eklynx

I'm pretty sure you can daisy chain a few XDV-75's and have the G55 at the end and be good. As for antenna extension, the shorter the better; i'll leave the 'can it be done' to the people more experienced people, though.

I believe that requires side-chaining on the compressor, which the m20d doesn't do to my knowledge. (having the 'trigger' sound be a different input than the compressed sound)

Lots of manufacturer's make their equipment so they will work anywhere in the world, so it can take anywhere from 110-240V and you can use a standard IEC to local power cable without any transformers. Always look on the equipment though, as I do occasionally run in to some pieces of gear that can't.

I've had the harshness in three venues with three different boards, including the regular and compact editions. I agree on the UI; it's horrendous. I went with the Yamaha TF3 myself for my upgrade, though I'm keeping my m20d around for smaller gigs.

Ah, I get it now; I usually use a wired connection to a router so I don't see that page. Not not sure if that is a hard 16 character limit or not. One other thing to check, what wireless security method are you using (WEP / WPA1 / WPA2)? If it's WEP, you might be using a hex version of the key and the ASCII version might be the one needed (it's shorter in length).

wifi passwords are dependent on the router you're using, so I'd look in their manuals/boards, really doesn't have anything to do with the M20d.

I'll disagree with you on the Behringer pre-amps; they have a really harsh high end that I can't stand on cymbals and other high-frequency instruments. For the rest of it, though, I'll agree with a few minor opinions

I've used my X75 handheld going through a G50 receiver without issue. I don't think it can be done with the newer G70/75 receivers though (I think they use a different protocol).

I've used the G50 receiver with the X75 handheld and it works fine. As far as I know, though, the newer G70/G75 use a different transmission protocol so that can't be done until they change their vocal transmitters to use the same thing.

Also, when you say "minimize" the slap, what are you trying to achieve? If they actually want that slap sound in their playing, you as the sound guy aren't there to bury it; you are there to make it blend in with the rest of the music. Does the volume peak to loud? Does it sound too twangy? There are different things to do based off of what the issue is.

I've had no issues; the signal going to me is loud enough to where I don't need to boost it too much with what would be the mic pre's, and as far as I know the only difference between the signal chain is the mic pre's and the simpler DSP (not as many options for compression/eq/etc). I could be wrong, but it works well for me

Our KB player uses the Nord as well, I always give him a stereo DI (well, two identical mono DI's). But as I don't need much processing on him, I use XLR to balanced 1/4in and plug him in to 13/14. I occasionally run him direct with unbalanced 1/4in, but that sometimes adds a bit of noise to the line.

Yup, That's correct. Most you can do is try to match everything else in the mains too (use headphones). I personally prefer a pair of room mics to pick up the room noise as well and use that as a base to mix the multi-track recording over.

Well i'm at a loss then :/

which output are you using on the G90?

Without really understanding what "can't get vocal clarity" means, my initial guess is your signal to the IEM is too hot. Bring down the send to the monitor to see if that clears it up?

I'd try to unscrew the capsule, check the pushpins. I had a similar issue where i had to reseat the capsule once. It popped every time i'd mute/unmute the mic before it stopped working until reseat.

http://gallienkrueger.mivamerchant.net/manual/fusion-550-owners-manual/7/ switch #7. Granted it's for the direct out, but it's worth a shot.

Have you tried the ground lift switch on the back of the head?

I couldn't stand the Behringer mixers, the sound is too tinny/piercing and has noticeable digital artifacts for me. I just bought a Yamaha TF3 for the gigs I need more i/o capacity, but keeping my M20 for the smaller gigs.

As a FOH guy, i solo channels all the time, helps to point out what you're listening for in the main mix from each instrument.

Not at the same time, you need a separate receiver for each transmitter; each receiver can only listen and output to one transmitter at one time.

Headphone out only works as long as a channel isn't solo'ed. SO if your FoH guy (assuming you have one) needs to solo a channel, you'd hear the soloing.

i consistently run at least two IEMs out of the four (usually 3). Only things are usually the sends are pulled back a bit more than the floor monitors, as the send can clip the IEMs easily that I work with.

That happened to my V75 handheld this last christmas; It looks like the battery cover is also meant to be part of the strength, so if you have a cracked battery cover (the cylindrical that you screw on) you have a weakened structure and need to be extra careful (and replace the cover). When mine gave out it actually cracked the PCB with the battery contacts, so i had to replace that as well. Here's my link to my part numbers for a DIY replacement. http://line6.com/support/topic/12653-spare-parts-for-handheld/ I purchased all the parts through Full Compas