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Get the New V75-40V Microphone with Earthworks Capsule for Your XD-V75 Digital Wireless System What is it? The V75-40V combines industry-leading Line 6® digital wireless technology with the renowned Earthworks® WL40V premium hyper-cardioid capsule, delivering stunning performance and unmatched sound quality. Premium Sound Quality The Line 6 XD-V system is the only wireless platform that can transmit the stunning sound of the celebrated Earthworks WL40V capsule. The result is the world's most inspiring vocal wireless microphone, providing exceptional clarity, precise response and unmatched sound quality. Earthworks WL40V Capsule Designed to deliver studio-quality performance to the wireless world, the premium hand-tuned and tested capsule from Earthworks deliver features lightning-fast impulse response, high SPL handling and a wide frequency range. The textbook-perfect hyper-cardioid polar pattern provides exceptional clarity and detail. Your vocals have never sounded this amazing. Does the V75-40V have microphone modeling like other Line 6 microphones? No, the V75-40V does not have any microphone modeling on it. When using a Line 6 handheld microphone with the Earthworks WL40V capsule attached, the mic modeling will display "OFF" on the modeling page of the microphone's user interface. Can I use a V75-40V Earthworks capsule on other Line 6 handheld microphones? Yes, the Earthworks WL40V capsule is interchangeable to use on other Line 6 handheld microphones, provided the handheld microphone being used has been updated to firmware version 2.10. Firmware version 2.10 is required for Line 6 handheld microphones to utilize the Earthworks WL40V capsule. Is the V75-40V part of a Line 6 wireless system? The V75-40V with Earthworks WL40V capsule is sold as a separate component from other Line 6 wireless systems. The V75-40V does NOT come with a receiver or power supply to power the receiver. Any customer without a Line 6 wireless system will need these components when purchasing a V75-40V. 24-bit Performance Featuring 24-bit precision, 10Hz–20kHz full frequency response, and wide dynamic range, our digital wireless system transmits the stunning sound of the WL40V with total transparency and accuracy. Clear Visual Status The clear LCD screen provides essential system info at a glance. Select channels and check your battery level—instantly. Tour-Tough Construction With a durable metal body and custom hard-shell touring case, V75-40V is ready for the rigors of the road. How do I get it? Visit your local Line 6 retailer today to check out V75-40V. V75-40V combines industry-leading Line 6® digital wireless technology with the renowned Earthworks® WL40V premium hyper-cardioid capsule—delivering performance previously found only in the highest quality wired studio mics. Features include: Premium Earthworks WL40V capsule Textbook-perfect hyper-cardioid polar pattern for exceptional clarity and detail Crystal-clear, compander-free, 24-bit precision The widest dynamic range of any digital wireless transmitter—118dB Rugged, tour-tough metal body Includes custom hard-shell touring case with soft inner padding Up to 14 channels for maximum flexibility 10Hz–20kHz frequency response Backlit LCD display for fast and easy operation 8 hours battery life with 2 AA batteries Lockout switch to prevent changes during performance Transmitter Naming for identifying transmitters in a multi-system application Compatible with XD-V75, XD-V55, and XD-V35 receivers running v2.0 firmware or later Part number: 98-033-0057

Deutsch Français With the release of Apple's iOS 7, Apple added a new privacy feature that can disable audio input from our mobile interfaces. The problem occurs the first time you launch the app under iOS7 and above, if you do not allow iOS along with the particular app you are using to have access to the 'Microphone', than you will temporarily not be able to receive input from mobile interfaces. The solution is to make sure that you press 'OK' when you see this prompt, but this prompt only appears the first time you launch the app. If you did not press 'OK' on this prompt and are not able to receive input from your Line 6 Mobile Interface, than you will need to do the following steps: Tap your iOS settings button. Tap the tab for 'Privacy' located on the left hand side of the screen. Than tap the option for 'Microphone' on the right. You will than see a list of apps that have requested access to the 'Microphone'. Simply tap the switch next to each that you would like to use the Line 6 Mobile Interface with. Relaunch all of the apps that you would like to use your Line 6 Mobile Interface with. Avec la publication d’Apple iOS7, Apple a ajouté une nouvelle fonction de confidentialité qui peut désactiver tous l’audio qui vient des Sonic Port et Mobile In. Ce problème se produit la première fois que vous lancez l’application sous iOS7 et si vous ne permettez l’accès au Microphone, vous ne pouvez pas recevoir du audio avec nos interfaces portables. La solution est simple, appuyez le bouton OK si votre appareil vous donne le choix. Attention, cette invite apparaît une seule fois. Si vous n’avez pas appuyez OK et vous n’avez pas d’entrée avec l’application, suivez ces instructions : Tapez le bouton « Réglages » sur l’appareil iOS. Tapez sur Confidentialité à gauche. Tapez sur Micro à droite. Maintenant, vous pouvez voir une liste des applications qui ont demandés de l’accès au micro. Tapez le commutateur à droite de l’entrée de votre application. Relancez tous les applications que vous voulez utiliser avec l’interface Line6. Seit der Version 7 von iOS, hat Apple eine neue Datenschutzfunktion eingeführt, die den Audioeingang des Gerätes mit einem Mobile In oder auch Sonic Port blockieren kann. Das Problem taucht beim ersten Start der App auf, nach dem Update auf iOS Version 7. Sollten Sie der App hier nicht den Zugriff auf das Mikrofon gewähren, wird dieses für die App in Frage temporär abgeschaltet. Klicken Sie also auf OK wenn Sie die App zum ersten Mal starten, um das Mikrofon freizugeben. Sollten Sie nicht OK gedrückt haben können Sie das Mikrofon aber immernoch in den Einstellungen freigeben: Drücken Sie auf Einstellungen, Dann auf Datenschutz links und Dann auf Mikrofon rechts. Hier können Sie dann eine Liste aller Apps einsehen, die Zugriff auf das Mikrofon angefragt haben. Drücken Sie hier einfach den Schalter, der das Mikrofon für eine bestimmte App blockiert. Starten Sie dann alle Apps neu, die Sie mit der Line 6 Schnittstelle verwenden möchten.

