SiWatts69

StageSource: T6.3A 250V 20mm x 5mm Slow Blow glass StageScape: Dunno. There is no external fuse mount. More than likely there are internal fuses, but certainly not one on the outer casing :-)

http://line6.com/support/topic/9734-input-too-hot/?p=66834 I gave the following answer the last time this question popped up... Manual for your H&K Redbox DI out states: "Use a microphone cord to patch this signal to a mixing console. Make sure the mixing console’s XLR input is set to line level. If the mixing console lacks XLR inputs or if these cannot be set to line level, you will need an XLR-to-6.3 mm-(1/4")-jack adapter readily available in music stores. The channels’ MASTER settings directly affect the signal level, but the selected POWER SOAK mode does not." So, even though it is feeding a DI output, that DI output is at LINE LEVEL. When you plug into the M20d with an XLRM it sets the input up as MIC level input. Line level is a lot hotter and typically doesn't need to pass through a mic pre-amp. Change the cable to an XLRF to 1/4" TRS balanced jack and input on any of channels 13-16 for a line level input. You can also plug in to 1-12 but make sure you select a LINE level preset.

No criticism felt ;-)

Well, I must admit, it was all pure guesswork on my behalf, as I'm sat in a holiday cottage and my L2's are 180 miles away back home. I'd have done as you have had i been with them

I would guess that you could depower and repower, the first to get switched on being L, the second R, but, that is a complete guess. On their side, you could always press the speaker mode button to return them back to PA/reference or, if preferred Playback which I assume is for recorded music. Perhaps, using the speaker mode button, you could also reasign L/R? What happens if you put both into Monitor, then set your L speaker back to PA/reference first, then repeat with R speaker. The kind of distict L L+R R control is available via the M20d, but it isn't available on the speakers themselves.

Short answer, no.

If you're using a DI box, the line level signal from your keyboard is [normally] already converted to a mic level signal, and as such PAD isn't required. Experiment though. Different DI boxes may have different output levels. I know the DI's I use have a -30db switch on them, but I don't use it with keys.

So my second handset arrived first thing this morning. It's a separate handset (bought as such by the original purchaser), never used and only opened to photograph for fleabay. Inserted the batteries to test at 11am this morning. Turned on and off several times. It's now 10:30pm and... the batteries are still full. So, I have; a handset that was part of a UK purchased XD-V75 system where the batteries are flat within 24 hours of it having been used AND a handset purchased as a separate where the batteries are NOT flat within 24 hours of it being used. Seems to suggest a batch issue to me. I'm reluctant at present to return the misbehaving one as, if it is batch related, the probability of receiving another dud in its place seems rather high. Will currently await to see if anything is discovered by Line 6 that might explain it and take a view in a few weeks time.

1A 9V centre negative power supply arrived today: very tidy, even comes with a self adhesive velco strip, so it dropped very neatly into the inside of my gator case, velcrod to the sidewall. Standard plug and figure 8 (iec c7) mains connector so easy to shorten to a sensible few inches in legth without damaging the power supply. Interestingly (and brilliant for rack usage, the 9V side only has 9-12" of cable before the 9V plug, so again, no excess cable to wrap away. Dropped in perfectly, powered up both units perfectly and jobs a good un! Diago PS10 Micropower9 http://www.diago.co.uk/pedal-power/diago-micropower9.html

Maximum you should daisy chain without using the Line 6 antenna distribution system is 4 receivers. As far as I know it relates to gain levels. Two options: two sets of three transmitters, each with a pair of antennas or All receiver connected to XD-AD8 Antenna distribution system with single pair of antennas

Another UK unit here (bought via Studio Spares and delivered yesterday) Batteries inserted yesterday to test and setup. Unit switched on and off. Batteries left in. This morning: batteries flat. I've also picked up a second handset (used once) second hand which will arrive in the next day or two and will be testing that unit too before deciding how to proceed. I'll then decide whether to raise the ticket on the faulty handset or just live with its idiosyncrasies! If the second hand one doesn't display the error, I'll get the new one sorted, but if it does, less likely I'll bother. In reality, removing the batteries after each usage is probably good housekeeping anyway, especially as the units will not be used day in day out. But it is rather frustrating. Knowing about it from day one is always better though as it could scupper a performance if you've not taken spare batteries. Apart from a blown power supply in an L3s this is the first major issue I've had with L6 gear.

