SiWatts69

Not sure I'd see it as a limitation... it's just not what the unit was designed for. There is nothing to stop you running the analogue main outs via a 2 channel multicore (or even just two standard XLR's) back to any point in the room to run audio input to your camera gear. But I'm not sure I'd consider doing this anyway since if I were going to run recorded audio over a video, I'd sooner mix from raw for a soundtrack. The room's acoustics will be lacking on the main outs mix, plus the impact of backline bleed (though in a big venue this would likely be minimal) so you'd need/want (potentially) a somewhat cleaner processed mix overdubbing onto your video footage, something with a little reverb etc added back in.

Yep... 50' maximum (recommended) signal run, ie between any two components whether that be M20d > Speaker or Speaker > Speaker. Ipad control is your only option if the back of house is more than 50' (15m) away. You *may* be tempted to risk running a cable longer than 50'. Whether it would work reliably is open to debate. I would hazard a guess that the 50' distance is the distance within which Line6 will warrant the L6Link to retain full fidelity without and risk of signal loss and that above that distance the risk increases almost exponentially. Where it would catch you out is if the longest run is the first run, you'd wipe out everything. BUT I'd guess that the 50' distance also has a little safety factor built in. Personally though I'd not risk it. Additionally consider that you'd be running a multicore back up the room too for your signals... Keep the M20d near stage and signal runs in both directions are kept considerably shorter. A quality 16 channel multicore is likely to cost you approaching half the cost of a brand new iPad anyway. I've had minimal issues using the iPad to remote control my rig, just the iPad app disconnecting periodically... which is an issue with the wifi setup rather than an issue with the M20d. The ONLY things you can't do with the app is to engage/disengage the hardware mute buttons.

Yikes... and I thought I made my setup over complicated! A couple of observations... Move 14 -> 13 Keys L Move 15 -> 14 Keys R You can only run a stereo pair into 13+14 OR 15+16 (or both) but you can't stereo pair between 14+15 I run my rig out for a ska band regularly (2 guitars, bass, drums 2x keys + 5 vocals) run out as: 1-> Lead Vox 2-> B Vox 1 3-> B Vox 2 4-> B Vox 3 5-> B Vox 4 6-> Lead Guitar 7-> Kick 8-> Snare 9-> o/head L 10-> o/head R 11-> 2nd Guitar 12-> Bass DI 13-> Keys 1 L 14-> Keys 1 R 15-> Keys 2 L 16-> Keys 2 R Every now and then, I "guest" play one to three songs with them (I'm a sax player) at which point I move Bass DI to 16, run keys 2 in mono, and insert my sax into 12. At a pinch, if I needed to, I'd run Keys 1 in mono too, freeing up another line input. BUT as I mic guitar amps (not DI), moving them into 13-16 isn't an option. If your guitars are modeller style then I'd see no issue putting them into 13-16 as you'd likely need nothing more complex than EQ for them. The only position I would question is Acoustic Direct but I can't advise on that one... not had to deal with an acoustic (apart from one I mic'd). I'm assuming you're playing stadiums if your micing up a drum kit with 6 channels ;-) or is it that your drummer bought himself a swish drum mic kit and wants every bin lid he hits to be mic'd? Seriously, unless you are playing MASSIVE rooms, make life easier for yourself, use up 1-12 appropriately across the band then whatever's left, use for drums. Drop to 4 drum mics, put guitar and acoustic back into 1-12 and if the drummer doesn't like it, sabotage his mics! Purely my opinion of course! ;-)

OK, I want my car to have a V8 under the bonnet... I'll just go badger Subaru to see when it's going to happen...

Them greedy drummers wanting too many channels ;-) Some of the presets are only compatible with 1-12, typically because they have additional processing stages which the pared down 13-16 don't have. There are alternative 13-16 compatible presets that you can use. As I assume most of the shaping you'll do will take place in your guitar amp prior to the DI output, there shouldn't be need of additional processing on the M20d. Plug in the 1/4" and select a new compatible preset. Incidentally, you will be better to run your DI via an XLR to balanced TRS 1/4" jack rather than a mono TS 1/4", simply (and if for nothing else) less chance of interference. Out of interest, what's your channel line up like? What have you got plugged in to what?

