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.

Good to know that at least things are working right with the speaker XLR being weak. i was beginning to think maybe something was wrong with the XLR in on the L3. But that still kinda sucks ;) What I have done before was use full models in the HD, then just run a 1/4" into a direct box. I'd send the XLR from that (ensuring summed stereo since I was only using one 1/4" from the HD to force mono) to the board, and then use the other 1/4" to go to the FX loop return on the DT50. That worked fairly well for all concerned, but I always feel like I am missing the full DT experience. Thus the switch to use the L6 link to connect those. But with the pre models in the HD, I kinda thought the 1/4 -> Direct Box output would not be getting the full modeled signal (just the pre flavor). Is that a correct assumption? Or will the HD send a "full" render out the 1/4" out while sending the "pre" flavor to the DT?

I play straight electric so no need to sort out using both DT and L3 concurrently for acoustic/electric. I'd like to start migrating to a setup that will work an M20D-based system. So to start checking things out, that's where I tried to take the speaker XLR to the L3 but couldn't get any signal. Then taking the XLR off a direct box (to ensure mono signal), I was able to get some volume, but not much. I am wondering of the XLR in on the L3 is expecting a much larger signal? So I was curious of the L6 link between the HD500 and the DT affected the DT's speaker out? ie, does it disable it in that scenario? My HD patches are all mono -- single amp, not using any stereo effects that I know of.

I was experimenting with using an L3m as a monitor (we're slowly upgrading our PA to StageSource but that will take a while...) Note that I'm using the L3m (so no integrated mixer). I have an HD500 (with latest 2.2 firmware) connected to the DT50 via L6 link. The master volume on the HD500 was set to about 75%. I then tested the following scenarios - L6 Link from DT50 to L3m -- full signal strength available, no issues - DT50 speaker out XLR to XLR in on L3m -- no appreciable signal at all - HD500 1/4" out to DirectBox, XLR to XLR in on L3m -- signal, but pretty weak -- had to turn the volume up pretty high on L3m so definitely a gain mismatch somewhere - HD500 1/4" out to L3m 1/4" in -- decent signal, though for same volume position, seemed less than straight L6 Link Any thoughts? My goal is to work out a transition plan to use the L3m for my monitor, take a feed from the mixer to balance in the rest of the mix and to use the DT50 speaker out XLR to send to the board. But now I'm wondering if the XLR speaker out works at all when using L6 LInk to connect the HD500 to the DT50. Thoughts? Comments?

Thanks for the feedback. Our sub died so I think we're going to start with an L3S and the M20D. One last question -- the "m" vs "t" on the speakers -- if we'll truly never be using separate from the m20d, any reason to not buy just the "m" flavor speakers?

My band is looking at migrating from our current all analog mackie/crown mixing/amp 200# rolling rack setup to a stagescape system. Given the expense, we're looking at doing it in pieces. I've read all I can find and have now distilled the following questions: 1. I use an HD500/DT50 setup for my guitar. Right now we either take the XLR out from the HD500 or the speaker XLR from the DT50 to the board. I assume that would continue with the M20D? 2. If we start with just an M20D and then use the analog outs to drive our current amps/speakers, does the feedback suppression still work? i.e., does that run in the M20D, the Lxx speakers or both? 3. Any issues with then adding speakers connected via L6 LInk over time in the mixed mode configuration? i.e., start with subs, then add mains, then add monitors, so that we eventually leave the 200 pound rolling rack behind (or at least keep it a lot emptier -- with just the m20d in it)? Thanks for any thoughts or experiences along this line....