First, connect the FBV via USB to the computer and use the FBV Control software. In the File>Open menu, select the ‘Gearbox’ preset for the FBV. This will store on the FBV automatically. Close FBV Control. Then, start Gearbox with the FBV still connected to the computer. Go to the Edit>Preferences window, and in the ‘MIDI/Control’ tab, select USB Audio Device for MIDI Input. Hit Apply and then, OK. The FBV will now control certain parameters of the program including Wah/Volume sweep and toggling. If you would like to change the behavior of the switches, you should than exit Gearbox and go back to FBV Control once again to assign MIDI CC Toggle messages that correspond with what they want to control in the program. You can reference the chart for Gearbox MIDI CC messages starting on page 2.14 of the following Gearbox MIDI CC Reference Guide: http://line6.com/data/6/0a060b316ac34f0593546810e/application/pdf/MIDI%20Continuous%20Controller%20Reference%20-%20English%20(%20Rev%20F%20).pdf

We have tested the following Line 6 iOS software to be compatibile with iOS 7: Mobile POD StageScape Remote MIDI Memo We have tested the following Line 6 mobile hardware with iOS 7 and found no problems: Mobile In Sonic Port Mobile Keys 25 Mobile Keys 49 MIDI Mobilizer II

USB 3.0 computer cables and peripherals, including hard drives, are known to emit radio frequency interference throughout the 2.4GHz band, which results in reduced range and/or performance for any 2.4GHz device in its proximity (including wireless keyboard or mouse, WiFi, etc.). We recommend placing any digital wireless receivers at least two meters away from the USB 3.0 device and its cabling. Below is a link to an study by Intel regarding this interference. http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Interferenzen zwischen USB 3.0 und 2.4GHz-Geräten USB 3.0 Computerkabel und –geräte sind dafür bekannt Interferenzen bei Radio Frequenzen im 2,4GHz Bereich zu erzeugen was zu verringerter Reichweite und Performance für alle 2.4GHz Geräte (inklusive kabellose Tastatur oder Maus sowie WiFi und viele andere) in der Nähe führen kann. Wir empfehlen alle digitalen Kabellosempfänger mindestens 2m von den USB 3.0 Geräten und deren Verkablung weit weg zu plazieren. Nachstehend können Sie einen Link zur Untersuchung von Intel über Interferenzen mit USB 3.0 finden: http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Interférences entre USB 3.0 et appareils 2.4GHz Les câbles et périphériques USB 3.0 sont connus pour émettre des interférences de fréquence radio dans la bande 2,4 GHz, que cause une gamme et/ou performance des appareils 2.4 GHz réduite dans la proximité. (Y inclus sont les claviers ou souris sans fil, WiFi, etc.) Nous recommandons de placer le récepteur sans fil numérique au moins 2 mètres loin des appareils USB 3.0 et ses câbles. Voici un lien vers une étude réalisée par Intel au sujet de cette interférence: http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html

Top Features: Smart Speaker Modes for great live sound in any live sound situation Multi-channel mixer with 3-band EQ, Smart Effects and acoustic guitar modeling Multi-function design for true scalability L6 LINK digital networking for multi-speaker setups 800-watt, 2-way, bi-amped speaker system Multi-band feedback suppression On-board accelerometer and pole-mount sensors Virtual Tilt-back projects speakers output upwards in backline mode Tour-grade plywood enclosure with M10 suspension points Retractable handle for easy portability

Top Features Smart Speaker Modes for great live sound in any live sound situation Multi-function design for true scalability L6 LINK digital networking for multi-speaker setups 800-watt, 2-way, bi-amped speaker system Multi-band feedback suppression On-board accelerometer and pole-mount sensors Virtual Tilt-back projects speaker?s output upwards in backline mode Tour-grade plywood enclosure with? M10 suspension points Retractable handle for easy portability