Current firmware is 1.02

I've had several orders through Thomann and delivery time to the UK is typically 3-4 days depending upon the size of the parcel. I picked up a b-stock l2t earlier in the year, ordered Monday, arrived Thursday with Parcel Farce. There is stock out there...

The best bit of advice I can give you... Start NOW on the job of convincing your fellow band members to REDUCE THEIR ONSTAGE VOLUME (I've yet to meet a band where there isn't at least one "problem" performer). If you don't, the job of creating that killer mix gets considerably harder. In our old lineup, our problem player was our (now departed) bassist who would constantly push his level up and up through the night. The result... everyone else needs to turn up, then singers can't hear themselves so either blow their voices or ask for more monitors. In the meantime your risk of feedback goes through the roof and stress levels across the board skyrocket. The feedback detection and notching in the M20d is pretty good but it doesn't/can't work miracles. Keep the levels down onstage, let the PA do the job it is designed for. When you get it right, you'll know it. We have yet to do a gig (and band's I've done sound for) where we didn't get a comment about how good we sounded. Moreover we get asked about the gear regularly. With the old traditional PA we used to use, nobody ever made a comment about sound quality. Finally, don't be scared to come back and ask any other questions you might initially consider stupid! They're not stupid, merely novice and there's several of us here who will do our best to help you out.

No worries... we all started somewhere INPUTS ONLY recordings play back through their respective channels ie through the full set of channel processors. Only the "Main Mix" has to be played back through media player. Play your track whilst recording via the "RECORD" screen. When you've stopped/finished the recording, use the "Mute Inputs" tap button on the RECORD screen. This prevents further signal being received from the physical inputs, meaning that only the recorded material will be presented to each channel. Playback the recording by pressing the Play button on the RECORD screen. Swap to the PERFORM or TWEAK screens as appropriate to modify your channel settings as the recording plays back. If necessary, restart the playback as required. To work this way, "MUTE MICS" and "MUTE ALL" switches on the M20d should be OFF. The reality here is that they're going to be doing just that throughout your performance, as will your backline etc on stage. Sometimes, taking backline bleed into account in your mix will yield a better overall outcome. We've played back a mix that was perfect in isolation, brought the monitors up to performance level and it changes the whole dynamic. Add in the band playing behind the mics and it alters again. Mixing from a recording is a godsend BUT it has its limitations. Get your mix somewhere like, then add in the additional stage noise and reassess... easiest done if someone is wireless and can go out front while the band plays again. It doesn't take much to correct matters, normally just bringing the amplified backline down in the FOH mix.

Either on the box it came in, or on the sticker panel on the back of the unit. though the one on the unit itself is the only one to absolutely rely upon :-) It's a small sticker with two slim barcodes on it, the first being "PN:" the second "SN: (21)" which is the serial number

In stock at Thomann In stock at Bax

When we mix for a gig, we do tend to pan the backing vox very slightly (about 15% to one or other side but only to move it away from lead vox which runs straight down the middle. Then again, it's not me doing our mix (even though it's my gear) and I'm not sure whether I'd bother unless it was in a directional room where nobody is outside the stereo field. Don't know that I'd expect it within the onboard mixers on the speakers though. Certainly not a feature I'd look for. Stereo separation of stereo input, yes, but not panning of a mono input.

About 150 miles away but I don't think they deal with the bags. Do you know, is it possible to get replacement wheels?

Gutted... one of my 2 year old L3 bags has just popped a wheel. The entire casing has sheered off its two rivet mountings :-(

