SiWatts69

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.

I'd have thought... 2 GTR into side panel inputs 1 & 2 Vocals via outboard mixer in to back panel input.

Yes, you can connect both L6 Link AND an anaolog input simultaneously and the stagesource speaker will handle both inputs. The only significant consideration is in balancing the signal input levels to make them close enough as the main gain knob on the back panel will affect both input levels. Get the speaker firing the volume you want for your L6Link'd Pod first, then adjust the signal level for your vocal monitoring via your desk.

As 66d35 (sorry, don't know your name) has stated, unless the dongle is on the supported list you have virtually no chance of it working. The dongles require drivers for your PC to use them, and the stagescape is no different. Unlike your PC which goes online and finds the driver or has it bundled with the OS, because the generic provider has furnished your OS provider with the driver, the stagescape has only a small number of drivers available (and lets face it, three years on and the list of drivers may as well be zero!) So, as he/she says, go the slightly more costly, but infinitely more reliable route of the Apple USB to Ethernet adapter with a router (of your choice) Even if you do get a dongle that is supported, its range is dramatically smaller than that of a router, not to mention the reliability of the connection.

Yep... XLRF to 1/4" TRS in to inputs 1-12 gives you LINE level, but with all processing chains. The extra FX chains are not attached to channels 13-16 as these are intended for only line level inputs. The standalone H&K redbox DI unit has a pad switch mounted on it which will knock (IIRC) 15dB off the level. For some reason, they didn't include this nifty little feature in the redbox they put in the back of the amp. I suppose, there is a degree of confusion here about DI outputs. Some manufacturers fit DI outs to their amps and feed them with LINE level signal - which means it is a pre-gain line out, rather than a DI out. Others feed MIC level signals out through their DI. Of all the gear I've hooked up to my rig, bass amp outputs have tended to be mic level, but guitar amps have most commonly been line level. BUT, and I suspect I am not alone in this, I rarely DI a guitar amp, though I'd almost always DI a bass. I always prefer to mic the cab as it typically makes life easier when trying to recreate the sound of the stack/cab the guitarist has probably spent ages trying to perfect. Minimal work on the desk, so long as I use a decent mic; I'm currently preferring the Audix D4 for close micing guitar cabs.

As quadcabbly has said already, the footswitch connectors are not audio paths and cannot be used for a monitor mix. M20d provides 4 aux (monitor) buses, each available either via L6Link or from the hardware analog monitor xlr outs (A,B,C and D). It is not possible to have more than 4 aux buses.

davec69 is indeed correct... To CREATE a group encoder; In SETUP screen, double click the hardware rotary knob corresponding to an empty slot in your channel strip. The channel strip contains up to 12 slots (2 rows of 6) and each corresponds to one of the rotary hardware encoders. An unassigned encoder will not have any colouring. Double clicking the encoder throws up the "Select Channels For Group Encoder" popup Select which of the FX channels and input channels you wish to assign to the group. Name the group (if required) Click OK to save. This thread covers editing and removing the encoders just for your reference, and a couple of screen grabs. http://line6.com/support/topic/12769-how-to-remove-a-controller-in-the-bottom-strip/?hl=group+encoder

Beat me to it Rick ;-)

As a possible... and possibly worth ruling out before jumping in to think you have a dud unit... Whole mix disappearing for a split second is something that occurs whenever the speaker chain (when running L6 Link) is disturbed and the M20 has to re-emunerate the chain. So, if possible, try having either an iPad remote or the main M20 L6Link assignments screen open. If the chain is distubed, you'll see the assignments screen disappear briefly then re-appear. Possible simple causes for the chain being disturbed; Degrading cable(s) Loose fitting XLR connectors Unstable power supply to one or more speakers What you've described would fit the bill for any one of the above and cables/connections are the most common root cause of issues. That is not to say that there definitely isn't anything wrong with your speakers/mixer, but that it is most likely to be cables/connectors. The L6Link chain is disturbed and the sound momentary disappears if *any* connection in the chain is lost. We used to do a lot of "banging on about it" when it comes to cables and connections. A cable which is degrading will cause this type of drop out, and in particular, using standard mic cables which are degrading. So, my first suggestion is to check all your cables. Sometimes, a cable on it's way out *can* drop signal when it is trodden on, or nipped under or between other bits of gear. Use decent quality AES/EBU cabling with your L6Link connections and avoid cheaper Chinese xlr connectors where fitting tolerances are not as tight on those for Neutrik and Switchcraft. Some of the cheap connectors vibrate when the speakers are being driven and can become temporaily disconnected, even though the plug looks like it is still plugged fully in. Surface oxidisation on connectors and poor solder joints can also have an impact. Additionaally, try to avoid using standard mic cable for L6Link as although it works most of the time, it is more prone to causing issues than AES/EBU 110ohm cable