Français Deutsch Q: What is the cable tone on my Relay G55 and what does it do? A: The cable tone button simulates the slight change in tone that happens when using cables of varying length. The cable tone length that the Relay 55 uses is a 25 foot length guitar cable. At shorter lengths this change in tone is hard to recognize, but as length gets up to 100 feet and beyond, the extreme high end of your tone "rolls off" and loses volume. A cable length of 25 feet will not affect your audio below aproximately 15kHz. Q: Does USB 3.0 create interference in the 2.4GHz frequency range? A: USB 3.0 computer cables and peripherals, including hard drives, are known to emit radio frequency interference throughout the 2.4GHz band, which results in reduced range and/or performance for any 2.4GHz device in its proximity (including wireless keyboard or mouse, WiFi, etc.). We recommend placing any digital wireless receivers at least two meters away from the USB 3.0 device and its cabling. Below is a link to a study by Intel regarding this interference. http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Q: Can I use my Relay G55 transmitter or receiver with other Line 6 wireless? A: Yes, all Line 6 wireless devices are compatible to work with one another. So, if you have a Line 6 XDV receiver, any transmitter from a Relay system will work with it, and vice versa. However, it is important to realize that Line 6 wireless systems in RF2 mode will not work with coresponding units in RF1 mode - regardless of the system they are from. You cannot use RF2 mode in the presence of any older Line 6 2.4G wireless (including Relay) in the same venue. If you try you will likely get failures in both the old and new units. So it is important to know if you are using RF1 or RF2 mode. You must either flash older models to the newer V2.0 firmware (and you must have access to a V75 receiver and do this via Monkey) or you can shift the newer models (or any that have been flashed with V2.0) into RF 1 mode. If an XD-V75 unit is being added to a setup that already includes any devices running in RF1 mode, the XD-V75 can be used to update the older devices to run RF2 mode by using an internet-connected computer attached to the XD-V75’s USB port. See the Firmware Updating Procedure section for more information. Alternatively, the XD-V75 transmitters can be setup to operate in RF1 mode if it is necessary to use the transmitters with older Line 6 receivers. Q: How do I switch between RF2 mode and RF1 mode? A: Relay G55 systems can be used in RF1 or RF2 mode. To Set TBP12 Transmitters (Relay G50/55/90): Enter Setup mode by holding the select button, and you will know you are in setup mode when the current channel is displayed flashing. Continue holding the select button. Then press the value button. RF2 will display showing that you are now in RF2 mode. Press and hold select to exit setup mode. Repeat this process to switch between RF1 and RF2 mode. Note: It is IMPORTANT to note that once you shift (in either direction) the transmitters will only remember the change if you power cycle the transmitter. Just turn it off with the power switch and then back on. If you were to pop a battery before doing this then it will revert back to the last "saved" mode. Q: How can I avoid wi-fi interference? A: Page 11 of the Pilot's Guide provides more details, but here are suggested channels settings to avoid interfering with wi-fi: Relay G55 F.A.Q.: Qu'est-ce que le bouton Cable Tone sur mon Relay G55? Le bouton "Cable Tone" simule le change de tonalité si on utilise un câble de longueur variable. Le Relay 55 utilise une tonalité d'un câble guitare de 7,5m. Aux longueurs plus courtes, ce changement en tonalité est difficile à reconnaitre mais si la longueur devient jusqu'à 30 mètres, l'extrémité haute de votre ton perd volume. Une longueur du câble de 7,5m ou moins n'affectera pas votre son au-dessous d'environ 15kHz. Est-ce que USB 3.0 produit d'interférence dans la gamme de fréquences 2.4 GHz? Les câbles et périphériques USB 3.0 sont connus pour émettre des interférences de fréquence radio dans la bande 2,4 GHz, que cause une gamme et/ou performance des appareils 2.4 GHz réduite dans la proximité. (Y inclus sont les claviers ou souris sans fil, WiFi, etc.) Nous recommandons de placer le récepteur sans fil numérique au moins 2 mètres loin des appareils USB 3.0 et ses câbles. Voici un lien vers une étude réalisée par Intel au sujet de cette interférence: http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Est-ce que je peux utiliser mon émetteur ou récepteur Relay G55 avec autres appareils sans fil Line 6? Oui, tous les appareils sans fil Line 6 sont mutuellement compatibles. Donc, si vous avez un récepteur Line 6 XDV et n'importe quel transmetteur Relay travaillera et inversement. Mais attention, les appareils Line 6 sans fil en mode RF1 ne fonctionnent pas avec les appareils un mode RF2 indépendamment du système. Vous ne pouvez pas utiliser le mode RF2 en présence