It's not a problem... it is doing exactly what it is supposed to do. When recording you have three options: Inputs & Main Mix (1-20 plus stereo l/r mains out) Inputs Only (1-20) Main mix (stereo l/r mains out) If you try to playback using the Record interface, all that happens is that the raw 1-20 channel recrdings are delivered to the channel strips and are run though the currently set mix. Inputs recordings 1-20 are RAW unprocessed recordings of each input. Thus, if you've only recorded "Main Mix" there is nothing to play back. When playing back through the record screen, the "main out mix" recording is irrelevant. From the manual: (page 4.6) Playing Back A Main Mix Recording A Main Mix recording can only be played back using the Media Player in Tweak Mode. To do so, select the Media Player icon on the stage, then Press the Tweak button. Tap the Media Player tab and the Media Player UI will be displayed. Tap the Add Files To Playlist button, then navigate the File Browser until you find the Main Mix recording you’d like to play back. Select it, then tap the blue OK button. This adds the track to the list. Now just select the track and press the Play button. Your track will play back in stereo through channels 17 & 18. If you wish to have your band play a full song then get you mix on your ipad using that recording, you need an 'inputs' recording. You then play it back until you are happy with your mix. So, you need either "Inputs & Main Mix" or "Inputs Only" Chain of events for us: Input auto-trim and "mic" inputs (drums, guitar cabs, vox and my sax) Run through part of a song, to get monitor levels to where everyone is happy. Play through a full song (normally one which has all backing vox etc in play) whilst we record "inputs only". We then do a preliminary mix in headphones. Playback recording again and bring the masters up to hear it in the room, tweaking a little more if necessary. In some rooms, we've also been known to play through a short section again 'live' whilst someone is out front just to confirm that backline bleed isn't colouring the FOH mix.

This is not "from experience" BUT consider that adding wall plates effectively doubles the number of "contact" connections and is the equivalent of trying to connect together three xlr-xlr cables into a single run. L6Link *advises* that any single run should be a direct run with no intermediary connections. As such I think you need to very carefully consider whether the risk of data disruption is worth it for the sake of tidy wall plates. I assume your speakers are going to be hung/fixed so would suggest that the cables are better secured in the walls but tails (of sufficient length) left to reach the speaker connection panel. I'm in the camp of users who recommend sticking within the recommendations given by line6. With installed cables it tends to be the physical connections that degrade (ie the xlr contacts). A backup plan isn't a bad thing but the cable routing requirements for it are totally different to the L6Link. So long as you could manually run out analogue cables should the need arise, I wouldn't see any specific benefit UNLESS you'd want to be able to run out non Line6 speaker at some point in the future. Such a backup system would happily run to wall plates. You'll probably "get away with it" but it is not recommended for regular usage. I've previously joined 2 (gold plated neutrik aes/ebu) cables in an emergency and didn't experience a problem BUT it's a risk I wouldn't want to take on a regular basis. When the L6Link drops (because of a bad cable or connection) there is a split second drop of sound across the entire speak run AND everything after the break doesn't come back once the M20 has re-enumerated the chain. I had a recent experience where I'd connected an L2m as a floor monitor but used a right angled neutrik xlr and the off centre weight and vibration was causing the connection to be made/broken every few seconds (though I only worked this out after the gig). Sounded really odd out front! Worked out where the break was occurring by looking at the manage l6link screen, whipped the speaker out of the chain (as I thought it was the speaker misbehaving initially) and connected the two xlr ends together. At the next song swapover, after the connection had proved stable, I whipped out one of the two cables and connected directly to the next speaker in the chain to remove the cable to cable connection. As per answer to 1, stick within the guidance given by the manufacturers. Oh, and from my experience, right angled xlr's are not appropriate for using when the speaker is in floor monitor position! (unless you have some way of securing the connectors!!!)

That's the "boys with their toys" mentality kicking in ;-) Easier setup: L3m over L3s on short poles is just so easy... it's just lugging round that extra sub for the sake of it.

I've not yet run the L2's as tops with my subs. BUT for versatility, I'd suggest going the L3T/M route for FOH anyway, with or without a sub. Specifically for the "without" scenario. We all do a variety of gigs, small rooms, big rooms, massive rooms and the key to the stagesource rig is it's versatility. If, for example, you run out a big (ish) room, you run out 2x L2 tops and 1 or 2 L3s subs; chances are it's going to sound awesome. BUT for rooms where the subs are overkill, you have no (or very little) bottom end with the L2's. Fine in a small 50-75 person room where you don't need to augment your drums or bass through FOH, but those in-between (75-125 person) rooms often benefit from the extra punch the L3M/T's add to the mix. You've also got an additional 600W of power per L3M/T AND an extra 3-4db of headroom. This doesn't really matter when the subs are being run because, as litesnsirens has said, the crossover typically runs at 120Hz so the LF driver in the L3M/T is only doing a little, but without the subs, they take care of that lower end. So, my guidance would be to consider how often you'd run without sub(s). 100 person venues and the subs can be overpowering, 200 people and you need one. I run: 2x L3M as FOH tops 1 or 2x L3S subs if required Up to 4x L2M/T as monitors I did a (sub-less) PA job with another band a few weeks ago and took just the L2's, 2 as FOH and 2 as monitors and if I'm honest it sounded OK but it wasn't awesome. Did the same band a week later, same setup but took the L3M's for FOH and it was a whole different ball game.

