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Found 39 results

  1. I own an old ver 2.0 POD and am looking to buy a used fb4 footboard. There is no cable with it - is this just a standard rj45 cable, or is there a special Line 6 cable?
  2. Jonny_BGrove

    Hd Pro Cable Order/types

    I use POD hd Pro and i'm about to buy some new gear so i will be running > line 6 shortboard 2 > hd pro > rocktron velocity 300 > cab forgive my dumbness but what kind of cables are best for this and where would they go i.e. instrument and speaker cables also if i was to add a power conditioner how would i hook that up and again what type of cable. and last but not least if you use the live method above is it still better to keep hd pro on studio setting? cheers guys
  3. OliverVance

    Eliminador Para Pod Hd 400

    Hola, tengo un POD HD 400 y perdí el eliminador, o adaptador de corriente, he pensado, en contactar el distribuidor de mi país (México) y adquirir el original, por un precio elevado, y bastante lejos, o comprar alguno con las mismas características. Mi duda es: ¿Hay riesgo de que se queme el POD? ¿Qué recomendación me harían?
  4. I am currently using the 4 cable method with my M13 into a JVM 215C. I would like to introduce a external analog octo-fuzz pedal, an analog bit commander (synth thing) and a Jamman solo for sampling. I want to put the octo-fuzz and bit commander between the first and second bank, and the Jamman through the effects loop at the end of the chain. The reason I do not want to simply plug my guitar into the analog pedals and have them first in the chain is because I want to have the first bank for a wah, a compressor, and a pitch shift. (Pitch shift through front of amp or loop??) Any help on this matter would be greatly appreciated. Loving the M13!!
  5. edit: no one replied so I'd rather change the message so no one stumbles upon this thread looking for an answer to a similar problem. thanks for the help line 6 forums
  6. I've been pulling my hair out for the last few weeks because I thought the Effects Loop Return input jack of my amp was broken. When I have my HD500 set to Combo Power Amp mode and plug the L/Mono output into the effects return, it sounded just horrible.... very thin and distant. Hard to explain, but I tried everything... felt like I was playing through a 5W amp. Literally took my entire amp apart to look at the soldering on the jack ! So this morning, I had an epiphany that it might be due to the effects return input on the amp being stereo (meaning a TRS cable, instead of a regular instrument cable). I tried it and sweet baby Jesus it sounds 10,000x better !!! I'm posting this because I'm still not clear if my setup is correct or perhaps I've just arrived at the point of insanity, trying to get this thing working. Here is the setup that gave me horrible sound: HD500 L/Mono Output --> Instrument Cable --> Effects Loop Return Here is the setup that gives me fantastic sound: HD500 L Output --> (cable that merges two TS instrument cables into a single stereo TRS cable) ---> Effects Loop Return HD500 R Output --> I'm using a POD HD500 with a Randall RX100RG2 Combo Amp Please let me know if you have had similar experiences and if this approach is recommended. Thanks !
  7. Is it just me or do other people have trouble with microphonic noise from the powered cable when using the adapter and TRS jack cable to power the Variax? Whenever the cable moves I get a kind of crackly noise. It's not too much of a problem as I use the battery most of the time but the adapter is handy if I forget to recharge the battery. I thought at first I must have a faulty TRS cable so swapped it out for a decent Planet Waves one. But that was just the same. I think the adapter I use came originally with an earlier Variax but it works fine with my JTV-59 apart from the cable noise. Have I been unlucky and need to try another cable or is this always an issue with this set up? Thanks in advance....
  8. hello everybody. could anybody help me with pod xt headphones' out? i'd need to know 3 or more between the following: the tension/voltage (V), the current (A), the impedance (Ohm), the gain (dB) and the power (W) which the headphone signal comes out. i have to improve the headphones audio quality so must decide if to buy a little amplifier (Behringer Micromon MA400) or build a simple passive custom impedance adapter. thanx.
  9. Deutsch Français Please go through the following list before updating your James Tyler Variax guitar to flash memory v1.81 and newer from an earlier version of the flash memory to ensure the update completes successfully: Ensure that the interface you are using to update the JTV guitar with (Workbench Interface, PODxt Live/Pro, POD X3 Live/Pro, POD HD500/HD Pro, Vetta II) is NOTconnected to the computer through a USB hub. Make sure to connect the interface into a USB port directly into the computer, especially into the back of a desktop. If problems persist, make sure to test all of the USB ports on the computer. Avoid plugging into USB ports found on keyboards, monitors, or laptop docks. [*]When using the Workbench Interface to update or edit the JTV guitar, ensure that a charged battery is in the guitar and a 1/4" TS mono cable is inserted into the guitar's output jack to power on the guitar. [*]Ensure that the Volume knob on the guitar is NOT set to the '0' position as it will put the guitar into Power Save Mode. Make sure that the Volume knob is set higher than 0 when updating or editing the JTV guitar. [*]Please use the VDI Cable that comes with the JTV guitar when updating the flash memory. Avoid using VDI or CAT5 cables longer than 10 ft. in length when updating the James Tyler Variax. [*]During the update, select 'NO' when asked if you would like to keep the presets on the guitar. Use the Workbench software to back up your guitar presets before updating if you would like to keep them. [*]Close out any other applications running on your computer before updating the JTV guitar. Please use the following link for the flash memory update instructions: Variax Reflash and Software Update Instructions Checkliste für James Tyler Variax Updates: Stellen Sie sicher, dass die Schnittstelle, welche Sie zum aktualisieren Ihrer JTV benutzen (Workbench Interface, PODxt Live/Pro, POD X3 Live/Pro, POD HD500/HD Pro, Vetta II) nicht per USB Hub an Ihren Computer angeschlossen ist. Stecken Sie die Schnittstelle hinten direkt in einen der USB Ports Ihres Computers. Wenn weiterhin Probleme bestehen sollten Sie alle USB Ports ausprobieren. Achtung, vermeiden Sie es, die Schnittstelle in einen USB Port einer Tastatur, eines Monitors oder eines Laptop-Docks zu stecken. [*]Wenn Sie das Workbench Interface benutzen, um Ihre JTV zu bearbeiten oder aktualisieren, stellen Sie sicher, dass die Batterie vollgeladen und ein 6.35mm TS Mono Kabel im Gitarren