Rick_Auricchio

"...the bass players bass amp was a wedge type and was pointing right toward the back of the singers heads." Try positioning the amp pointing at the band like a monitor wedge. This allows the whole band to hear the bass, and the bottom-end of the sound will still be heard well in the house. (Bass is nondirectional.) It also allows you to cut its volume to minimize stage volume. The top end won't get to the house from there, but that's why you add a little in the PA. With EQ cutting the bass in the PA, of course. Now the audience has the full sound of the bass. The dynamic mic isn't an issue: most mikes will still pick up the low end more than you need. re: Highpass filter. Most mixers have a highpass (also called low-cut) filter. Usually it's engaged by a button near the mic gain knob. This filter typically rolls off everything from 80 or 100Hz downward. It cuts p-pops from microphones nicely. Men's voices rarely get below 80Hz; women's voices don't go down that far at all. As for a DI, even a low-cost passive one is handy to carry; it can solve lots of problems. For many instruments a passive one is just fine. The LiveWire SPDI ($30 at Musicians Friend) is small and only weighs 12oz.

All of the above!

What he said. A compressor limits peaks but not all compressors will be fast enough to catch the thumps; you'll have to try a few with a fast attack. Many limiters are good at catching and controlling peaks without creating nasty artifacts (like pops, clicks, etc). A good choice might be the FMR Audio RNC compressor. I've used these in the studio but haven't tried one for a situation like yours. For under $200 it's small and it doesn't color the sound.

Very nice job! I see you did this to one input PC board. Are there two similar boards, one for each row of jacks? Or are there two boards? (I bought M20d in October 2014---and it works fine---but I wouldn't consider opening it up until the warranty expires.)

It sounds like there was just too much bottom end dialed in for the bass channel. Besides feedback and boom, doing that causes the bass to mask a lot of the rest of the sound from the PA, which ruins overall sound. If the bassist wants bottom-end, he should bring his own amplifier. Take a direct-box (DI) from the bass (or the amp) to the PA. Then his amp provides bottom end to the audience, and it provides stage volume for the band. Just have the PA reinforce the upper end of his sound, which is all you'd need for the audience. Then, by reducing the bass with EQ you keep it from booming in the PA, and the audience hears all the upper nuances of the bass.

It makes sense that the limiter is causing the pop, which points to the guitar signal slamming much too hot as you thump it. Normally, a PA system doesn't have to deal with the guitar thumps or drum mikes. (Any PA that's expected to handle drums is usually large enough to be transported in a truck.) You might run some tests with an outboard compressor or limiter between the guitar and the speaker system. Naturally, you need to try different units to find one that will limit without audible artifacts (i.e. the pop). If that isn't feasible, then your only choice may be more speakers: you may be asking too much of a single speaker to produce the loudness you want. PS: The wattage rating doesn't tell you how many decibels (loudness) you get from a speaker system, nor does it tell you how the system will behave with a sudden too-hot signal peak.

My money's on clipping in either the guitar preamp or overdriving the speaker input to clipping. To the OP: Have you tested your system while thumping other guitars? After all, it's a guitar, not a drum, so the built-in preamp isn't designed for the extreme dynamic range of the thumps.

When in doubt about phantom power, consult the manufacturer. Or just turn off phantom power to that device. There are a few inline adapters available in the market to block phantom if necessary.

If it doesn't happen with the drum but does with the guitar, I still have to point the finger at the guitar preamp. See if you can make it happen with another amplifier. AND also plug the guitar into a mixing board...have someone look at the meters and gain lights there. I'll bet you see the gain slam very high momentarily.

I've been using the standard male lead-vocal preset with my band. A little tweak on the EQ6 as necessary for different voices, and a bit of the DynEQ. The Dynamic EQ lets me reduce a bit of upper midrange two of our voices as we sing louder, and similarly reduce a bit of upper bass for one of the guys when he sings louder. I don't have the compression engaged, because it will appear in the monitors; that can increase the chance of feedback. No delay or other FX in the channel preset, to keep the monitors dry; I use global FX for that so it shows in the mains and it can be muted by a footswitch when I speak between songs. I do use the 4Comp on the main outputs---just a little to tighten up the mix without flattening it.