No worries... Like I said, wasn't intending to create an argument and I quite agree, speculation could infer that the PA line is taking a back seat. I'm not overly worried by that though :-)

Not intending to create an argument, but two flaws... The guy speaking isn't from Line 6, he's from Anderton's The second flaw is that the desire to become the leader in guitar modelers again and thus stopping their other fuares into "PA and mics, as good as they have been" is purely speculation. Have you seen the press release where this has been announced? So, no further proof, just speculation.

Just a thought... Are the inputs "unlinked". When an input monitor send is "linked" the monitor send level is a relative one, relative to the master send for the channel. When an input is "unlinked" the monitor send is independent of the master send. Vocal/microphone presets are mostly created with their monitor sends linked. See section 5 of the user manual

If only this were always true... my instance was when my gear was just 4 months old, used (as the full rig) just three times and yet the hotel (wedding gig) insisted, with no leeway despite my protestations that everything had to be on the presented certificate. Barmy. Likewise the guy who did mine suggested a 12 month re-test cycle. I run everything from (up to) four plug in RCD's like these (though not this specific model) http://www.screwfix.com/p/masterplug-rcd-adaptor/63731 and have a complete powercon mains distribution rig. PAT tester had fun doing the tests on it as he'd never come across powercon connectors before. Amusing that I had to educate him, firstly on what the regs are relating to powercon AND on how to go about testing them!

What protectors are you using quadcabby? I assume you are UK based referring to PAT certificates! Tell me about it. I had to have my entire [nearly new - used fully just 3 times] rig tested to satisfy a hotel, only to get there and find half the sockets they expected me to plug into virtually hanging off the wall! It's the insurance companies that are insisting on it, and they lean on the venues... not covered if you don't get to see up to date certificates. The dumbass thing is that whereas the part P regs don't give a distinct/prescribed time period for retesting, the insurance companies are absolutely insisting on it being within a year and some are rejecting certs for anything over 10 months (just to be on the safe side!) and yet as we all know, a piece of electrical equipment can develop a fault between uses. All the PAT certificate does is assert that it was good on that date. I take extremely good care of all my gear, not only in use, but also in transit, during setup and packdown. The rest of my band would attest to how anal I can be about how cables are wrapped/stored not to mention how I cringe whenever anyone but me is man-handling them. PAT testing is all but a farce; a money grabbing exercise created by the electrical industry to furnish its members with an endless list of work!

You're welcome. I can't guarantee we'll always be able to assist, but someone will typically at least try. Tempted to say, you have something setup wrong in the way you're routing and controlling your signals. If I wanted an input signal to only appear in monitors, I would plug it in, trim and then set the main output fader for the channel to -∞ and then set the relevant monitor output levels by going to the MONITOR screen, tapping the relevant monitor and then adjusting the output level for the relevant source signal. If you "mute" a channel, it mutes in BOTH mains and monitors and I suspect this may be what you are doing, but don't shoot me if its not ;-) Yep, strange! When you play the recording back, do the relevant level meters for the "missing" channels display any activity? Are their inputs muted? Do the channels have output levels set? Did you change your "setup" between recording and playback?