Ausgangs-Jack eingesteckt ist, um die Gitarre anzuschalten. [*]Der "Volume" Knopf darf nicht auf der "0" Position sein, da die Gitarre ansonsten in den Energiesparmodus geht. Der "Volume" Knopf muss also auf einer anderen Position sein als "0" um die Aktualisierung durchzuführen. [*]Bitte benutzen Sie das VDI Kabel, welches bei der Gitarre mitgeliefert wurde wenn Sie Flash Memory aktualisieren möchten. Benutzen Sie möglichste keine CAT 5 oder VDI Kabel, die länger als 3 Meter sind wenn Sie die James Tyler Variax aktualisieren. [*]Während der Aktualisierung klicken Sie "NO" wenn Sie gefragt werden ob Sie die Presets behalten ("keep presets o nthe guitar") möchten. Sie sollten die Presets, die Sie behalten wollen vor dem Update per Workbench Software sichern. [*]Schließen Sie alle unnötigen Programme bevor Sie die JTV Gitarre aktualisieren. Bitte folgen Sie diesem Link, um Anweisungen zur Aktualisierung des Flash Memory zu erhalten: Variax Reflash and Software Update Instructions Liste de contrôle des mises à jour James Tyler Variax: Assurez-vous que l'interface pour connecter la guitare JTV à l'ordinateur (Workbench Interface, PODxt Live/Pro, POD X3 Live/Pro, POD HD500/HD Pro, Vetta II) n'est pas connectée à l'ordinateur via un hub USB. Connectez l'interface directement sur un port USB en arrière de l'ordinateur. Si vous avez des problèmes, essayez tous les ports USB de l'ordinateur. Évitez de brancher sur les ports USB sur les claviers, moniteurs ou stations d'accueil pour ordinateur portable. [*]Si vous utilisez l'interface Workbench pour mettre à jour la guitare, assurez-vous qu'une batterie chargée est dans la guitare et un câble TS mono 6.35m m est branché dans le jack de sortie de la guitare pour l'a llumer. [*]Le bouton "Volume" ne doit pas être sur la position "0" parce que ca met la guitare dans le mode économie d'énergie. Mettez-le sur une autre position que "0". [*]Veuillez utiliser le câble VDI fourni avec la guitare JTV si vous mettez le Flash Memory (firmware de la guitare) à jour. Évitez d'utiliser des câbles CAT5/VDI plus long que 3 mètres pour la mise à jour. [*]Pendant la mise à jour, cliquez sur "NO" pour la question "keep presets on the guitar". Utilisez le logiciel Workbench pour sauvegarder vos presets avant que vous mettez la firmware à jour si vous les voulez garder. [*]Fermez tous les autres programmes inutiles avant que vous mettez la JTV à jour. Utilisez le lien suivant pour les instructions de la mise à jour Flash Memory: Variax Reflash and Software Update Instructions
  10. Line6Tony

    Audio Cables 101

    Deutsch Francais Introduction This is a primer for using audio cables, how they work, and what the common cable types are. Below are a couple of books that are excellent reference materials that expand on the subject: Wire, Cable, and Fiber Optics for Video & Audio Engineers by Stephen H. Lampen (Aug 1, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) by Stephen H. Lampen (Jan 15, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 How an Audio Cable Works Audio cables work by sending electrical signals from one place to another. This is very similar to the way that electrical current flows from a power outlet in your house. However audio cables use much smaller voltages than a common 110 volt plug. Electricity 101 In order for electricity to flow between two points you need two things: a hot or positive wire and a neutral or negative wire. This completes a circuit and allows the electrical signal from your instrument to your amp, mixing console or computer interface. All standard audio cables use this basic electrical principle no matter what connector is attached to the end. This is what is happening when you plug your guitar into your amp with a "¼" guitar cable or when you connect your DVD player to your TV with an RCA plug, they both work exactly the same way. Balanced and Unbalanced Audio Cables I have noticed online that there seems to be a lot of confusion and long explanations about the difference between balanced and unbalanced audio cables. All most guitarists and recording enthusiasts need to know is the basic electrical difference between the two and what that means for them. I’m going to try to explain the difference in plain English as best I can. Unbalanced cables work exactly as I just described. In a guitar cable for instance there is positive wire or tip which connects to the tip of the connector at the end of the cable. And a neutral sleeve that wraps around the wire connected to the tip. The neutral or sleeve serves two purposes: To provide a neutral conductor so that electricity can flow and to shield the positive middle wire from outside interference. -Low impedance audio, or mic level would be 48-52 Ohms (3-pin XLR connectors, balanced lines). -Higher (but not high) impedance audio for mixers and other distributive audio equipment instrument level is around 1,000 [between 680 to 1,800] Ohms (1/4" phone connectors, TS-unbalanced and TRS-balance lines). -High impedance audio Mixers, other circuit applications, distribution amps and other distributive audio line level require 1,000 to 10,000 Ohms (RCA connectors, unbalanced lines). Q: So my guitar cables and pedals are unbalanced? A: YES, nearly all guitar equipment is. Q: Is that bad? A: Absolutely NOT. Unbalanced cables can be prone to outside electrical interference over long distances. Basically the longer the cable, the less effective the sleeve is going to be at shielding the cable from outside electrical interference. Fortunately most guitar cables and patch cables are relatively short so this is usually not an issue for most musicians. A good rule of thumb for any unbalanced cable is if it's over 10ft long and you are using it in a room or on a stage with a lot of other electrical equipment you could hear unwanted hum, buzz, or noise. Q: What does this mean for me? A.(1) Nobody likes to be tied to their amp but try to keep guitar and other unbalanced cables around 10ft or shorter for the least amount of noise and strongest signal. (15ft is usually ok, 25ft is pushing it.) A.