de Line 6 2.4GHz Wireless dans le même lieu. Si vous essayez, vous aurez probablement des échecs dans les anciens et les nouvelles unités. Donc, c'est important de savoir si vous utilisez RF1 ou RF2. Vous devez soit installer les anciens modèles sur le firmware V2.0 (ou plus récent) ou vous pouvez mettre les nouveaux modèles en mode RF 1. Si vous mettez l'unité XD-V75 dans un setup avec des appareils en RF1, vous pouvez utiliser le XD-V75 pour mettre à jour les appareils plus anciens d'être capable d'utiliser RF2 en utilisant un ordinateur avec internet connecté. Branchez le XD-V75 dans votre ordinateur via USB. Visitez la section de la mise à jour firmware pour plus d'informations. Alternativement, vous pouvez mettre les transmetteurs XD-V75 sur RF1 si c'est nécessaire de las connecter aux récepteurs Line 6 plus anciens. Comment est-ce que je peux commuter entre mode RF1 et RF2? Placez l’émetteur sous tension, et maintenez la touche "Select" enfoncée jusqu’à ce que le numéro du canal clignote. Maintenez la touche "On/Mute" (alimentation) enfoncée et appuyez rapidement sur "Select" et sur "Value"; appuyez dans la seconde qui suit — n’attendez pas plus, sinon l’émetteur se place hors tension. Notez que la ligne supérieure de l’écran LCD indique temporairement [RF-1] à la place de [CH], ce qui indique que l’émetteur est dans un mode de transmission compatible avec les récepteurs G90 et G30. Pour revenir au mode de transmission RF2, répétez les opérations précédentes en appuyant rapidement sur la touche de mise sous tension puis en appuyant rapidement sur "Select" dans l’écran [CH]. La ligne supérieure de l’écran LCD indique temporairement [RF-2], ce qui correspond au changement de mode. Notez que le mode de transmission est mémorisé ; même après la mise hors tension. Comment est-ce que je peux éviter des interférences WiFi? Ci-dessous sont réglages des canaux suggérés pour éviter les interférences avec WiFi: F.A.Q. zum Relay G55 Was ist der Cable Tone Knopf und was bewirkt er? Der die Cable Tone Einstellung simuliert die kleine Veränderung des Klangs bei Benutzung von Kabeln bestimmter Längen. Das Kabel, welches für diese Modifizierung benutzt wurde für das Relay 55 ist ein Gitarrenkabel der Lange 7,5m. Bei kürzeren Kabeln ist es schwer den Unterschied zu hören aber bei Längen über 30 Metern verliert das extrem hohe Ende des Klangs an Lautstärke. Ein Kabel von 7,5m beeinträchtigt den Klang unter ca. 15kHz nicht. Verursacht USB 3.0 Interferenzen im 2,4GHz Frequenzbereich? USB 3.0 Computerkabel und –geräte sind dafür bekannt Interferenzen bei Radio Frequenzen im 2,4GHz Bereich zu erzeugen was zu verringerter Reichweite und Performance für alle 2.4GHz Geräte (inklusive kabellose Tastatur oder Maus sowie WiFi und viele andere) in der Nähe führen kann. Wir empfehlen alle digitalen Kabellosempfänger mindestens 2m von den USB 3.0 Geräten und deren Verkablung weit weg zu plazieren. Nachstehend können Sie einen Link zur Untersuchung von Intel über Interferenzen mit USB 3.0 finden: http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Kann ich meinen Relay G55 Transmitter oder Empfänger mit anderen Line 6 Wireless Geräten verwenden? Ja, alle kabellosen Line 6 Geräte sind kompatibel mit miteinander zu kommunizieren. Wenn Sie also einen Line 6 XDV Empfänger und irgend einen Transmitter mit Relay System wird dies funktionieren, sowie umgekehrt. Achtung, Line 6 Geräte im RF2 Modus werden nicht mit Geräten im RF1 Modus funktionieren, egal welches System benutzt wird. Sie sollten keinen RF2 Modus in der nähe alter Line 6 Geräte verwenden, wenn Sie dies versuchen werden es wahrscheinlich zu Fehlern auf beiden Geräten (alt und neu) führen. Also müssen Sie sich immer sicher sein welchen Modus Sie verwenden RF1 oder RF2. Sie müssen dann entwerden die alten Modelle auf die V2.0 Firmware aktualisieren (zusätzlich müssen Sie Zugriff auf einen V75 Empfänger und Monkey haben) oder auf den neuen Geräten (oder älteren auf Firmware Version 2.00) RF1 einstellen. Wenn ein XD-V75 in ein Setup; welches bereits Geräte beinhaltet, die auf RF1 laufen; kann das XD-V75 dazu verwendet werden, die älteren Geräte zu aktualisieren, damit diese RF2 benutzen können. Das XD-V75 muss an einen Computer via USB mit bestehender Internetverbindung angeschlossen sein. Schauen Sie sich dann die Firmware Update Sektion für weitere Informationen an. Alternativ können die XD-V75 Transmitter so eingestellt werden, dass diese im RF1 Modus laufen, wenn es nötig ist, dass die