A full on 1U rack size unit is a little overkill for powering just two receivers, and I've no plans to increase the number beyond two. I'm attempting to rationalise and reduce physical connections and equipment rather than increase ;-) but thanks for the suggestion. I've managed to find a 1A 9V centre negative power supply so will give it a try.

Does such a power supply exist? I've just grabbed a second XD-V75 and likewise, would prefer to power both receivers from a single outlet.

13, 14, 15 and 16 are still balanced inputs, and have switching pre's though, to my knowledge, the pre's are not quite the sophisticated burr browns that feature on 1-12 so, yes, you can safely insert a balanced input into 13-16 and not have to worry about it not being a "line" level signal. As eklynx has pointed out though, 13-16 do not feature such extensive DSP chains but as the commonest signals placed into 13-16 are DI style, keyboard etc inputs and not vocal mics, this is rarely (if at all) an issue. I typically use 13/14 as a keys stereo pair and 15 for bass DI. 16 rarely gets used though one of the bands I regularly work with, the keys player is talking about getting a second k/b so I imagine it won't belong before 16 is being used!

That's pretty much exactly what I do. I use a Palmer PAN04 2 channel passive DI box. Balanced XLR to balanced 1/4" TRS into 13/14. I even made up a 2 core multicore cable (using VanDamme blue series 2 channel multicore cable) for both sides of the DI box... 1/4" mono TS to 1/4" mono TS on approx. 1.5m cable length for keys to DI, then XLR-F to 1/4" TRS jacks on same cable at approx. 8.5m cable running into 13/14. Only one cable to run out that way ;-)

Did this on Saturday just gone... M20d recording: SD card "inputs only" recording Playback after gig and capture main outs into DAW. No levels altered from performance. Exported to MP3 without any editing Mobile phone video footage shot on the night (HTC One) Video and audio sync'd and video exported with replacement (M20) audio track. https://www.facebook.com/pahirerotherham/videos/vb.635858379782685/845510118817509/?type=1&theater Bear in mind it's a vid exported for Facebook and shot on a smartphone so vid quality isn't HD! Drum mics: Audix D6 kick, Audix i5 snare, RODE NT4 overhead Guitar mics: Audix D4 on rhythm, Shure Beta57 on lead Bass: DI Keys: DI Vocals: Beta58 on Lead, SM58, AKG D5 (2) and another Beta58 (drummer) for backing vox mics

Yes. You can pair any two adjacent inputs 1+2 2+3 3+4 4+5 5+6 7+8 8+9 9+10 10+11 11+12 13+14 15+16 If you plug a jack into 13 and then select one of the stereo keyboard input presets, it will auto-assign channel 14 as part of the pair: 13 = Left, 14 = Right Just a quick bit of advice though.... try to always use a DI box though as it will significantly reduce the risk of ground loop hum.

The main mix recording is the "what you hear" recording, ie everything "post" but before master faders. Note that one or two of us have noticed that the nominal level that this recording is made at makes it seem a little quiet when you listen back to it. What I tend to do is; Record throughout gig as Inputs only save the setup at the end of a gig when I get back to base, I then play back the recordings through the M20d without altering the mix aside from a little boost on the channels for amplified backline stuff (guitar cabs mainly) and have the analog outs plugged into a 2 channel USB interface into my PC. I then capture those actual outputs into my DAW. This gives me control over the actual main mix recording levels and yields a more satisfactory result. I can also, if necessary, add a little reverb presense as the main out recordings can sound a little dry (they lack the reverb effect of your venue) This is a recording I did as detailed above, for a band that often hire my rig. Inputs only, playback via USB into DAW. Modest reverb added. https://soundcloud.com/handsome-dan-mavericks/beer-reel-big-fish-cover-live-2015

To my knowledge, the 12 o'clock notch on the L series speakers is the optimum level for when you are using them via L6Link from a StageScape M20d. Without the M20d in the mix, there's less need for 12 o clock to be maintained, though whether it also has an optimum status for L6Link from your POD is outside my knowledge base :-)

Talk to your dealer and get the unit inspected under warranty. The type of issue you are experiencing isn't one that most of us would be able to help you with.