(2) In recording situations it's ok to use unbalanced cables in most cases but if you want crystal clear audio try to keep them under 10ft. Also, watch out for unbalanced connections on the back of rack gear. Having an unbalanced connection near that much other gear could cause noise problems. Balanced Cables Balanced cables still rely on a hot conductor and a neutral conductor to carry electrical signals but they add another element to the equation: a ground. A ground is called a ground because well it literally goes into the ground! Straight through the cable, through your balanced audio gear, through the wall to the fuse box and down a wire or pipe into the Earth. In balanced audio cables the sleeve is used as the ground. The ground or sleeve does NOT carry a signal and is NOT heard in the audio. It's simply there to protect from unwanted noise while the hot and neutral carry the signal. Now for the magic: the hot and neutral both carry the same signal, noise and all. Hot is flowing in a positive direction, neutral in a negative direction. Balanced audio equipment simply outputs the voltage difference between the two wires. Since the noise is represented equally on both hot and neutral it is inverted and cancelled out. I know this might sound complicated but what it means for you is that you can have hundreds of feet of balanced cable and still have noise free audio. Q. What types of things use balanced audio cables? A. Microphones and recording equipment is, or should be, balanced in most cases. Q. If I use a balanced cable with my guitar can I balance the signal? A. No. The equipment you are using must have balanced connections as well. Q. Why are balanced cables so expensive? A. They are made with a process called twisted pairing which is more expensive to manufacture than unbalanced cables. Q. If I have the choice of using balanced or unbalanced cables which one should I use? A. In most cases if you are using balanced equipment you should use balanced cables. But if you get into a tight spot and need run something unbalanced it's ok as long as the cable length is short and you get no unwanted noise. How to tell the difference between balanced and unbalanced cables: The technical name for guitar cables is TS which stands for Tip (hot), Sleeve (Neutral). Studio ¼ cables are called TRS which stands for Tip (Hot) Ring (Neutral) Sleeve (Ground) TS Cables have one ring on the connector: TRS Cables have two. Any cable that has three prongs or legs like an XLR Cable is usually balanced. Some cables are made for odd routing situations and are three legged on one side and two pronged on the other. These are still unbalanced. Glossary of Cables: Unbalanced: TS 1/4": This is the standard ¼" cable seen on guitars and unbalanced recording equipment. TS 1/8" Mini: A TS or mono mini plug is most commonly seen as an adapter. RCA or Phono: RCA connections are seen primarily on entry level recording equipment. They are also found on consumer products like DVD players, turntables, and older television sets. Banana Plug: Banana plugs are mostly used for consumer audio speaker connections. Insert or Y Cable: An insert cable splits a stereo signal into two mono parts and is referred to as a Y-Cable because it is literally shaped like a Y. Balanced: XLR: XLR is the most common connection for microphones and is often referred to as a mic cable. TRS ¼": (Notice the two rings around the top of the connector.) TRS is a balanced ¼" cable that is used in studios and live sound reinforcement to minimize noise over long distances. TRS 1/8" Mini: The 1/8" mini plug connector is often used on headphones and other consumer sources like sound cards. Tiny Telephone or TT: The TT or Tiny Telephone is a balanced connection used for connections in professional patch bays. Digital Connections: Most digital connections use the same principles we have already discussed; they just use them in a different way. Digital cables are made to send pulses of current or light that can be decoded by a computer. It is VERY important to use the proper cable type with digital connections. Things like impedance or the amount of resistance present in the cable play an important role in how this information is sent. Just because a S/PDIF cable looks like an RCA Cable doesn't mean the RCA cable plugged into your DVD player can handle a S/PDIF connection. You might experience strange errors and digital distortion if you use a cable that is not properly rated. S/PDIF: S/PDIF or Sony/Phillips Digital Interface is by far the most common digital connection. It uses a 75 ohm unbalanced RCA phono connection. You can use standard RCA cables if they are rated at 75ohms. Optical or Light Pipe: Optical or Light Pipe is a discrete multichannel digital standard developed for the ADAT. It is most commonly seen on digital audio interfaces and preamps. You may also see optical ports on high end consumer devices as an audio connection. Optical cables use pulses of light to send information. They tend to be expensive and fragile so handle with care. AES/EBU: AES/EBU: is basically S/PDIFs big brother. AES uses the same protocol as S/PDIF but it can handle more information at once. AES/EBU uses a balanced connection with XLR on both sides. When using an XLR make sure it is Type 1 (referring to pin order) and rated at 110 ohms. BNC or Bayonet: BNC is an unbalanced connection that is used primarily in professional video as an alternative to RCA. On the audio side of things it is mainly used to carry word clock information. BNC comes in 50 and 75 Ohm varieties, most audio equipment uses 75 ohm. Multi-pin Connectors Multi-pin connectors are usually found on high end audio interfaces and consoles, they are used as a balanced multi channel connection that saves space on the back of a piece of gear. Each pin on the connector is a discrete channel that carries audio or digital information from one point to another. Most guitarists and home recording enthusiasts won't run into these connections too often because they are mainly used in recording or live sound equipment that is very expensive. D-Sub/DB25: D-Sub is a family of connectors used on computer devices and comes in multiple pin configurations. The most common D-Sub connection is the one found on the back of VGA computer monitors. It is not uncommon for companies to use D-Sub to carry audio on high end peripherals because the connectors are common and relatively inexpensive. Elco/Edac: Elco and Edac (which in many cases are interchangeable) are large multi pin connectors that can have as many 120 pins. They can be heavy and have an actuating screw that holds the male and female connectors in place. TDIF: A proprietary type of 25 pin D-Sub that was created by Tascam. It is found on a wide variety of professional recording equipment as an alternative to the ADAT standard. Audio Kabel für Beginner Einführung: Dies ist ein Leitfaden zur Nutzung von Audio Kabeln, wie diese funktionieren und welche die gebräuchlichsten Arten sind. Hierunter finden Sie zwei Bücher, die das Thema Audio Kabel exzellent behandeln: (Achtung, Englisch) Wire, Cable, and Fiber Optics for Video & Audio Engineers von Stephen H. Lampen (1 Aug, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) von Stephen H. Lampen (15 Jan, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 Die Funktionsweise eines Audiokabels: Audiokabel versenden ein elektrisches Signal von einem Punkt zum anderen. Dies ist dem normalen Stromfluss wie aus der Steckdose Zuhause sehr ähnlich. Audiokabel benutzen jedoch sehr viel kleinere Spannungen als die Normale 230 Volt Steckdosen-Spannung. Elektrizität: Damit Elektrizität zwischen