Because the input power supply voltage is variable from 110V to 240V as is common in a lot of modern electronic equipement. The power supply will work at any voltage in the range :-)

At least two of us have done this already http://line6.com/support/topic/7024-solutions-for-mounting-and-lights/ I'm one of them and I utilise my L3m top mounts almost every outing (with our band anyway) The whole mod process took me around 2 hours, doesn't involve *any* modification of the L3 speaker itself and, as with scotterp's suggestion simply uses the two existing fly-point bolts in the recess at the top of the speaker. scotterp's uses an "external top hat" https://www.google.co.uk/search?q=external+top+hat&rls=com.microsoft:en-GB:IE-Address&rlz=1I7GGNI_en-GBGB484&tbm=isch&tbo=u&source=univ&sa=X&ved=0CFQQsARqFQoTCP-e0vXajMcCFUsSLAodJAAHBg&biw=2560&bih=1408 and mine uses a block of plywood and a K&M threaded pole mount http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Distance-and-extension-rods/24116-Connector-plate-black equally effective. I've run mine with both lengths of Line6 poles above, governed only by ceiling height at venues

Hey Jeff... Understand your frustrations but this is a user forum, not a direct route to Line 6 tech staff. If no-one is in a position to offer advice that can help you, they typically won't... doing so would serve you no purpose and almost certainly not ease your frustrations. So, without trying to teach my grandma to suck eggs... the first place to start is to check all the fuses. If it isn't the fuses, then whatever has blown has blown inside the speaker. If the power supply doesn't "click" a couple of seconds after power up, then the issue most likely lies within the power supply itself. If it does click, then the issue is beyond the power supply, or at least beyond its switching stage. Whether there are internal fuses and if so, how many within the speaker, I can't tell you but, if your speakers are outside of their three year warranty, you've little to lose from at least opening up the amp box and checking for blown internal fuses. What I can tell you is that I had a power supply stop working in an L3S. One day it worked, the next outing it was dead, with no "click" on power up. Fortunately for me, it was still in warranty and was rapidly repaired. To do so, I opened the support ticket as is advised, contacted my retailer (who offered to collect from and return to me) and a little over 2 weeks later, my sub was back with me. So, I'll apologise now for the "community" not replying sooner... many will have been out gigging last night and tonight. Line 6 staff may be present on this forum from time to time, but the support system is the best place to gain answers when you have a problem like you have. Finally, I apologise if I've dumbed down the answer too far by suggesting you check fuses... but not everyone thinks to do so.

Sometimes that's the best way ;-) In reality though, as long as your two monitor out cables are in A+B OR C+D you can go to the SETUP screen, touch one of the monitor speaker symbols on screen to select it and it should show the button top right You can also click each monitor you have showing on screen, then click the bin icon to remove it, do all of them one by one, then plug back in the two you want to pair so they are the only monitors showing. When you click Make stereo pair, the stage icon changes from two separate L2's to a pair of L2's, angled inwards in a V. I guess you can then change the stage icon to an in-ear one, but I don't run stereo monitors so haven't tried!

On the SETUP screen if you have two XLR F cables plugged into either A and B OR C and D, a "Make Stereo Pair" button appears in the top right corner. Only the analog aux outputs have this option to my knowledge and without getting out two of my speakers I'd be struggling to confirm. A and C would be LEFT in their respective pair. B and D would be right in their respective pair. I would guess that the stereo monitoring would only reflect stereo inputs, ie it would not reflect PAN on individual channels To my knowledge NO. Your only option is to do as you do in your DAW and run R and L as independent channels.

