dboomer

You would need to have a LOT of DSP power available from your computer. There are a pair of large Sharc processors inside the mixer. The point of moving the raw files over to a DAW to mixdown is that you probably don't what your 2tk live mix as if it sounded good when performed then all the sound from the backline was heard by your audience that will not be available to the listeners of your recording.

When using the VooDoo Labs unit you must use the "current doubling" cable on the 5&6 outs. Make certain you have the proper cable as the "voltage doubling" cable looks identical but is not the right piece. Of course a quicker check could be made by using the factory supply to test with.

Just to be technically correct ... "distortion" does not damage speakers, power levels do. That's why I pointed out that limiters are only effective in speaker protection IF they are calibrated to the speaker's power handling capabiilities and the amplifier's drive levels. So if speaker protection is your goal you must complete the calibration (which happens automatically using L6 link)

Using a limiter on outputs is always a good idea. If you connect via L6 link then all the settings will be set automatically. If you use the analog outputs the limiter's value will only be realized if you calibrate your external system to the mixer (same as with anything other than M20d/L6). I find single band compressors generally not a good idea on outputs as they affect the sound quality too much for my tastes. The presets that incorporate multi-band compression are great to use if you need more output level than the system is normally capable of. It doesn't affect the overall quality of the sound but can dramatically raise the "average" level. And of course increasing average level could cause feedback issues depending on everything else.

Remember that transferring your stored "backup" will overwrite another user's settings so be sure to save those first in case you want to restore them.

You do know that there are presets that can be assigned?

It is line level and meant to drive an amplified speaker. It will not drive a passive speaker.

No ... it is active if you turn it on but not recommended.

The exact shape of the filters will vary a bit from brand to brand but they are generally a parabola. They do not "stop" at the next center frequency position but rather they overlap, combine and become wider. While the mic is always part of the feedback loop any/every speaker that is on is also a part. It generally works better in practice in most situations to do the correction at the mic (assuming the speakers have already been somewhat smoothed)

"The advantage of 1/3 oct GEQ over 6 band parametric, especially when using on stage monitors, is being able to notch out a narrow (1/3oct) frequency when feedback is a problem." 1/3rd octave GEQs are called that because their spacing is a third of an octave apart. But their filters are almost an octave wide so I would not consider them to be narrow. So when you use one to notch feedback you are likely taking out a big chunk of usuable information from your signal. Feedback OTOH always starts out as a single frequency sine wave. If you typically use more than 6 notches to tame feedback you likely have some other issues that need to be solved before using EQs.

Because the mute button is mechanical it cannot be put on the iPad app. And it has to be mechanical as if there were a software malfunction it wouldn't work ... right? While it would be possible for the RTA to show up on iPad don't expect it as you have to move a lot of data and the iPad frame rate would get so slow you'd hate it. There's not much you cannot do with a 6 band PEQ that a 1/3 oct GEQ can do. You just ned to think about it a bit differently. When you move a couple of sliders that are next to one another they really stop being single filters and combine to become a bigger one (same as the parametric). The Mixer just acts as the controller for the GEQ in the speakers as the electronics are actually in the speaker's DSP. There's just no more room inside the mixer itself.

You can also use it the other way around and have it boost an instrument or vocal at some frequency when that channels signal drops too low. Actually you can do both :) But don't feel like you have to use it. No doubt many don't know how to use it because it doesn't exist on very mixers at any price point and a little bit goes a very long way.

20mm

If it has a 15A plug on it it will also be required to have a 15A breaker in it. A 20A plug has one blade turned sideways and are not common. You would probably do better using a quad box and not the power strip. Most modern gear has regulated power supplies and doesn't benefit from external conditioning. Even though the quad box will be rated for 15A there is no breaker in it so you will pick up extra current capacity when running sound equipment if it is plugged into a 20A wall breaker typical at commercial buildings. Something like this ... http://www.markertek.com/Cables/Power-Extension-Cables/TecNec/SSPC-25.xhtml

Let me see if I can answer a few questions here ... Amplifiers never develop their full continuous power when playing music. It depends on the material (live being the least demanding and recorded being the most) but typically music will only drive an amp to about 1/8th of it's continuous rating. It will however drive it to it's full peak rating so the peak rating is really a better indicator of amplifier sound quality in my book. Because of this UL has manufacturers list the power needed for an amp while it is producing 1/8th power. This is the wattage requirement you see printed on gear. Sometimes subs running highly compressed music (EDM) run closer to about 1/3rd power. It just depends what the material is and how loud you are driving the system. So as a general rule you should be fine running 4 or 5 Line 6 speakers from a single breaker. Lets talk about wall sockets. Typically the standard Edison wall socket (USA) is a 15a socket (garden variety wall socket). In your house it is usually attached to a 15A breaker, but in a commercial building (club, hotel, etc) it is probably connected to a 20A breaker. Always having more available than you need is desired. If you use a typical power strip it will have a 15a breaker in it, which is required by UL. So by using these strips you will never get any additional advantage if you plug into a 20a breaker because you will first be limited by the breaker in the strip. I recommend using "quad boxes" as they do not have local breakers in them so you will likely get the benefit from a bigger breaker.

All Line 6 wireless systems are unity gain so the output voltage is the same as the voltage of whatever you stick in the input. As long as you don't exceed the input limit of 6v p-p you will not need to make any special arrangements. Line level from XLR jacks can exceed this (depending on where you set your controls). Outputs from 1/4" unbalanced jacks, RCA's or 1/8" jacks is usually low enough to not exceed the limit. I would also expect output directly from a laptop to be acceptable. But you will need to check the specs for your mixer/laptop and make certain. The inputs to all Line 6 wireless systems is unbalanced and when using 1/4" plugs you MUST use unbalanced TS style (mono) plugs as the ring connection is for "bias" voltage to power microphones.

Why not just run from the mixer to the transmitter omitting the DI?

Please confirm that you have indeed switched the transmitters to run inRF1 mode

That sounds like you have latching switches. Can you measure them?

Battery level rarely makes any difference to signal quality. Remember we are only sending ones and zeros so whether they are full strength or nor they are still only ones and zeros

The possibility of a hardware failure is always present but there's no way to know with the limited info presented. I would test the Relay by passing recorded music into the transmitter and plugging the receiver into a PA system ( not a guitar amp since guitar amps are built to add coloration to the signal) Let us know what happens

When you install the new firmware the units default to RF2 mode. When in RF2 mode you MUST scan for open channels (which are probably few in a hotel situation). Switch them back to RF1 mode and they should work better in your situation. The systems do "lock" to the transmitters, but that means that they do not respond to interference by producing any audio artifacts. Enough interference will cause them to lose range which could also be the problem. If that is your case then you will need to switch to directional antennas.

First thanks for the photo. We worked for over 4 years to develop and build this system and seeing it in action makes us feel great for it. By the look of your drum set ... are you in Canada? Anyway, coupling usually happens below about 100 Hz or so because the wavelengths are such that stacking cabs together gives you something like "drafting" in auto racing. In this case you can end up with 6 dB more output for free Some users stack their subs together in the center and put the top boxes on tripod stands. I didn't know how you were setup so I just left it open to the possibility

What impedance are you driving from it?

Thanks for the complement. I just want to point out something because it sometimes gets overlooked. There is lots of great gear out there in the world. But if you don't have the time or a pro soundman to dial it in on a professional level, you'll not get the performance you paid for. The biggest feature of StageScape is its ability to consistently get you great mixes night after night with very little effort. It just works so you can go make music.