zwei Punkten fließen kann, braucht es zwei Dinge, einmal eine positive Leitung und eine neutrale Leitung. Wenn man beide hat kann nun ein elektrischer Kreis entstehen, der ein Signal vom Instrument an Ihren Verstärker, Ihren Mixer oder den Computer weiterleitet. Alle standart Audiokabel benutzen dieses Grundprinzip der Elektrik egal welcher Anschluss an das Ende angeschlossen ist. Dies geschieht, wenn Sie z.B. Ihre Gitarre an Ihren Verstärker mit einem 6.35mm Kabel anschließen oder wenn Sie Ihren DVD Player anhand eines RCA Steckers mit Ihrem Fernseher verbinden. Beide funktionieren genau auf diese Weise. Symmetrische und asymmetrische Audiokabel: Im Netz entstehen oft Verwirrung und ewige Erklärungen was das Thema symmetrisch und asymmetrisch angeht. Alles was Gitaristen und Aufnahme-Enthusiasten kennen müssen ist der grundlegende Unterschied zwischen beiden und was das bedeutet. Asymmetrische Kabel funktionieren genu so, wie bisher beschrieben. Im Gittarenkabel (6.35mm – ¼") gibt es somit die positive Leitung, die Spitze und die neutrale Leitung, den Schaft, der sich um die Leitung legt, die an die Spitze angeschlossen ist. Das Neutrale dient hier zwei verschiedenen Zwecken: Erstens dient es als neutrale Leitung um einen Stromfluss erst möglich zu machen und zweitens schützt es die positive, mittlere Leitung vor außenliegenden Interferenzen. Audio niedriger Impedanz: Der Mikrofon-Pegel liegt zwischen 48 und 52 Ω (3 Pin XLR Stecker und symmetrische Verbindungen) Audio höherer Impedanz (aber nicht hoch), für Mixer und andere verteilende Audiogeräte. Der Instrument-Pegel ist hier ca. 1000 Ω (genauer: zwischen 680 und 1800 Ω). (6.35mm Telefonstecker, TS ("tip"= Spitze "sleeve"= Schaft) asymmetrisch und TRS ("tip"= Spitze "ring"= Ring "sleeve"= Schaft) symmetrisch) Audio hoher Impedanz für Mixer, Schaltkreise, verteilende Verstärker oder andere verteilende Audiogeräte. Line-Pegel benötigt 1000 bis 10000 Ω. Also sind meine Gitarren Kabel und Pedale asymmetrisch? Ja, fast jedes Gitarren Equipment ist asymetrisch. Ist das schlecht? Nein... Asymmetrische Kabel sind anfällig für Interferenzen von Außen über lange Distanzen. Im Grunde, desdo länger das Kabel, desdo weniger effektiv ist der Schaft im Schützen des Kabels vor elektrischen Interferenzen. Zum Glück sind die meisten Gitarren- und Patchkabel relativ kurz, was bedeutet, dass es hier meist kein Problem gibt. Als Faustregel gilt: Das asymmetrische Kabel sollte nicht länger sein als 3 Meter sein, wenn Sie es in einem Raum oder auf der Bühne benutzten mit viel elektrischem Material in der Nähe. Wenn es länger ist kann es sein, dass Unerwünschtes wie Brummen, Rauschen und Krach auftaucht. Was bedeutet das für mich? Niemand will an seinen Verstärker gebunden sein, trotzdem sollten Sie versuchen das asymetrische Kabel unter 3 Metern Länge zu halten um möglichst wenig Krach zu erhalten und ein starkes Signal zu haben. (4,5m ist meist noch ok und 7.5m ist grenzwertig) In Aufnahmesituationen ist es meist in Ordnung asymetrische Kabel zu benutzen, wenn Sie aber kristallklaren Ton haben wollen versuchen Sie die Länge der Kabel unter 3 Metern zu halten. Außerdem sollten Sie auf asymetrische Verbindungen auf der Rückseite des Racks achten. Wenn ein asymmetrisches Kabel in der Nähe von so viel Material ist kann ein Rauschen entstehen. Symmetrische Kabel: Symmetrische Kabel benutzen immer noch den positiven und negativen Leiter um das elektrische Signal zu tragen aber hier wird ein drittes Element hinzugefügt: Die Masse. Die Masse geht durch das Kabel, in Ihr symmetrisches Gerät, durch die Wand, den Sicherungskasten und in den Boden. Bei symmetrischen Kabeln dient der Schaft als Masse. Die Masse trägt KEIN Signal und kann nicht im Ton gehört werden. Die Masse dient einzig und allein der Abschirmung vor ungewollten Geräuschen während positiv und neutral das Signal transportieren. Welche Geräte benutzen symmetrische Audiokabel? Mikrofone und Aufnahmegerät sind, oder sollten, in den meisten Fällen symmetrisch sein. Wenn ich ein symmetrisches Kabel mit meiner Gitarre benutzen, kann ich das Signal symmetrisch machen? Nein, das Gerät muss auch immer symmetrisch sein. Warum sind symmetrische Kabel so teuer? Symmetrische Kabel werden mit einem speziellen Verfahren hergestellt, das "Twisted Pairing" oder auch "Aderverdrillung".Dieses Verfahren ist teurer als die normale Herstellung wie bei asymmetrischen Kabeln. Wenn ich die Wahl habe symmetrische oder asymmetrische Kabel zu benutzen, welche benutze ich dann? In den meisten Fällen sollten Sie bei symmetrischen Geräten auch symmetrische Kabel benutzen. Wenn Sie aber mal unbedingt ein asymmetrisches Kabel benutzen müssen, ist das in Ordnung sofern es nicht zu lang ist und Sie kein unerwünschtes Krachen bekommen. Wie kann ich ein symmetrisches von einem asymmetrischen Kabel unterscheiden? Der technische Name für Gitarrenkabel ist TS, was für Tip (= Spitze), das Positive und Sleeve (= Schaft), das Neutrale steht. 6.35mm (1/4") Studio Kabel werden TRS gennant, für Tip (= Spitze), das Positive; Ring, das Neutrale und Sleeve (= Schaft), die Masse. TS Kabel haben einen Ring auf dem Stecker. TRS Kabel haben zwei Ringe. Kabel, die drei Zinken oder Beine haben, wie ein XLR Kabel, sind meist symmetrisch. Manche Kabel werden für sehr spezielle Routing Situationen hergestellt und haben drei Beine an einem Stecker und zwei am anderen. Diese sind immer noch asymmetrisch. Glossar der Kabel: Asymmetrisch: TS 6.35mm (1/4"): Dies ist ein standart 6.35mm Kabel wie bei Gitarren und anderen asymmetrischen Aufnahmegeräten. TS 3.5mm (1/8") Mini: Solch ein TS oder Mono Mini Stecker wird meist als Adapter benutzt. RCA oder Phono: RCA Anschmüsse werden meist bei Einsteiger Aufnahmegeräten verbaut. Außerdem kann man diese auf Verbrauchergeräten finden wie DVD Playern, Turntables oder alten Fernsehgeräten. Bananenstecker: Banenenanschlüsse werden meist bei Lautsprechern für den Endkonsumenten verbaut. Y-, Insertkabel: Ein Insertkabel teilt ein Stereo Signal in zwei Mono Signale und werden Y-Kabel genannt, da es diese Form hat. Symmetrisch: XLR: XLR Kabel werden meist für Mikrofone benutzt und werden so auch oft Mikrofonkabel genannt. TRS 6.3mm (1/4"): Das TRS ist ein symmetrisches Kabel, welches in Studios und bei Liveauftritten verwendet wird um Krachen und Rauschen über lange Distanzen zu minimieren. TRS 3.5mm Mini: Der 3.5mm "Mini" Stecker wird meist bei Kopfhörern oder anderen Konsumentenprodukten verwendet, wie z.B. Soundkarten. Tiny Telephone oder TT: Der TT Stecker wird als symmetrische Kabel für professionelle Patch-Panel verwendet. Digitale Anschlüsse: Die meisten digitalen Anschlüsse verwenden die gleichen Prinzipien wie die, die wir bereits behandelt haben, verwenden diese aber auf eine andere Art. Digitale Kabel senden Strom- oder Lichtimpulse, die von einem Computer entschlüsselt werden können. Bei digitalen