I play Tenor and Bari. I have TWO TBP12's which I couple with AKG C519L clip ons. On Tenor, I use a single AKG C519 which runs into the TBP12 with an adapter cable. The AKG mics are TA3F (3 pin mini xlr) whereas the TBP12 is like a shure transmitter (TA4F). Key to using the AKG with the Line 6 is to match the impedance. It isn't simply a case of getting a 3 pin to 4 pin cable. I went through hoops to get mine sorted but got there eventually... I bought a cable someone "claimed" would convert and once I was sure it did work, I ripped it apart to discover what was going off. The graphic below shows what wiring is necessary, though for the direct TA3F to TA4F, there is no need to bridge between pins 2 and 3 inside the TA3F (as shown in the graphic); http://line6.com/support/topic/12359-akg-c519ml-mic-with-xd-v75-and-tbp12-beltpack/ On Bari I normally run two C519L mics. These first route into an AKG B29L minimixer which combines the two mic signals into a single signal, which in turn outputs via a standard XLR M connector. As the B29L provides the phantom to the mic, there's no special wiring needed to hook it up to the TBP12; The XLR-F to TA4F cable is wired as: XLR pin 1 = TA4F pin 1 (cable shield) XLR pin 2 = TA4F pin 3 (audio +) XLR pin 3 = TA4F pin 1 (audio -) No connection to TA4F pin 2 or pin 4 This wiring is identical to the Shure WA310 connector Key to using the AKG mics is getting the cable right. Personally, I quite like the AKG's. They're not too expensive but still give a really good tonality. But, I haven't tried any of the more expensive offerings from AMT, DPA or SD Systems. I've played around with the setup over time, running a B29L on both saxes and unplugging/plugging in to the [belt clipped] TBP12 (not recommended unless you first mute the TBP12 as you get a big condenser mic "pop") but in the end, to simplify matters, just got a second TBP12 so I have a transmitter on each sax, did away with the B29L on the tenor and then just turn off one transmitter and turn on the second when switching between the two. That way, I just run both into the same receiver on the same channel. I'm also considering reverting to just a single C519L on Bari so I can ditch the B29L on that too, which should normalise the volume/gain between the two instruments. Lucky you ;-) It's currently peeing it down in the UK! So much for summer!

Hmm... I'm not in a position to measure electronics (wouldn't know where to start) but I definitely have two handsets that behave differently. 1) The one that came in the XD-V75HH set, purchased via studiospares is flat within 24 hours if the mic is switched on, then off and the batteries are left in 2) One that was bought second hand (though unused) via a popular auction site which has normal battery levels after 24 hours if the mic is switched on, then off and the batteries are left in The second handset was originally picked up as a spare (I have two XD-V75 receivers as I use one for my sax with a TBP12) or for when I'm hiring out my PA and the client wants two wireless handsets, so it isn't exactly critical as I'm aware of the issue and can remove the batteries after usage, but it is frustrating.

If you hear the "click" then that's the power supply powering up so whatever your problem, it would appear (from what you describe) to be beyond the power supply stage. If it's less than three years old, it needs to go in for warranty repair.

LOL... I have a severe case of this. So does our drummer! Between the pair of us, we've spent near on £25k (about $35k) in the past 2 years! Mine is a voyage of discovery. I've bought cheap, used it and shelved the gear, then bought more versatile gear which makes life more flexible. I've expanded my rig (an extra 2 L2t's along with new drum mics). I've modified my own sax mic rig, falling for XD-V75 but thought at the same time, what the heck, I'll get some handhelds for when I'm hiring my rig out. I've bought cheap(ish) party lights, but done away with them in favour of more powerful wash lighting. But it all adds up. The last thing on my mind though is blaming anyone else for my buying decisions each step of the way. I chose, I used, I kept or I moved on. The BIG constant in my setup is the Stagescape and the Stagesource speakers. They collectively form an immense, versatile and brilliant sounding system that I have yet to hear beaten by anything less than double the price I paid, and bear in mind the gear is now around 30% cheaper than it was back then. Everything we buy has some form of compromise attached. For every little niggly missing feature on the M20d, there's at least one on every alternative. Yes, the alternative might have that missing feature, but what don't you get on that system that the M20 does have? The Touchmix and the Soundcraft UI both look good in their own rights, I certainly don't dispute that, but the M20d is still a contender. Make the decision about what to buy and live with it. As soon as you start looking at new features available on newer consoles, your eyes are bound to turn green with envy. I still love my M20d, it works flawlessly every time. The *ONLY* gripe I have is the SD Card reader can be somewhat temperamental. particularly if you swap a card out. Otherwise, *mine* has been faultless every usage and still continues to impress me.