jeffhenning

Thanks for the commiserations.

Hey, I understand why their system works the way it does and think it's really clever. What pisses me off, though, is that they digitally close off the system to everything else on the planet. Most especially, top-tier effects from TC and Lexicon that are much better in the realms of modulation, delays and reverbs than anything Line 6 has or most likely will ever produce.

Sure, for the people that aren't audio engineers, make the system intelligent and easy to set up. That doesn't mean that it should then not also have the depth to allow experienced engineers to take it to the next level. As is, it's made for non-engineers exclusively. There is no way to add room and speaker correction or use better and more effects digitally.

There is no road for expansion or extension of the system. It is all that it ever will be and that runs counter to just about every other competing product on the market.

While I can somewhat justify adding the L3S sub and the Helix Rack to my L3T for use as a bass rig, I wouldn't buy the Stagescape unless I was doing a lot of small club gigs and I was using it as a set and forget mixer for each song using its scene presets.

I would never buy this system if I was working as a FOH mixer. It just isn't at the same level as the stuff that Yamaha, Mackie, etc. produce.

Kudos to Line 6 for creating the easiest sound system to set up, ever.

Shame on you for not including, for a few dollars more, open standard digital I/O like AES or USB to any of your StageScape/StageSource equipment.

What "genius" in your company decided that it had to be a thoroughly proprietary, closed system that didn't have any normal, digital ins or outs?

Sure, no one would want to record their gigs or practices in pristine digital form, right?

And, of course, everyone will want to use only your guitar pre-amps to hook up digitally to your speakers rather than anything else, true?

And when you have digital recording interfaces and wireless units, you really do benefit from having extra, unnecessary AD/DA conversions, don't you?

Open standards are for morons, correct?

So, enough of my snark.

I'm truly thinking about not buying an L3S and selling of my L3T because it won't recognize any digital input other than your L6 Link.

If you can offer a firmware upgrade, great, problem solved. If not, wow, big mistake on my part thinking that you'd make a truly all-around, great product that didn't have some gigantic design flaw.

If I wanted to buy your Helix Rack, this wouldn't be a problem, but, since that box has the most wackass effects line up ever and doesn't offer anything approaching studio level effects for bass or vocals, sorry, no thanks.

Even worse, it doesn't seem that you guys have added one new effect algorithm to your Pod line up in over a decade. That seems to be the running theme with everything you've ever produced. Great ideas that turn into product with glaring flaws and ommisions.

Thanks,

jeff

Can the L6 Link input accept a plain, ordinary AES/EBU digital signal?

It doesn't mention it in the manual.

Thanks,

jeff

Thanks for your post. Quite a shame that there is no way to get info directly from Line 6 if you haven't already bought the unit.

The L3 speakers do seem pretty exceptional and I'm seriously considering buying one of them for my rig. As to the L3S, though, a speaker that only goes down to 40Hz is not a subwoofer, it just a woofer cabinet. Anything called a subwoofer should have a -3dB point at 30Hz minimum. Worse comes to worse, I'll just build a killer sub cabinet with Prescient Audio subs and Hypex amps. It will cost more & be a bit more work to integrate the sub with the main, but the low bass will be amazing.

j

What the poster is talking about is an MTM, D'Appolito system which is used quite well in hifi systems. The L3t is not a 3-way system, but a 2-1/2 way system. The one woofer is used as a mid/bass driver while the second is rolled off in the mid bass to work only in the low bass so that you don't get as many lobing effects in the vertical frequency response surrounding the mid-to-tweeter crossover . The spacing of the drivers due to the high frequency horn precludes the MTM option unless you are using FIR/brickwall crossover filters. They're great, but costly due to the horsepower needed to do them right.

All things considered, I think they made the right decisions. Possibly, in the next version, they can offer an MTM/FIR option.

Hi.

Using a StageSource rig would seem to be a great alternative to a bass amp, but, reviewing your literature, you don't seem to give any response curves for all of the modes of the L3S sub.

Being a bassist who wants my low B fundamental to have as much authority as a low E or A, I'd like to know that the sub can cleanly attain 31Hz at reasonable volume. I'm not looking for anything lower than that.

Given that an equivalent home theater sub can do that easily, I'd hope that one of the modes would allow this.

Two 12" woofers give you the displacement area of an 18". Asking this box to hit around 105db at 31Hz should not be asking too much. I realize that this will reduce the maximum SPL, but I'm interested in quality, not quantity. Hell, if I want more output, I'll just buy more subs.

This wouldn't be worth it, though, if the sub is only flat to around 40Hz and the 31Hz, low B is around 15dB lower due to the sub's DSP high pass filter (shown below from the literature).

Your thoughts, measurements, please.

jeff