johndkeene

Agreed -- what started this was I recently went wireless and so could finally go out in the room at a venue and see how things sounded at volume. Overall the tone seemed like it was too mid-rangey so I started playing with the output mode settings and the direct mode seemed to restore some of the low and high end that seemed to be missing. I didn't have a lot of time to experiment so I'll hopefully have more time to do that next time. Either way, it seems like there's a lot of EQ assumptions with the output modes that are available that may not match the specific speakers and open/closed cab configurations.

So looks like no matter what you set it to, it will return to Combo Power (if connected to a DT50 head at least) when the DT50 is powered back on. I assume they are assuming the same speakers/configuration as a DT50 2x12 cabinet (ie, a g12h and g12 vintage)?

So the SKB works great. There's room on the top rack that we were able to mount the Shure PSM in ear monitors as well as keep them cabled up with the lid still closing. It's a bit awkward/unbalanced for one person to carry any distance without putting on a dolly but overall, I'm happy. We put the wireless mic receiver in the front rack as well as a drawer unit to hold the PSM backpacks and lots of batteries...

I spent a little time playing with the different output modes (studio/direct, combo power, stack power) -- the studio direct seems to be the flattest... combo power seems to be heavier on the bass (maybe assuming an open back cab) and stack seems to the accentuating the mids (maybe assuming a closed back cab). Given the variety of speakers and cabs that can be connected to a dt25/dt50, 3ish choices seems fairly limiting. Just curious what most people are using when connecting via l6link.

I ended up ordering the 6U version. I'll report back my findings. We wanted a place to mount some other related gear, like wireless in ears, etc. I'm hoping the top has enough clearance for the WiFi dongle to stay attached while the lid is closed.

I'm looking at the SKB R104 -- hard plastic case with 4U space underneath. Anyone use this case or have something similar to house the m20d? Thanks!

But still notching "pre" so the same notch would be filtered from the mains. Not a big deal, just a curiosity...

In a typical live band situation, 90% of the feedback issues come from the monitors with the vocal mics. So easy enough, enable the m20d's feedback suppression on those channels. The question is where does that notching happen? ie, if the feedback loop is between the mic and a monitor, does the notch happen pre-fader so that same notch will disappear from the mains as well or does the notch happen post and per send? Hope that makes sense. I assume the notches are fairly narrow so probably not noticeable if they happen "pre" but I am curious...

Cool... that matches up with what I'd have guessed. I'll have an extra card with me in case we fill the first one up. Thanks for confirming.

So the ~ 4 hour recording time limit is well documented. What I couldn't find any info on was whether that was "total of all recording sessions on the disk" or in a single recording session. We'll be running our first full show record tomorrow night and I'm trying to make sure I have everything ready. I would guess that the limit is due to trying to keep each .WAV file under a 4G limit. so as such, the limit applies to a single recording session, not per recording device. And if you're recording say 7 inputs, you'd be looking at about 28G for the full 4 hours, or fill up one 32G SD card. If you had a 64G SD card (or were recording to a USB HD), you could record multiple 4 hour sessions on the same disk. Is that assumption correct? Or is it really a limit "per disk"?

Yeah, if I was going to make a DT25/50 suggestion, it would be being able to set the XLR out volume separate from the master volume. Maybe even match the simulated output level as if you had the cab mic'd.

So just wanted to report back -- the DT50's XLR is definitely a mic level output. Running through a mixer, then taking the line out to the L3m worked great. It would be nice if that output wasn't directly tied to the speaker volume as sometimes I want to tweak (up) the DT50's volume (drummer gets louder as the night goes on) and that of course affects all the other mixes. But otherwise, that works. So my conclusion is that the other difference between the Lxm and Lxt - the "t" variation that has the mixer has pre-amps whereas the "m" with no mixer, also has no pre-amp -- it is gained for a line input.

The L3s has stereo inputs. If you just hook up one of them with a mono signal, will it "figure it out" and drive both internal speakers?

That actually makes some sense. I'll have a mixer available in a couple of days to experiment... so I'll report my findings then.

But the L3 will eventually just be a full mix monitor. So I guess the real question is if people are using HD500+DT connected via L6, and the speaker out XLR doesn't work, I guess everybody just mic's the cab? I guess the other option is to switch back to full models and feed via the FX Loop return which is what I was doing originally so what I send from the HD500 to the board sounds good.