Transmitter mit alten Line 6 Empfängern kommunizieren können. Wie kann ich zwischen RF1 und RF2 wechseln? Schalten Sie den Sender ein und halten Sie seinen SELECT Knopf so lange gedrückt, bis die Kanalnummer blinkt. Halten Sie den ON/MUTE Knopf gedrückt, während Sie schnell SELECT und VALUE drücken. Sie müssen innerhalb einer Sekunde drücken. Wenn Sie nämlich länger warten, wird der Sender ausgeschaltet. In der oberen Display-Zeile wird [RF-1] (statt [CH]) angezeigt: Der Sender verwendet jetzt den für Relay G90 und Relay G30 Empfänger benötigten Modus. Um später wieder den RF2-Modus zu wählen, müssen Sie auf der “CH”-Seite zuerst den Netztaster und gleich danach SELECT drücken. In der oberen Display-Zeile wird kurz “RF-2” angezeigt, um die Moduswahl zu bestätigen. Der mit diesem Verfahren gewählte Modus bleibt auch nach dem Ausschalten erhalten. Wie kann ich WiFi Interferenzen vermeiden? Im Anschluss finden Sie verschiedene empfohlene Kanal-Einstellungen um Interferenzen zu vermeiden:

The time next to each chapter title below indicates the start of that chapter: 1. Powering On - 0:10 2. Connecting Inputs and Outputs - 0:36 3. Quick Capture & TWEAK Mode - 3:01 4. MONITOR Mode - 5:03 5. RECORD Mode - 5:54 6. PERFORM Mode - 7:33 7. Media Player - 8:44 8. Saving your Setup - 9:45 9. Using a Footswitch - 10:24

Deutsch Français All L6 Link Connections require AES/EBU cables with a maximum 50 foot length. StageScape M20d Small PA : Connect the L6 LINK out from a StageScape M20d mixer to the rear panel L6 LINK In on any speaker in the network. Any L3t/L3m towers and L3s subs on an L6 LINK network are numbered independently. In the illustration above, the two L3s subs (labeled SUB 1 and 2) will, by default, play left and right, respectively. The two upright L3t/L3m towers (numbered 1 and 3) will, by default, play left and right, respectively. L3t/L3m number 2, because it?s laid on its side, will automatically play discrete monitor feed A. Any speaker on the network can have its channel assignment changed from the M20d's touch screen interface. StageScape M20d Large PA : In the illustration above, four L3s subs (labeled SUB 1-4) and seven L3t/L3m speakers (independently numbered 1-7) are daisy-chained from an M20d mixer. The subs and upright towers automatically configure themselves to be a powerful stereo mains system. L3t/L3m speakers on their side (numbers 3, 4, and 5) automatically configure themselves as stage monitors, and play monitor feed A, B, and C respectively. You can also reassign any speaker from the M20d touchscreen. Toutes les connexions L6 Link ont besoin d’un câble AES/EBU avec une longueur maximale de 15 mètres. StageScape M20d : Système de sonorisation petit : Branchez la sortie L6 LINK du M20d à l’entrée L6 LINK d’un haut-parleur. Tous les L3t, M3m et L3s ont des nombres différents. Pour l’illustration, les L3s (SUB 1 et 2) jouent gauche et droite respectivement. Les L3t/L3m (1 et 3) jouent gauche et droite respectivement automatiquement. Le L3t/L3m 2 est en mode Moniteur parce qu’il est mis sur sa côté. Vous pouvez assigner les canaux pour tous les haut-parleurs séparément sur le M20d. StageScape M20d : Système de sonorisation petit : Pour cette illustration, on a chaîné 4 L3s et 7 L3t/L3m avec un M20d. Les L3s et L3t/L3m verticaux se configurent automatiquement en mode Stereo Main System et les autres, qui sont sur la côté se configurent en mode Moniteur. Vous pouvez réassigner tous les haut-parleurs avec le M20d. Alle L6 LINK Verbindungen benötigen AES/EBU Kabel mit einem Maximum von 15 Metern. StageScape M20d: Kleine Beschallungsanlage: Verbinden Sie den StageScape L6 LINK Ausgang mit dem L6 LINK Eingang eines Lautsprechers im System. Jeder L3t, L3m und L3s hat eine bestimte Nummer. Für die obige Darstellung werden die 2 L3s automatisch jeweils rechts und einer links abspielen, die beiden augestellten L3t/L3m werden sauch automatisch rechts une einer links abspielen. L3t/L3m Nummer 2 wird sich als Monitor konfigurieren, da er auf der Seite liegt. Jeder Lautsprecher im System kann anhand des M20d einen neuen Kanal zugewiesen bekommen. StageScape M20d: Große Beschallungsanlage: Oben werden 4 L3s und 7 L3t/L3m dargestellt, die in Reihe geschaltet und an einen M20d angeschlossen sind. Die Subwoofer sowie aufrechten L3t/L3m werden sich selbst als Stereo Main System einstellen und die L3t und L3m die auf der Seite liegen als Monitore. Alle Laustsprecher können andere Kanäle zugewiesen bekommen, falls gewünscht.