I'm sometimes amazed by the amount of bass one L3s can muster. It can be room dependent, but I did a do not so long ago where the band had only booked tops (no subs) but I'd taken one sub just in case. As it happened, the room was massive! Rigged up with the single sub and the system nailed it: 2x L3m + 1x L3s. Indeed it now means I'm taking the second sub out less and less... which works well as I was really struggling to fit it all in!

In which case you almost certainly have a handset which exhibits the issue witnessed by others of us. BUT... if the battery drain is your only complaint, why ditch the idea? Line6 resolved mine without any quibble. I'd suspect that there is a batch issue, but don't quote me on that. The nature of batch issues is that there is no "fix" they can put in place. Report the fault you have and it gets dealt with. You can't really say fairer than that. Mine went back via the UK service agent in Milton Keynes and the *replacement* was with me in a 2 weeks. I returned the standalone handset (without the receiver) along with it's softcase and mic clip and received the same back in return. Don't throw the baby out with the bath water... it's a really great product. Even with the battery drain concern, the mic still performs every way it should. The ONLY comment I'd make is to try and ensure your chosen retailer does not provide you from their own stock... chances are, if it is a batch issue, that they may all be affected in the same way AND that you make them aware that you are aware of the ongoing issue and that you will not accept any which exhibit this behaviour. You could even ask for them to all be tested before despatch! At worst it costs you a day and a few pairs of AA batteries.

The l6link will honour your stereo (L/R) signal and put L into one sub and one top, plus R into the second top and sub. Look at the schematic for "Small PA with Subs" on page 21 of the StageSource pilots guide. http://line6.com/data/6/0a06433976ee538371228800d/application/pdf/StageSource%20L3%20Quick%20Start%20Guide%20-%20English%20(%20Rev%20C%20).pdf

Absolutely, yes. You get the best performance out of them when combined with the M20d mixer, but from what I've heard, they still work extremely well with other mixers. Simply pay attention to the setup suggestion in the pilots handbook. Connect L&R to the inputs on one sub (L3s) then use L6Link to daisy chain your other line6 speakers off the sub. I've run a thrash metal gig through mine without any issues at all. Indeed, my biggest praise is that they don't sound "boxy"... I regularly run mine out with a SKA band as well, and we have it cranked right up and the sound is simply staggering. Get 'em. You'll not regret it ;-) 2 L3s subs and 2 L3t tops As many have said on here before, the L3t tops are more versatile. The side panel mixers enable you to plug in up to 4 mics (across a pair) along with a stereo source so for small gigs you could go mixerless (assuming you only need the four mic ins. When I bought mine, I plumped for the m versions without the side mixers but if I were buying now, I'd definitely go the extra few quid and get the t version.

I think it worth stressing that the battery drain issue in no way affects the usuability of the mics or their performance. It just introduces a little "niggle" into their longer term usage... needing to remove the batteries after each usage. Mine don't get used frequently anyway, so it is good practise to remove batteries anyway. On a positive note, Line6 directly intervened with my situation, initiated a return (without me needing to do anything) and I now have a perfect second handset. Thanks Line6... above and beyond!

Likewise. Looks fine here.

D'oh! I've not used modelling on the L2t so had forgotten about it only being available on channel 1 I reckon the suggestion of a 2nd L2t, round robin L6 Linked as silverhead suggested is your best bet for a mixerless setup. 1GTR and 1 vox into 1 L2t and the second gtr and vox into the 2nd L2t. Round Robin L6Linking them puts both acoustics and both mics into both speakers with independent control of EQ and gain for all four.