pedromleite

I get this problem with my Yamaha HPH-200 (48 ohms) and I don't have it an AKG K514 MKII (32 ohms) Can Line6 clarify it there's an issue with this specification?

If I understand correctly, what you're saying it that without anything in solo for the headphones, you do hear the main out but before the main out channel effects. Which should be correct, as to be able to listen using a different level. What you're asking is to listen with eq and compression, which are intended for the room I don't think that would be a nice change. If you're changing the main out channel, shouldn't you be doing it and hearing the acoustic version - with different positioning if dialing it in from an iPad perhaps?

For what it's worth I have already used the app without any issues detected. But don't just take my experience on it, please wait for a good oficial test.

Duarte, I've tried on the past doing so, but there are two factors, one is the acoustic instruments (like drums) that can interact with the room. The second one that I keep hitting is that gain and room interaction changes the actual instrument capture. On open air our presets actually just need small tweaking. I actually rehearse (on several days so not to have hearing fatigue) some of the recordings and tweaked tones. On our last gigs we adjust gain and tonality, rotating a lot faster on soundcheck. We also use our line6 body packs and have musicians hearing each other live performances with full acoustics. PL

Hi Antonio, Just been doing that today with a new accordion setup with a friend, but I still would love to hear about the pro's. We have made a 20 sec recording using the mixer, and played it thru on SOLO headphones. We then used the 6 channel eq, and swept a high Q, high dB to find the frequency (in this case the accordion mic is a capsule inside and was picking up finger fretting the bass keys). After we found the frequency we reset the 6ch eq, and went to a dynamic eq, turned it on a tuned that freq, set a proper Q and dialed a negative high level filter, then we tried to find a proper low and high threshold. The key point is finding this point where we find the right thresholds to dim down the offending freq and still allow harmonics to pass when needed. (For my bad this freq is very near the instrument central frequency). Is this right as a workflow? PL

What about: m20d#1 main out -> m20d#2 17/18 (aux in) m20d#1 mon1 -> m20d#2 15 (line) m20d#1 mon2 -> m20d#2 16 (line) m20d#2 mon1 -> m20d#1 17 (aux in) m20d#2 mon2 -> m20d#1 18 (aux in) 12 XLR inputs on m20d#1 12 XLR inputs on m20d#2 13/14 line on m20d#1 13/14 line on m20d#2 mon2, mon3 on m20d#1 mon2, mon3 on m20d#2 This would allow to have 4 monitors with access to all channels, and 24 xlr + 4 lines for input, with a mains out. Provided you consider mon1 the same channel as mon2 on the other m20d. (and mon2 -> mon4). The biggest problem I can see is gain setting and the high pass filter on the inputs.

No slow down on my MB Air 2011 with Mavericks 10.9.4 Maybe reading the system.log using the Console utility can give you a clue, regarding what happened during that time. And you could try to repair filesystem permissions (usual suspect after updates to Mac Os X) using Disk utility. PL

Still not a owner, but had did some simple tests and very impressed by the result. Have a doubt, can channels 13 to 16 be used as mono separate channels? Thanks in advance.