Audio Terms and Resources Audio Cables 101 DilettantesDictionary - Audio Terminology Testing1212 - Glossary of Terms for Sound Engineers Acoustics Audio Crossover Audio Engineering Audio Feedback Amplitude Balanced Audio Decibel Dynamic Range Compression Equalization Ground Loop Loudspeaker Loudspeaker Enclosure Loudspeaker Measurement Live Sound Mixing Sound Sound Reinforcement System Subwoofer Tweeter Woofer Tutorials and Articles ProSoundWeb - Live Sound ProSoundWeb - Church Live Sound International Tutsplus.com - Mixing Tutorials MediaCollege.com - Audio Tutorials Lynda.com - Audio Training & Tutorials A? Guide To Worship Mixing: Prep, Setup And Sound Check Understanding The Language Of The ?Show? Understanding Impedance Workshop

Absorption - The attenuation of sound level that occurs when a sound wave passes through a medium or strikes a surface, which result in the conversion of sound energy into energy such as heat. Acoustics - The science and study of sound, or the effect a given environment has on sound. Amplifier - A device that increases the amplitude of a signal. Attack - The time taken for the compressor or limiter to respond to the transient that has exceeded the threshold and attenuate the gain accordingly. Attenuate - To reduce in amplitude or sound level; make quieter. Bi-Amplified Systems - A loudspeaker system with a crossover and two independent power amplifiers, each handling their own half of the frequency spectrum and feeding a separate speaker system. Balanced Connections - Impedance matched audio connections that use three-conductor connectors such a XLR or TRS connectors. Balanced lines are less susceptible to hum and can carry audio signals over longer distances. Boomy - Listening term, refers to an excessive amount of additional bass response that has a less focused attack. Bus - A mixing console term that refers to a internal pathway used to route audio signals between channels, inputs, and outputs of a mixing console or digital audio workstation. Bright - Listening term, refers to treble sound that has a lot of high frequency response. Clipping - Distortion as a result of the top of a digital waveform being cut off caused by a signal overloading a gain stage of a digital device. Coloration - Listening term. The emphasis or reduction in a characteristic of the original sound. Compression - The process of attenuating the volume of loud sounds and amplifying the volume of quieter sounds to reduce the overall dynamic range of the audio signal. Compression Driver - A mid or high-frequency speaker comprising a small diaphragm and voice coil coupled to a large magnet structure, which is usually then mounted into a horn. Coverage Pattern - The angle of a loudspeakers beamwidth averaged over the high frequency responses enclosed within the specified range of -6dB on a frequency response polar plot. For example using the center of the high-frequency component as the 0 axis, the StageSource L3t can project 25 above and below the 0 axis, and 50 left and right of the 0 axis while maintaining an ideal frequency response and amplitude level. Crossover - DSP controller filter that splits audio signal into separate frequency bands that are routed separately to loudspeaker drivers that are optimized for the specific frequency band. Crossover Frequencies - The specific frequency bandwidths the DSP controlled crossover will split between separated loudspeaker drivers so that each driver can handle portions of the audio range it is optimized for. DC Fault Protection - A type of power amp protection that prevents the loudspeaker from receiving DC current as a result of a power amp failure. Decibel - A unit used to measure the intensity of a sound or the power level of an electrical signal by comparing it with a given level on a logarithmic scale. It is defined as dB = 10 x log(P1/P2), where P1 and P2 are the relative powers of the sound. Direct box - Device used to connect a high-impedance, line level, or unbalanced signal to a low-impedance microphone level balanced input. Commonly used to connect a electric guitar or bass directly to a microphone preamplifier input. Directivity - The angle of coverage for a loudspeaker's projection vertically and horizontally, often expressed on specifications as "Directivity Index" in decibels or as "Directivity Factor" which is represented by Q. These specifications can help you to gauge how directional the loudspeaker is. Directivity Factor (Q) - The mathematical expression of how directive a loudspeaker's output is.This ratio is represented by the Q factor, a measurement of the on axis response compared to the average of the off-axis response over a specified frequency range. A spherical output source with equal output levels at all angles will have a Q factor of 1. Directivity Index (DI) - The average increase in a loudspeaker?s sensitivity as a result of the directivity factor of a loudspeaker's output. Represented by the value of dB, the on-axis level will have a increase in amplitude in relation to the level that would be radiated by a spherical output source of the same power, over the average of frequency range specified. Dynamic Range - The amplitude range between the quietest level and loudest level that a audio device can capture, produce, or reproduce without distortion. Equalizer - An adjustable audio filter that divides an audio signal's frequency response into separated bandwidths, yielding the ability to increase or attenuate the amplitude of each bandwidth individually, in order to control the overall response of the audio signal. Excursion Limiting - Regulatory protection against a loudspeaker's voice coil from being forced to move forward or backward in an amount that exceeds what it is capable of. Feedback - A constant ringing tone caused by the amplified sound of a loudspeaker system being captured by a microphone that is simultaneously being amplified by the same loudspeaker system, this causes the formation of a continuous feedback loop. Free Field - A environment where sound produced can travel in all directions without reflections or exterior interference. This type of environment is used to simulate and measure the response of an audio source in open space. Frequency - The measure of the rate of variations of a repetitive waveform, expressed in cycles per second or Hertz. In audio terms, frequency often refers to a specific tone within a range of a audio signal. Frequency Range - The operational frequency response the loudspeaker