I had an experience with a different band where I'd pushed them to do just that. Their lead guitarist dutifully wound his amp back but to a point where there was so much trim added by auto-trim that the mic was constantly whistling through the night. I was desperately trying to find which mic was feeding back but oh so carefully neglected to check the guitar cab mics! It was only when reviewing the nights recordings that it became obvious that it was that particular mic. The only hint that it might be was when, at the end of their second set, the band nipped off stage before encore and the bass player leant his bass against the guitar cab at which point it set the feedback off again. Too late to sort by that point :-( As it was a guitar preset, FBS was not engaged, hense it wailing all night! Fortunately, it wasn't a terrible wail, just an underlying whistle.

Likewise, here in the UK too :-) L3's and L2's in my arsenal. Back when I purchased my original set, the price differential was bigger (£100 per speaker) and I opted NOT to go for t models. BUT, if I were buying now, with experience of these great speakers, I'd definitely select the t models, just for the added flexibility that they give you. I've subsequently added 2x L2t to my rig. The L2 is a remarkably good full range speaker, but the L3 gives you almost twice the power and is definitely better at handling lower frequencies. I'm South Yorkshire if you wanted a play :-)

Nothing wrong with your English :-) If you are in a smaller venue where you aren't pushing everything through the PA, creating your mix from a recording is more tricky, but you can at least get relative levels of everything that is going through the PA and then just adjust the master to match the backline volume (or turn down the backline to match an appropriate PA level!) In reality, the trim levels themselves shouldn't alter much assuming you use the same mics and mic positioning (as has been said above). I run auto-trim every outing on all inputs as a matter of course and rarely does any change occur. BUT we do regularly have to alter channel and master levels and the master EQ. Mic the kit appropriate to the venue. If it's a really small venue we sometimes don't mic drums at all. But as soon as I drop the kick mic in, we always mic snare too. Finally we add in a pair of overheads (I have a RODE NT4). But whatever you end up doing, an incomplete setup will always be a little more tricky to deal with. Get it to a point where you are all happy than have a spotter in your audience who can let you know whether the PA elements (vocals etc) need to rise after your first song, and if so, simply turn the masters up slightly. This is an issue that you will learn with usage. The amount of backline bleed can vary dramatically from venue to venue. For your first few outings, you'd ideally have someone out front with an ipad who can adjust the 'backline through PA' levels appropriately. But as a starting point, if you created a perfect mix in the PA from recording, and then took around 3-4db off any *amplified* backline instrumentation you'd not be far off. Don't take any off drums. It sometimes helps if backline amps are placed in such a way that they act more like monitors. Our guitarist has his amp on a stand facing back toward him, ie it doesn't contribute to forward sound. Bass player often turns his amp so it doesn't face straight forwards.

You've missed a key step... For what you've described, you need TWO scenes. The first scene is the general settings that apply for most of the set. The second scene is the "adjusted" one. So once you've created your basic setup (step 1) Save the scene with a sensible name. Now move onto step two to create the second adjusted scene. Now re-save the setup which will store both scenes as part of the setup :-)

Apologies for bring this question back to life but... This one is for Arne or Don... So the original question was whether if I had two L2t's and two L2m's and created a closed loop, would all inputs be on all speakers... to which the answer was yes. Am I therefore safe to assume then that if I added an extra t model speaker into the loop that its inputs would also be shared to all speakers... and that each successive t model added into the loop would result in all inputs on all speakers?