Is the feedback suppression turned on? If so, try turning it off. It's possible your guitar is clipping when you thump it. This can happen with a low battery.

dboomer said: When the mixer first starts up it sends a "if there's any router out there, please send me an IP address ... I'll take anything" Correct. This is called a DHCP request. and then the router answers back and assigns it usually based on the mac number it sees form the mixer. The router is free to assign any IP address within its normal range. Many routers can, however, be configured to behave as you say: "Always give this IP address to this MAC-address device." [Often called "IP Address Reservation."] Most are not configured this way by default. If you were to unplug and re-plug the USB/ethernet adapter that would cause the system to poll again for the IP address without re-booting. This is how a well-behaved network device should behave, so we expect the M20d should indeed send a new DHCP request and obtain an IP address. I would expect the router to always re-assign the same address based on the mac address of the mixer. Perhaps, perhaps not. This is up to the router. If it's configured for "IP Reservation" as mentioned above, then it will always issue the same IP address. If, instead, it's in the usual default setup, then the router may either a) reissue the same IP address, or b) avoid reissuing that address for a while and instead issue a different one. However, this is all somewhat academic, because the iPad looks for devices using Apple's "Bonjour" network protocol. It's those data packets that count: the whole concept is to avoid dealing with IP addresses for the connection. If perchance the M20d doesn't resume "advertising" its presence via Bonjour after a network interruption, then the iPad won't find it.

Your connection of GR55 --> G-XT --> HD500 is fine. But you've got three stereo pairs, right? Yeah, that's too many for any of the StageSource models. So I'm back to the ideal of a little mixer to combine all three pairs into one, then those go off to the L2t's Input 1 & 2. If you turn on the L2t's Stereo Link switch you can adjust both inputs simultaneously using just the Channel-2 controls. A low-cost Mackie or Behringer mixer would do the trick: Put in all three stereo pairs, mix 'em, and send that stereo output to the L2t.

Ah, now I think I understand, after looking at the units. GR55 audio out goes to the HD500. Microphone into the GT-X. Dry output of the HD500 to the GT-x so it "hears" your guitar chord to create vocal harmony. BeatBuddy needs no input connection. Connect the outputs of the HD500, the GX-T box, and the drum unit to inputs on one of the L2t's. Connect the speakers with L6 link and adjust levels at the speaker inputs to mix to taste. Now you have minimal loss of signal quality, because nothing is passing through FX loops. This takes a couple more cables, but things will sound better. Use the balanced outputs of everything with standard microphone cables; doing so allows longer runs without hum/noise pickup. See if the attached picture makes sense.

Ah, good catch. I haven't got experience with the speakers. That'll help and cut back on the equipment load. So where I mention "mixer," just route those devices to the mixer built into the speakers!

I presume you really know that your setup doesn't sound as good as it can---you're not just guessing. It seems to me that the FX loop is the wrong place to stuff all that equipment. You're carrying (and connecting) a lot more than you need. Every device in the signal chain can reduce signal quality. Why use the complicated and large RC-300 when all you need is some type of I/O device (perhaps a small mixer)? Get a small mixer and split the vocal and drumbeat out of the guitar chain. Try some of those pedals inline before the HD500. So it will look like this: Beatbuddy to mixer. TC vocals to mixer. GR55 into HD500, either at input or FX loop. Output of the mixer to the audio input of the speakers.

Well, since you had a MOTU unit and QSC speakers and didn't mention anything else, it was pretty obvious that all you had were the products of other manufacturers---both of whom have web sites and support forums.

Does this have anything to do with Line6 products?

Wrong thread, tripenator. You've already stated your problem on another thread. Nobody is going to look here for your reply.

Tripenator, please don't confuse threads with unrelated problems. You've already opened your topic elsewhere.

As I said, it isn't going to be something easy to fix. Line6 should fix it; they've got any necessary replacement parts too.

This is just a guess, and perhaps the Line6 folks are already ahead of me on this. When a strong gain boost suddenly "cuts through" like this, it's often because of oxidation on contact surfaces. This can happen at bad solder joints, at dirty plugs/jacks, or even circuit-board interconnects (like ribbon cables). The hotter signal punches through the oxidation---improving the connection for a while---but soon the connection fails again. This isn't something the user can fix (as one would do when using contact cleaner in a dirty jack); it's got to be fixed by Line6 service.

I don't see any way to do this. What problem are you trying to solve by doing so? As SiWatts69 says, just go in to a line input. There's no mic preamp on channels 13-16.

Via Google Translate: "When you stick a microphone in any channel when the volume and microphone gain is not responding seems to be locked. Screaming on the microphone the same unlocks and functioning normally. Waiting in silence for a few minutes, the problem returns. Can you help me? I filmed the incident because it is difficult to explain."

Sounds like you need to send the unit in for service. You've done just about all the testing that I would suggest from here.