reproduced at the specified output power. Frequency Response - The bandwidth of frequencies that an audio device can capture, produce, or reproduce. Frequency response is measured from a low of 20Hz to a high of 20kHz with a +/- dB value indication of the amplitude variation existing across the frequency response when a test tone or sample is played back. All frequencies above and below a unit's Frequency Response are attenuated by a value greater than the +/- dB level indicated by the specification. Gain - Adjustable volume control for a audio device?s input that increases the amplitude of a signal from the input to the output of the device. Also represented as the output voltage of a device divided by its input voltage, most commonly measured in decibels. Graphic Equalizer - A equalizer that typically has a number of fixed-frequency bands, each with a slider that allows you to boost or cut the designated frequency. Ground loop - A condition occurring when several ground pathways exist between two devices, resulting in hum and increased noise. Half Space - A variation of the free field environment in which the audio source is placed or mounted against a solid barrier or baffle without reflections or exterior interference. This type of environment is used to simulate and measure the response of an audio source in half space. Compared to a free field environment response, a half-space environment will yield an increased response in low frequencies by an average of +6dB. Headroom - The difference between the nominal operating level of a audio device and the level at which clipping occurs, usually measured in dB. Hertz - The measure of the frequency of a vibrating object equivalent to cycles per second, it is often abbreviated as "Hz." Highpass Filter - An audio filter that attenuates all frequencies below a user specified cutoff frequency by particular amount of db per octave. Loudspeaker Horn - A horn shaped passive component of a loudspeaker that increases efficiency by improving the directionality and frequency response of the driver it is coupled with. I/O - Abbreviation for "Input/Output." kHz - 1000 Hertz. Limiting - The process by which the amplitude of an audio device?s input or output is prevented from exceeding a user specified dB level. Line-Level - The level of a audio device?s input or output operating level, typically a line level signal is +4dBm, while some audio devices will use -10 dBV instead. Line-level audio signals usually include keyboard/synth outputs, mixer outputs and signal processor outputs. Loudspeaker - An electro-acoustical transducer that converts electrical energy to sound energy. Lowpass Filter - An audio filter that attenuates all frequencies above a user specified cutoff frequency by particular amount of db per octave. Main Speaker(Mains) - The primary loudspeakers used to broadcast the output of a mixing console to the audience. Maximum SPL Output - The maximum output volume achievable before clipping or a specified level of distortion occurs. Millisecond - One one-thousandth of a second, often abbreviated as "ms". Mixing Board - An audio device used for combining, routing, and adjusting the level, tone, and dynamics of audio signals, in turn summing the signals down to a monophonic or stereo signal that can be output to a recorder or loudspeaker. Monitor - A loudspeaker used live or in the studio to help a performer hear playback of their performance or backing tracks. Monophonic - A single-channel sound. Mute - A function that decreases the volume of an audio signal or device to a level that is inaudible, which allows the volume to be cut on a device without having to adjust the volume control. On-Axis - A response that is directly in front of a loudspeaker or microphone. Off-Axis - A response that is not directly in front of a loudspeaker or microphone. Off-Axis Response - A plot used to illustrate the response of a loudspeaker over a specified range of off-axis angles, with the measurement of the on-axis response used as the zero degree reference point. Overcurrent Protection - A type of power amp protection that disables the output stage of the amplifier when a voltage greater than or equal to a specified value is detected. Overtemprature Protection - A type of power amp protection that prevents the power amp from overheating by limiting the output power once a specified temperature has been reached. Pan - A rotary control on a audio device used to position the audio signal between the left and right channels of a stereo sound field. The counter-clockwise position routes the signal to the left-channel output, the clockwise position routes the signal to the right channel output, and the center position routes the signal equally to both the right and left channels. Phantom Power - A method of powering a condenser microphone by sending 48 volts of DC current over the same XLR cable used to carry the microphone?s audio signal. Parametric Equalizer - A equalizer that typically has three primary parameters: selectable center frequency for the frequency band, bandwidth control for how wide or narrow the frequency band is, and a gain control for how much of the frequency is boosted and cut. Peak Output Power - The measurement of the maximum amount of watts a power amp can handle for an instant without distortion. Power Amplifier - An audio device that amplifies a line level signal to a speaker level signal. Power Amp Protection - Reference DC Fault Protection, Overcurrent Protection, and Overtemprature Protection. Release - The time it takes for the compressor or limiter to return the level of the output signal to the level of the original input signal once it has passed below the threshold. Speaker Driver - A transducer that converts electrical energy into sound waves. Common names for the different types of speaker drivers are: woofer, mid-range, and tweeter. Thermal Limiting - Regulatory protection over the temperature of a loudspeaker's voice coil to prevent the loudspeaker's magnet from being overheated. Threshold - The audio level set by user at which the compressor or limiter will be activated when the audio signal exceeds it. Transducer Protection - Reference Excursion Limiting and Thermal Limiting. Transient - A temporary, short-lived signal with a higher amplitude than the rest of the signal - a peak in the signal. Triamplified system - A loudspeaker system with a crossover and three power amplifiers, each handling their own third of the frequency spectrum.