Anschlüssen ist es sehr wichtig das korrekte Kabel zu verwenden. Impedanz oder Resistenz spielen bei diesen Kabeln eine große Rolle bei der Datenübertragung. Nur weil ein S/PDIF Kabel wie ein RCA Kabel aussieht, bedeutet das nicht, dass das RCA Kabel, welches man in einen DVD Player einsteckt auch eine P/PDIF Verbindung handhaben kann. S/PDIF: S/PDIF oder Sony/Phillips Digital Interface ist bei Weitem der gebräuchlichste Anschluss. Es benutzt einen 75 Ω, asymmetrischen RCA Stecker. ADAT Lightpipe: ADAT Lightpipe ist ein Audio Protokoll, welches als digitaler multikanal Standart für ADAT entwickelt wurde. Am häufigsten findet man diesen Anschluss bei digitalen Audioschnittstellen und Vorverstärkern. Diese Lichtleitanschlüsse kann man manchmal auch auf hochwertigen Verbraucher-Geräten als Audioanschluss finden. Lichtwellenkabel benutzen Lichtimpulse um Informationen zu versenden. Oftmals sind diese Kabel eher teuer und zerbrechlich und müssen daher mit Sorgfalt behandelt werden. AES/EBU: AES/EBU ist eigentlich der große Brider des S/PDIF Anschlusses. AES benutzt das selbe Protokoll wie der S/PDIF Anschluss, kann aber viel mehr Informationen gleichzeitig transportieren. AES/EBU sind symmetrisch und haben auch dementsprechende symmetrische XLR Stecker an beiden Enden. Wenn Sie ein einfaches XLR Kabel benutzen wollen brachen Sie eines des Typen 1 (in Bezug auf die Stiftordnung) bei 110 Ω. BNC oder Bayonet: Das BNC ist ein asymmetrisches Kabel, welches vorwiegend bei professionellen Video Anwendungen als Alternative zu RCA verwendet wird. Was Audio angeht, wird es meist als Träger für Wordclock Informationen verwendet. BNC hat einmal eine 50 Ω und eine 75 Ω Variation, die meisten Audiogeräte verwenden aber die 75 Ω Variante. Mehrpolige Stecker: Mehrpolige Stecker, bzw. Multi-Pin Stecker sind meist auf High-End Audio Schnittstellen und Konsolen zu sehen. Sie werden als symmetrische Multikanal-Verbindung benutzt, die Platz auf der Rückseite des Gerätes spart. Jeder Pin ist ein separater Kanal, der ein Audio Signal oder digitale Informationen trägt. Die meisten Gitaristen und Aufnahmeenthusiasten werden nicht sehr oft auf diese Art Stecker stoßen, da diese meist bei sehr teurem Aufnahme- und Live-Sound-Geräten verwendet werden. D-Sub/DB25: Die D-Sub Steckerfamilie wird oft bei Computern benutzt und kommt in verschiedensten Pin-Konfigurationen. Der gebräuchlichste D-Sub ist der VGA Stecker, den man auf der Rückseite vieler Computer Monitore finden kann. Der D-Sub Stecker wird oftmals verwendet, da die Stecker sehr weit verbreitet und relativ billig herzustellen sind. Elco/Edac: Elco und Edac (die meist untereinander austauschbar sind), sind große Multi-Pin Stecker, die bis zu 120 Pins beinhalten. Sie können sehr schwer werden und haben eine Schraube zum Einrasten, die das männliche und weibliche Ende zusammenhält. TDIF: Der TDIF Stecker ist eine Art D-Sub, aber mit 25 Pins. Er wurde von Tascam entwickelt. Dieser Anschluss wird oft auf porfessionellen Aufnahmegeräten als Alternative zum ADAT Standart verwendet. Câbles audio pour les débutants Introduction: Ce document explique les différents câbles audio, comment ils fonctionnent et quels sont les câbles les plus populaires. Les livres ci-dessous sont des références excellentes concernant ce sujet: (Anglais) Wire, Cable, and Fiber Optics for Video & Audio Engineers de Stephen H. Lampen (Aug 1, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) de Stephen H. Lampen (Jan 15, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 Fonctionnement du câble audio: Les câbles audio fonctionnent en envoyant des signaux électriques d'un endroit à un autre. Ceci est très similaire à la façon dont le courant électrique dans votre maison circule. Mais les câbles audio utilisent des tensions beaucoup plus faibles que la prise 230 volt générale. Électricité: Afin d'électricité de circuler entre deux points, vous avez besoin de deux choses: Un fil positive et un fil neutre. Ceci achève un circuit et permet un signal électrique de votre instrument à votre ampli, table de mixage ou ordinateur. Tous les câbles audio standard utilisent ce principe de base en électricité n'importe quel connecteur est fixée à l'extrémité. Tous ca arrivent si vous connectez votre guitare à un ampli avec un câble 6.35mm ou si vous connectez un lecteur DVD avec une TV avec une prise RCA. Les deux travaillent de la même façon. Câbles audio symétriques et asymétriques Il y en a beaucoup de confusion et explications longues concernant les différences entre les câbles symétrique et asymétrique. La plupart des guitaristes et enthousiastes d'enregistrement doivent seulement savoir que la différence de base électrique et ce que ca veut dire. Les câbles asymétriques fonctionnent exactement comme décrit ci-dessus. Dans un câble guitare, par exemple, il y en a un fil positif, la "pointe" et un fil neutre, le "manchon". Le neutre sert à deux choses: Fournir un conducteur neutre pour que l'électricité peut circuler et de protéger le fil de milieu positif de toute interférence extérieure. Audio d'impédance basse, ou sur "niveau microphone". De 48 à 52 Ω. (connexion XLR à 3 broches, lignes symétriques) Audio d'impédance plus haute (mais pas haute) pour les tables de mixage ou autres équipement audio de distribution. Le "niveau instrument" est environ 1 000 Ω (entre 680 et 1 800). Connecteurs jack 6.35mm, lignes TS asymétrique (jack 2 points) et TRS symétrique (jack 3 points). Audio d'impédance haute pour les tables de mixage, amplificateurs de distribution et autre audio distributive. Le niveau de ligne a besoin de 1 000 à 10 000 Ω. (connecteurs RCA, lignes asymétrique) Donc, mes câbles de guitare et pédale sont asymétriques? Oui, presque tout le matériel de guitare est asymétrique. Est-ce que c'est mauvais? Non. Les câbles asymétriques peuvent être vulnérables pour les interférences électriques sur longues distances. En général, si le câble est plus long, le manchon sera moins efficace à protéger le câble des interférences électriques externes. Heureusement, la plupart des câbles de guitare et câbles de raccordement sont normalement courtes donc ce n'est généralement pas un problème pour la plupart des musiciens. Règle générale: Si le câble est plus long que 3 mètres, et vous l'utilisez avec beaucoup de matériel électrique dans une chambre ou sur une scène, vous pouvez entendre bruits, bourdonnements ou rumeurs indésirables. Qu'est-ce que ca veut dire pour moi? Personne n'aime être "lié" à l'ampli mais essayez de na pas utiliser des câbles plus long que 3 mètres pour le signal plus fort et stable. (4,5m est normalement ok mais 7,5m sera habituellement trop de distance.) Dans les situations d'enregistrement, c'est bien d'utiliser des câbles asymétriques dans la plupart des cas mais si vous voulez du son limpide, essayez d'avoir des câbles sous 3m. Faites attentions aux connexions asymétriques