but were willing to be patient with me!

Loop Thru will give you a send of whatever is presented at ONLY the XLR/Jack combi line input Mix output will give you the summed output of any and all inputs (including the side panel inputs on an L2t/L3t) So, if you want to record your voice against the Mp3 input, you need the MIX OUT output As for whether to use the Line input or the AUX input... it's up to you, but there is level adjustment in the inputs: LINE input is +4dBu and the AUX input is -10dBu. The AUX input is designed for audio equipment like mp3 players etc and is probably best as it's input level has been tuned for such devices. If you put your mp3 player into the standard line input, it presents a hotter signal (a 4dB boost) so you may then find it more difficult to align your mic inputs aginst the mp3 unless you turn down the output level on the mp3 player.

Glad to hear that your perseverance has had the desired effect. The more you use it, the more you'll realise why some of us (who own a complete rig) love it so much. Setup is P*ss easy :-)

I'm not a quitarist so can't help you with this one, though I believe the FRFR nature of the speaker is supposedly perfect for this requirement. Likewise, I'm no guitarist. Yep, you'll not go wrong... so long as you buy the L2T with the side panel mixer. The L2M and L2T are NOT Bluetooth speakers so you will not be able to do this without some additional hardware. Based on it not being Bluetooth, it fails on one of your requirements. BUT given that a Bluetooth receiver for music streaming is as little as £15 ($20) then it would seem a shame to bin it purely for the one minor missing feature.

Yep... 6 inches of broom handle ought to do it. AFAIK the sensor is optical. Anything between 30 and 35mm in diameter ought to do the trick.

http://www.thomann.de/gb/line6_short_pole.htm plus these http://www.thomann.de/gb/km_24116.htm or http://www.thomann.de/gb/adam_hall_sm_720.htm?sid=455230d2313750a7a84cb330291d8701

I'm not entirely sure that the pole mount sensor actually does anything, other than to confirm that the speaker is in an upright orientation to the M20d so can't see that it would make any difference. If you're convinced it would make a difference, get a 300mm x 300mm square of 18mm wood, mount a threaded pole adapter into the wood, then screw in the Line6 short speaker poles to sit between your L2's and the stands. Seems a bit superfluous to me though.

Silverhead describes the same routine (in full) I use, but every now and then, someone forgets and goes to switch off the M20d first. I've noticed no discernible difference or gain from turning the speakers down, but do so for good practise... as it means it becomes habit to switch on then turn up, rather than assuming that the volume is still on its notched position. When it's just me doing a pa hire job, the routine is always followed. It only ever goes awry when it's our band playing and the rest of the lads are trying to be helpful!

I *try* to always reduce volume to min prior to power down. FOr power up, I switch on, wait for the click of the switching power supply, then up the volume to the 12o'clock click. Every now and then though, we manage to not follow the full routine and if (in error) the M20d gets powered down first, it *sometimes* yields a hefty "crack"/"pop" through the speaker chain.

LOL, the English language varies from town to town round 'ere in Yorkshire!

Not to dampen your response Rewolf, but the reported headphones issue is, to my recollection, limited to just one side (typically the right) going missing periodically in the phones. I dismissed that as a possible cause as the poster reported NO headphones output suggesting the problem lay elsewhere in the chain. My M20 has the right channel drop out of headphones every now and then... normally after a few minutes use but a bit of jiggling typically gets it to return. Not such a big deal that I ever bothered to chase it with Line6 as everything else works perfectly.

DItto silverhead's response. So long as you load a saved setup over the already plugged in input, the "extras" that maight be plugged would be ignored. Unplugging them/plugging them back in would, however, cause them to reappear on the stage.

Solo > Only affects Headphones bus. Only channels with Solo enabled are heard in the headphones buss. With no channels solo'd the main output mix is heard in the headphone bus. Mute > Affects all output busses Possibly a clue is that the "Solo" button is a headphones icon. If you're not getting a solo'd signal in your headphone buss, it suggests there's something wrong, either with the signal chain, the headphones output level or your headphones/cable. "Mute Mics" should not be engaged, but "mute all" can be. Solo'd channel needs input trim and output level Headphones volume needs to be up (typically at around the 2-4oclock position for sensible output level to phones) Sorry if it sounds like I'm teaching grandma to suck eggs. As for the "printed manual"... I printed it off from the PDF and have referred to it once in over two years. Most of the time, I load up the PDF. Horses for courses I guess, but the cost of printing comes from somewhere.

I've had mine PAT tested without issue. Can't remember where he stuck his probe though :-(

It's covered on page 5.4 of the Manual. "In Monitor Mode, you can also route audio from any of the 4 global FX to your monitors. To do so, tap the FX To Mons button located in the upper left of the Main Toolbar. The 4 global FX controller strips will appear, as illustrated below. Now follow the same 3 basic steps previously outlined for Channel Monitor Levels: 1. Select the target monitor on stage by tapping it. 2. Set the source effect’s Linked/Unlinked mode as desired by tapping its button. 3. Turn the source effect’s assigned encoder to the desired monitor level. As you turn each effect’s hardware encoder, which will be color-coded purple, you’ll see the animated signal flow from the source effect to the target monitor, as illustrated in the above screenshot for FX A." If the four global fx channels are in linked mode, whatever output level for that fx will be heard in the selected monitor. If the amount is none, then that's what you'll get in monitors! So to hear fx in your monitors, you firstly need to have some of that effect applied to the input(s) being fed to that monitor AND the fx channel needs to additionally be routed to that monitor (either linked where it follows the FOH fx level or unlinked where it's level is set independently). Personally, I run all monitors dry, with no fx. So: Go to "Monitor" screen and tap FX To Mons Tap each monitor you want FX in, in turn and... Check that all four master FX channels are set to linked and that their level indicators have a little green triangle (means they match the main output level for that fx) Next, go to "Perform" Tap "Show Faders" Tap "FX" in the three "Inputs FX Outs" options at the top Set the master output level for each FX channel to an appropriate output level Next apply some of a desired effect to a channel... and the same effect should be audible in your monitor channel(s)