Rick_Auricchio

Perhaps it's Logic Pro X that isn't working properly. Can you try it with other audio devices?

Group encoders. Page 2-13 of the user guide.

Yes, but as eklynx said, the compressor still needs a sidechain input.

" the first thing I did was check the fuse." Did you test the fuse electrically (with a meter) in addition to a visual inspection? A fuse can fail right inside one of the metal end caps where you won't see the break.

You can use the compressor to control the loud peaks, but you probably can't remove the snap of the strings against the frets. Using EQ will just reduce the bass to mud. Don't run the bass thru the M20d at all if you can help it.

It's interesting that they managed to get reasonable synchronization of the two wild sources (video and audio). (The term "wild" is often used to indicate that the devices are not run from a common timing clock, which would keep them automatically synchronized during the recording.) For short segments of time, the sync doesn't drift very far at all---a testament to modern digital equipment with precise internal timing in the absence of a common synchronization clock. As for the performance, well, it's not my cup of tea. I see more melodramatic shaking and head-wagging than musicianship, but as a 45-year bassist my tastes and standards are different than others'.

Since the recording signal is tapped after the Trim setting, increasing trim would make the recordings louder. You'd then turn down the faders to compensate in the mix.

But how do the M20d and iPad get their IP addresses? Or does the M20d work with Bonjour networking protocol? You can tell I haven't used an iPad with my M20d.

Thank you, Arne. I realize you're unable to comment further, but you've provided encouragement to the community.

The issue is that neither device would have an IP address, unless the dongle is itself a router.

You don't say if you're using a wireless router in the system. You can't just use the dongle and iPad---there has to be a router in the system. This is where the Airport Express comes in.

We used to use the Ultimate TS80B stands for our 34-pound JBL passive speakers. Several months ago I switched them for a pair of On-Stage crank-up stands. With all of us in our 60s, it's far safer to lift the speakers waist-high, then crank them up. Lifting them over our heads was an invitation to injury, which is a far more expensive proposition than replacing the speaker stands. This would be even more important for the heavier, powered models.

Si is being sarcastic. It's a good story to illustrate people's desire to want everything upgradeable just because it has some software in it.

What are you expecting with this statement? There's not going to be a way to add more faders to most mixing boards, so they don't scale to more channels. You can't add more channels to a power amp. You can't add more inputs and outputs without building a totally new unit. Just because there is firmware inside the M20d, do you expect that it should be upgradeable to do whatever you might want in the future? This is hardly the case. The hardware is not going to change on existing customer equipment, just like your car doesn't get the new engine that comes out in the next model. I went through this process with the Panasonic/Ramsa WR-DA7 digital board in the late 90s. Many user requests did make it in to the second firmware upgrade, but a lot did not, because those features weren't possible with the existing hardware. As others have said, buy your equipment with the expectation that it will always do what it does today---and won't adapt to future situations. It will continue to do the job it was built to do, just as a vehicle continues to do the job it did from day one. My 2012 car can't be upgraded to 2015 standards and equipment either. "...Having once worked for Apple they would exhibit a similar behavior when sunsetting products." Doesn't every manufacturer? (Auto companies are required by law to maintain parts inventories for a number of years, but I don't think any other manufacturer need do that.) When a company wants to implement new features---and the hardware won't allow it---then it's time to build a new product. Owners of the previous product either keep it working as it was, or move to the newer product.

Regarding this thread, I wrote an article about the topic in 2008 that was planned for Recording magazine, but never made it to print. (I wrote occasional articles and reviews for the magazine.) At the time, the issue was that Panasonic/Ramsa stopped updating the WR-DA7 digital mixer. I've attached the article as a pdf. upgrade.pdf

I just realized my "upgrade" article belongs in another thread. I'll post it there.

I have some punctuation I can sell you cheap :) Seriously, it does make things easier to read. Of course, many people use smartphones to post, and this tends to make it harder to punctuate. If you're dictating on the iPhone, you can actually say the words "period, comma, exclamation, etc." Regarding this thread, I wrote an article about the topic in 2008 that was planned for Recording magazine, but never made it to print. (I wrote occasional articles and reviews for the magazine.) At the time, the issue was that Panasonic/Ramsa stopped updating the WR-DA7 digital mixer. I've attached the article as a pdf. upgrade.pdf

Ureaman has opened another thread asking about how to set up the Airport Express; so any discussion of that procedure should move to the other thread.

When you say "dongle," do you mean the USB-to-Ethernet adapter? That is required to get the M20d to do any networking at all. (There have been a few USB-wifi dongles used in the past, but I think the Ethernet one ended up being the most reliable.) The USB port on the AX will never handle network traffic; that's only usable for a printer. If you set up the AX to create a network, it expects an incoming network feed on its Ethernet port. So you can't connect the mixer there, because that becomes an incoming port on the AX. If you set up the AX to join an existing network, then the Ethernet port becomes an output that can feed the mixer. In this case, I'm not sure what the AX does without an available wi-fi signal. At the very least, its LED will flash amber indicating that it sees no incoming network feed. While flashing amber, however, it should still route between wifi connections and its Ethernet port. In this latter situation, you might be able to enable the DHCP server inside the AX, so that it issues IP addresses to both the mixer and the iPad. I haven't got a spare AX to test this.

The signal to the recorder is tapped right after the input trim and ADC. So your only control would be the input trim. But if your overall levels are good, I doubt you'd want to crank the input trim just to get a hotter recording level. If you transfer the recorded tracks to a computer (a DAW), then you can amplify without any added noise, so it isn't really a problem. As long as the quietest parts make it to the recording you'll be fine in the digital domain.

You're lucky to have a PA able to do that. We don't want to lug a large PA, so I only run vocals, acoustic guitar and a little keys through ours. Electric guitar and bass don't go into the PA. And the keyboard is mainly coming from his amplifier.

Remember that a touring bassist almost always has PA support for bass, so all he needs is an amp for a stage monitor. The rest of us have to fill the room from our own amplifiers.

Sounds like a poor connection at input 7. It could be that the ground connection inside the jack is not making good contact with the wall of the mixer case.

RIght...use 5GHz. This also tends to limit the number of audience smartphones that continuously might try to connect to the 2.4GHz band. Note that 5GHz doesn't have the distance capability that 2.4GHz does.

The OP has already said that operating the mixer from an iPad is not as easy for him as directly working the mixer. So he's looking for a way to move the mixer to the FOH operator position and send the outputs to the stage. Basically this is the way one works with a traditional mixer and a snake, but sending L6-Link from the back of the room to the stage is too great a distance and is unreliable.