en arrière du rack. Si vous avez beaucoup d'autre matériel près d'une connexion asymétrique peut causer des problèmes de bruit. Câbles symétriques Les câbles symétriques toujours utilisent un positive et neutre pour générer un signal électrique mais ils ajoutent un troisième élément: la terre électrique. La terre est appelé terre parce que elle va via le câble et votre matériel symétrique dans le mur, la boîte à fusibles dans la terre. Pour les câbles symétriques, le manchon est utilisé comme terre. La terre n'a aucun signal et ne peut pas être entendu dans l'audio. La terre protège seulement des bruits indésirables. Maintenant, la magique: Le positif et le neutre transportent le même signal, tous le son et les bruits…. Le matériel symétrique uniquement sortie la différence de tension entre les deux. Car le bruit est représenté également sur les deux, il est inversé et annulé. Ca veut dire que vous pouvez avoir centaines de mètres de câble symétrique et toujours avoir du audio sans bruit. Quel matériel utilise des câbles audio symétriques? Microphones et matériel d'enregistrement sont, ou devraient être symétriques. Si j'utilise un câble symétrique avec ma guitare, est-ce que je peux faire le signal symétrique? Non, le matériel vous utilisez doit être symétrique également. Pourquoi est-ce que les câbles symétriques sont si chers? Ces câbles sont produits de façon "paire torsadée", ce procès est plus cher que la production normale du câble asymétrique. Si j'ai la possibilité d'utiliser des câbles symétriques ou asymétriques, lequel dois-je utiliser? Dans la plupart des cas, si vous utilisez du matériel symétrique, vous devez utiliser des câbles symétriques. Mais si vous devez une fois utiliser un câble asymétrique, c'est bon à condition que le câble soit court et vous ne recevez pas du bruit indésirable. Comment est-ce qu'on fait la différence entre les câbles symétriques et asymétriques? Le nom technique des câbles guitare sera TS: "Tip" (pointe: positive) et "Sleeve" (manchon: neutre) Câbles studio 6.35mm seront des câbles TRS: "Tip" (pointe: positive), "Ring" (anneau: neutre) et "Sleeve" (manchon: terre) Les câbles TS ont un anneau sur le connecteur. Les câbles TRS ont deux anneaux. Les câbles avec trois dents, comme un câble XLR sont habituellement symétriques. Certains câbles sont produits pour des situations de routage bizarres. Ils ont trois broches à un connecteur et deux broches sur l'autre. Ces câbles sont asymétriques. Glossaire des câbles: Asymétriques: TS 6.35mm: C'est le câble standard pour les guitares et pour le matériel asymétrique d'enregistrement. TS 3.5mm Mini: Ce connecteur Mono ou TS est le plus souvent considéré comme un adaptateur. RCA ou Phono: Les connecteurs RCA sont vus principalement sur ​​l'équipement d'enregistrement d'entrée de gamme. Ces connecteurs sont également sur les produits de consommateur, comme le lecteur DVD, les plaques tournantes ou plus vieux télévisions. Fiche banane: Les fiches banane sont principalement utilisées pour les connexions des haut-parleurs du consommateur. Câbles Y, Insert: Le câble Y divise le signal stéréo dans deux parties mono. Symétriques: XLR: Le câble XLR est le câble la plus fréquente pour les microphones et est souvent désigné comme un "câble micro". Câble TRS 6.35mm: (Remarquez les deux anneaux autour de la partie supérieure du connecteur.) TRS est un câble 6.35 symétrique utilisé dans les studios et live pour minimiser les bruits sur longues distances. TRS 3.5mm Mini: Ce connecteur est souvent utilisé pour les écouteurs et autres appareils du consommateur comme les cartes de son. Tiny Telephone ou TT: Ce câble est une connexion symétrique pour les patchs professionnels. Connexions digitales: La plupart de connexions digitales utilisent les mêmes fonctions de base que nous avons déjà discutés; ces connexions seulement les utilisent dans une autre manière. Les câbles digitaux envoient des impulsions de courant ou lumière. Ce signal peut-être décodé de l'ordinateur. C'est très important d'utiliser le câble approprié pour les connexions digitales. L'impédance ou résistance jouent un rôle très important dans la façon dont cette information est envoyée. Juste parce qu'un câble S/PDIF ressemble à un câble RCA ne veut pas dire que le câble RCA peut traiter une connexion S/PDIF. Vous pourriez rencontrer des erreurs bizarres et de la distorsion numérique si vous utilisez un câble qui n'est pas correctement évalué. S/PDIF: S/PDIF ou Sony/Phillips Digital Interface est le câble le plus commun pour les connexions digitales. Ce câble utilise une connexion RCA Phono de 75 Ω. Câbles ADAT Lightpipe: ADAT Lightpipe est une norme digitale développé pour ADAT. Ils sont vu plus communs sur les interfaces audio digitales et sur préamplificateurs. Parfois, vous le pouvez trouver sur des appareils haut de gamme des consommateurs comme connexion audio. Ces câbles utilisent des impulsions de lumière pour envoyer des informations. Ces câbles ont tendance à être cher et fragile, donc: Manipuler avec précaution. AES/EBU: Câbles AES/EBU utilisent le même protocole comme le câble S/PDIF mais sais transporter plus d'informations en même temps. AES/EBU a des connecteurs symétriques XLR. Si vous voulez utiliser un câble XLR, veuillez vous assurer que c'est un Type 1 à 110 Ω. BNC ou Bayonet: BNC est une connexion asymétrique utilisée principalement en vidéo professionnel comme alternative pour RCA. Pour audio, ce câble est habituellement utilisé pour transporter des informations Wordclock. BNC est 50 Ω ou 75 Ω mais la plupart du matériel audio utilise la version 75 Ω. Connecteurs multibroches: Connecteurs multibroches se trouvent généralement sur les interfaces audio haut de gamme et sur consoles, ils sont utilisés come connexion multicanal symétrique qui économise de l'espace sur le dos d'une pièce d'équipement. Chaque broche est un canal séparé qui transporte des informations audio ou numérique d'un point à un autre. La plupart des guitaristes et enthousiastes d'enregistrement ne trouvent ces connexions très souvent. Ces connexions sont principalement utilisées dans les équipements d'enregistrement ou de son live qui est très cher. D-Sub/DB25: D-Sub est une famille des connecteurs utilisés pour les ordinateurs et est disponible dans multiples configurations des broches. La connexion la plus fréquent est laquelle trouvé sur le dos des moniteurs VGA. Ces connecteurs sont très répandu pour transporter des signaux audio parce qu'ils sont commun est bon marché. Elco/Edac: Elco et Edac sont des connecteurs multibroches larges qui peuvent avoir jusqu'à 120 broches. Ces connecteurs peuvent être très lourds et ont une vis pour attaché mâle et femelle. TDIF: Un type de D-Sub 25 broches qui ont été créé par Tascam. Ce connecteur se trouve sur une grande variété de matériel d'enregistrement professionnel en tant qu'alternative à la norme ADAT.
  11. Q: Can I connect my POD/2.0/XT/X3/Live to the front (instrument input) of my amplifier? A: Yes.You will want to create as clean a sound as possible on your amplifier. You will want to make the combo amplifier's EQ as "flat" as possible by turning the treble and bass controls to zero and maxing out the mid control. You should also set POD's output to 9 or 10 o'clock to avoid overdriving the instrument input of the amplifier and have no effects active. You will want to experiment with the output level on the POD to create a sound that works for your situation. Below is the routing for this set up: Guitar > POD unit > Amplifier instrument input. This works but you will be stacking two pre amps in series (the POD unit acts as a preamp). Make sure you also adjust the OUTPUT Mode on the POD unit for optimal tone, many end users prefer "Combo/Stack FRONT" Q: Can I bypass the preamp section of my amp to avoid stacking two preamps? A: Yes, There are two ways this can be accomplished. 1) If your amplifier has a CD/MP3 input you can go directly in the this jack from the POD output (This is a common method with the Line 6 Spider Series amplifiers). Be aware you may need to "trick" your amplifier input by using a 1/4" "dummy" plug in the instrument input to allow signal to pass to the speaker (headphone adaptors often work well for this purpose). Guitar > POD unit > Amplifier CD/MP3 input with 1/4" "dummy" plug in the instrument input 2) If your amplifier has an effects loop (i.e. the Line 6 Spider Valve or Flextone) you can use your POD unit as the main Pre amp and distortion generator, using only the power amp section of your amplifier by plugging into the "effects return" or "power amp input". If the amplifier has a "power amp in", the POD output will most likely control the output volume. If the amplifier has "effect loop return" the amplifier master volume will most likely control the output volume. Below is the routing for this: Guitar-> POD In - POD Out -> Amp FX Return. Make sure you also adjust the OUTPUT Mode on the POD unit for optimal tone Combo or Stack PWRAMP when applicable. Q: Can I run my POD/X3/xt/Pro/Live/Floor in an effect loop of an amplifier to use just the effects rather than the amp modeling? A: Yes, it is possible to to run a POD as an effect unit in the effect loop of an amplifier. You may want to turn off the amp modeling or use as clean a sound as possible to avoid stacking preamps. You may also need to lower the “line level” signal of the amplifier's effect send output to "instrument level" to avoid potential damage to the input of your POD. Some POD units will have a pad switch that will accomplish this function. If your POD unit does not have an input pad switch, a device such as the Ebtech Line Level Shifter can be used to lower the line level if necessary. Below is the routing for this: Guitar > Amp In / Amp FX Send> POD IN - POD Out > Amp FX Return. With this routing, you would have to bypass the amp modeling on the POD unit and use it for FX only, using your amp's own preamp section. Q: Can I connect my POD to two amps for a stereo configuration? A: Yes. Connect the left output of the Pod to the input of one amp and the right output of the Pod to another amp. It would be best if you could connect your Pod to the amps using the effects loop of the amp if you have one since it will bypass the pre amp of your amplifier. Q: What is the Four cable method? (POD X3 Live and Pro Only) A: The “Four Cable” method (4CM) can be used for any effect unit that has an effects loop when connecting to an amplifier that has an effects loop (i.e. the POD X3 Live). This cabling method allows the end-user to place filters and overdrive units before the preamp section of the amplifier, and modulation and delay effects after the effect loop in the effect unit. This way the amplifier will provide the tones and the Line 6 device will provide the effects (pre and post). Be sure to enable the effects loop, and experiment with Pre-post effect to decide which method works best for you. Instrument > X3Live guitar in X3Live effect loop send > instrument input of amplifier Amplifier effect loop send > X3Live effect loop return X3 line output > Amplifier effect loop return. Q: Can I run the two tones separately, such as one tone for "pre" amp sounds and the other for "post" (i.e. effect loop) sounds? A: An “alternate” method of the Four Cable method is to completely separate the front of the amp effects (i.e. filters and overdrives) into Tone 1, and the time based effects (chorus, delay, reverb) in Tone 2. The tones will need to be panned hard left (1) and hard right (2) in the outputs section (any blending of the tones may result in feedback). Be aware that you will need to have both tones active to get sound, and you need to set up the inputs as follows: Tone 1: Guitar, Tone 2: Aux. Feel free to experiment with the "amp settings" to determine which setting works best for your setup.The connection wiring is: Instrument > X3Live guitar in X3Live Live (left) output > amplifier input Amplifier FX loop send > X3Live Aux input X3Live (right) output > Amplifier FX loop return The Four Cable Method Tutorial Video by Harmony Central! Video is listed alphabetically under "Multi-Effects".
  12. Q: What is the XPS Unit? A: The XPS unit is the power supply that powers the Variax instrument via 1/4" TRS cable. The Line 6 XPS box must be powered by a Line 6 PX-2 power supply for correct operation. There are three variations of the XPS: XPS-AB: This units acts as both a Variax power supply and has an A/B footswitch to send the guitar output to either a 1/4" or XLR output. Use a standard XLR (microphone) cable to connect the XPS-AB’s XLR output to feed any balanced input. Use a TRS (Tip-Ring-Sleeve/Stereo) cable to connect your Variax to the INPUT jack of the XPS-AB, a standard mono instrument cable to connect the 1/4" output of the XPS to any standard amp rig. XPS-Mini: This unit ships with the Variax 300 series, and has an 1/4" input and output. XPS-DI: This unit shipped with the Variax Bass Instruments and had an line/mic level switch, as well as an XLR ground lift option. The XPS-DI uses a standard XLR (microphone) cable to connect the XPS-DI output to feed any balanced input. Use a TRS (Tip-Ring-Sleeve/Stereo) cable to connect your Variax to the INPUT jack of the XPS-DI, and a standard mono instrument cable to connect the 1/4" output of the XPS-DI to any standard amp rig. Note: This unit is no longer available as the Variax bass has been discontinued. Usage F.A.Q.s Q: Can I use the XPS-AB as a replacement for my XPS-DI? A: Yes, the XPS-AB is the direct replacement for the XPS-DI. Q: Can I use the XPS-mini if I do not have access to the XPS-AB box? A: Yes, the XPS-Mini can be used in place of the XPS-AB box. Be aware that the XPS-mini is the only supported power supply for the Variax 300 series instrument, due to a slight increase in the power requirements for the 300 series. Q: Will the XPS-DI recharge batteries in Variax Instruments? A: No. Q: What type of cable do I need to use to connect the XPS unit to my Variax Instrument? A: You will need to use the supplied 1/4" TRS cable (or equivalent) to connect your XPS box to your Variax instrument to deliver power. Any mono 1/4" cable will work if you are using the internal batteries for power, but the power will be drawn from the batteries rather than from the cable. Q: Can I use the XLR and 1/4" outputs simultaneously? A: No the XLR and 1/4" outputs can only be used separately. Q: Does the Footswitch provide phantom power to another device? A: No, the A/B footswitch for your Variax will not provide phantom power. Q: Can I plug my regular electric instrument into the XPS box? A: Yes, if using a standard mono guitar cable, you can plug your regular electric instrument into the XPS box without damaging your guitar. We do not advise the use of a TRS cable with anything but a Variax because of the power it carries back to the guitar from the XPS box. Also, we do not recommend using an XPS box with active guitars. The combination of voltage potentially feeding back into the guitar, and how the guitar is wired, which can vary, can potentially damage the guitar and/or the XPS box. Q: What is the length of the Variax digital cable? A: The Variax digital cable is 25 feet long. Troubleshooting F.A.Q.s Q: There is no audio signal and I am only seeing a "red" power light on the XPS A/B (DI) when connected to the Variax guitar using a TRS cable? A: If the XPS-AB/DI has the proper power connected (and is connected to the Variax) and is showing a "red" power light, this means that the XPS is not recognizing the Variax and not sending power. If a different TRS 1/4" cable does not resolve the problem, try a different XPS box to see if there is a problem with the XPS box. If a different 1/4" cable and XPS box does not solve the problem, the Variax may have an internal failure that will need to be resolved by an authorized service center. Q: I am getting a "popping" sound when changing between the XLR and 1/4" outputs when connecting to a PA system? A: This situation can happen when the mixer has phantom power applied to the channel that the XPS input. One solution is to turn off the phantom power on that channel, another solution is to put another DI between the XPS and sound board. Some end users with switch to using the different (compatible) Line 6 device. Q: My XPS Box is damaged/lost. How can I get a replacement? A: The XPS box can be special ordered from your favorite Line 6 dealer: Line 6 Dealer Locator
  13. Parts Q: My X2 cable is lost/damaged. Where can I purchase a replacement? Line 6 Store: X2 Replacement Cable Q: I lost/broke an antenna on my X2 wireless receiver. How can I get a replacement? A:The X2 series uses a 900 mhz, ½ wave-BNC antenna. These antenna can be purchased from numerous audio-video or musical instrument retailers. Q: Why is my signal occasionally cutting out? A: Please check to see that your locking cable connector is screwed in tightly to the input jack on the transmitter. If not, this can cause your unit to either not get audio at all or cause the signal to cut in and out. Please see our updated manual on this website for a detailed diagram of the proper connection process. Troubleshooting The XDR4 rackmount receiver has an “RF” LED indicator on the front panel. With all transmitters powered “OFF”, scroll through the 5 channels on the receiver while viewing the “RF” LED. If this LED remains dark, then you can conclude that there is no undesired RF at your current location. If it lights RED, then there is RF on that channel. This typically does not lead to the conclusion that you cannot operate on that channel. It does indicate that there is RF present and that the range might be limited on that channel. “Drop outs” are often the cause of a bad audio connection. This can happen when the input jack is not fastened securely or when the input cable has broken down at the connector. You can visually confirm a solid “digital link” even without an audio input by powering on only one transmitter and receiver and monitor the 4 green “RECEIVER” LEDs on the XDR4 rackmount receiver. As long as one single green LED stays lit, then you have a solid link. I would confidently say that the system is working well if all 4 LEDs stay lit no matter where you go out to at least 100’ with little or no “dancing”. When they start to consistently dance you are approaching the outer edge of the operating range. This test is best performed with two people. Q: Power is on but no signal or there is an intermittent signal with sound cutting out with the XDS95, XDR95 or XDSPlus transmitter A: How far away from each other are the transmitter and receiver? You may simply just need to return to operational range. If the issue persists, you will need to replace the XC1 cable. Q: Power is on but no signal is getting to XDR95, XDS95, or XDSPlus Receiver. A: Remember to set the receiver to the correct mode and to set both the transmitter and receiver to the same channel. If you continue to have issues, replace the XC1 cable. Q: My XDS95 receiver / transmitter shuts down shortly after powering up A: If you are using batteries, try using a new set of batteries. If you are using rechargeable batteries, try a fresh set of alkaline batteries. If these issues persist, the XDS95 needs to be serviced. Q: My transmitter suddenly started producing a distorted broken up signal A: Replacing the XC1 cable would be the first thing to try, but if that does not fix the issue, the transmitter must be serviced for repair. Q: I have a buzzing noise on all channels of my receiver. A: First, make sure that the receiver is getting the proper amount of power from a compatible power supply, especially if the power is being shared with other devices. If you have active electronics on your guitar, make sure that the batteries in the guitar are fresh and power the guitar. If not, replace the batteries. Check your guitar jack to see if it is loose or shorting out and fix the jack as needed. Lastly, please remove/turn off any sources of magnetism (such as a computer monitor) that is close to the transmitter as this could be producing the noise in the signal. Q: I can only go 25 to 30 ft with my XDS95 before it drops out? A: If there is another transmitter on and set to the same channel nearby, then you would need to change the channel on the second transmitter. If there is another source of RF between your transmitter and the receiver, then you would need to move the source of RF. As a last resort, you can open up the back of your receiver and you should see 2 thick black wires soldered onto the antennas. If these wires are not soldered properly, the receiver needs to be serviced for repair. The following is a list of symptoms in which your Digital Wireless device must be serviced for repair: Symptom: I hear a "click" every once in a while when my XDS95 system is on but I am not playing? Symptom: One of the green receiving section lights does not come on even when the XDR95 transmitter is right next to the receiver. Symptom: When I power up my unit, all the lights stay on (Red or Blue) and then I cannot turn the unit off. Symptom: My XDT1/XDT4 transmitter burns up a fresh battery in 1 hour. Symptom: My XDS95 receiver does not power up with a 9v battery but it will power up on a power cord adapter. Symptom: My X2 transmitter does not power up with a 9v battery.
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