Français Deutsch One of the benefits of the StageScape M20d mixer is its ability to make high quality digital recordings direct to SD cards (class 10) or USB hard drives (with their own power source) without the need to drag a computer along. You can select up to 18 channels to record pristine 24 bit/48 kHz digital recordings on individual tracks and then transfer them to your DAW or computer as .wav files. Note: Aux inputs 17-18 are not recordable. Channels 1-16: M20d Mic/Line Inputs 1-16, pre-processing / pre fader Channels 19-20: M20d stereo Main Outs, post-processing / post-fader Two channels can stream from your computer to the M20d, coming in at ch. 17/ 18 Aux Input. Recording to SD cards (Class 10) is an elegant and convenient way to record at your gig without having to connect up any wiring (USB and power connection) or use up any additional tabletop space. Streaming USB audio to your DAW with the StageScape M20d: To stream USB audio to your digital audio workstation with the StageScape M20d you will need to download the M20d StageScape drivers from this link. http://line6.com/software/index.html On that page you will find 3 drop down menus. On the All Products drop down menu select M20d StageScape. On the All Software drop down menu select Drivers. On the last drop down menu select the operating system of the computer you wish to use with your M20d StageScape. Once the download has completed, find and run the M20d StageScape Drivers Installer. And follow the on screen installer directions. In your DAW you will need to change your audio interface to the ASIO M20d StageScape. Then create new audio tracks in your DAW with inputs that correspond to the inputs on the M20d. Note: If you are using the StageScape DX/MME driver, make sure that StageScape is selected as the default audio device in Windows.? Also, know that you will only get audio from inputs 1-2 if you are recording with DX/MME. The Windows StageScape M20d USB 2.0 audio driver uses WDM and ASIO, supported on 32 and 64 bit OS configurations. The driver streams 18 inputs to your computer and a stereo return stream back to the M20d. On Mac computers, the driver is a core audio driver. Input Streaming Configuration: Channels 1-16: M20d Mic/Line Inputs 1-16, pre-processing / pre fader Channels 19-20: M20d stereo Main Outs, post-processing / post-fader USB Stereo Return Stream: The stereo return is streamed to the M20d's stereo Aux Input (channels 17/18). In order to hear the stereo return, a Stage Icon Preset must be assigned to the Aux Input using the M20d touchscreen UI. The 'Laptop' preset is ideally suited for this purpose, and can be found in the Stage Icon Gallery. Note · If you have problems recording/reading files from your SD card or USB they most likely previously recorded on the media device and then transferred the files to their computer. Then if you deleted the files from the media device by way of their computer, there is a possibility that the media device may have this problem reading/recording once inserted back in to the M20d. Because of this we recommended that customers delete files that were recorded on the media device with the M20d in the M20d. That delete function should always be done in the M20d in order to not experience this. Aufnehmen mit dem StageScape M20d Ein großer Vorteil des StageScape M20d ist dessen Fähigkeit digitale Aufnahmen hoher Qualität sofort auf Ihre SD Karte (Klasse 10) oder USB Festplatte (mit externer Stromversorgung) zu machen ohne einen Computer anschließen zu müssen. Sie können bis zu 18 Kanäle zur digitalen Aufnahme von unverfälschlichtem 24bit/48kHz Ton auf individuelle Spuren verwenden und diese dann auf Ihr DAW oder Computer als wav. Datei übertragen. Achtung, Aux Eingänge 17 uns 18 sind nicht aufnehmbar. Kanäle 1-16: M20d Mic/Line Eingänge mit Pre-Fader und Vorverarbeitung. Kanäle 19-20: M20d stereo Main Outs mit Post-Fader und Nachbearbeitung. Zwei Kanäle, die Aux Eingänge 17 und 18 Aux können von Ihrem Computer auf das M20d streamen. Aufnahme auf SD Karten (Klasse 10) ist eine elegante und praktische Art während Ihres Auftritts auzunehmen ohne viele Kabel (USB und Strom) oder Platz zu brauchen. USB Audio auf Ihr DAW streamen: Um USB Audio auf Ihre DAW zu streamen müssen Sie sich zuerst die Treiber für Ihr StageScape M20d herunterladen, dies können Sie auf folgender Webseite tun: http://de.line6.com/software/index.html Auf dieser Seite werden Sie 3 Dropdown Menus sehen. Im All Products Menu wählen Sie M20d StageScape aus. Im All Software Menu wählen Sie Drivers und im letzten Menu wählen Sie das Betriessystem Ihres Computers aus. Nachdem der Download abgeschlossen ist starten Sie die Installationsdatei "M20d StageScape Drivers Installer". Folgen Sie den Anweisungen des Programms. In Ihrer DAW müssen Sie dann noch Ihr Audio Interface auf ASIO M20d StageScape ändern. Erstellen Sie dann neue Audio Spuren in Ihrer DAW mit Eingängen die mit den Eingängen Ihres StageScape übereinstimmen. Achtung, Wenn Sie einen StageScape DX/MME Treiber benutzen muss StageScape als Standard Audiogerät für Windows eingestellt sein. Außerdem bekommen Sie nur Ton über die zwei Kanäle 1 und 2 wenn Sie mit DX/MME aufnehmen. Der Windows StageScape M20d USB 2.0 Treiber benutzt WDM und ASIO, die beide 32bit und 64bit Betriebssyteme unterstützen. Der Treiber streamt 18 Eingänge an Ihren Computer und einen Stereo Return zurück an das M20d. Auf Mac Computern ist der Treiber ein Core Audio Treiber. Eingangsstream Konfigurationen: Kanäle 1-16: M20d Mic/Line Eingänge mit Pre-Fader und Vorverarbeitung. Kanäle 19-20: M20d stereo Main Outs mit Post-Fader und Nachbearbeitung. USB Stereo Return Stream: Der Stereo Return wird an die Stereo Aux Eingänge des M20d gestreamt. (Channel 17 und 18) Um nun den Stereo Return zu hören müssen Sie ein Icon auf der Bühne Ihres M20d dem Aux Eingang zuweisen anhand des Touchscreens. Das Preset "Laptop" ist für diesen Zweck ideal. Es befindet sich in der Icon Gallerie der Bühne. Enregistrement avec StageScape M20d Un des avantages du StageScape M20d est la capacité d'enregistrer digitalement à haute qualité directement sur une carte SD (class 10) ou disque dur USB (avec alimentation externe) sans qu'il soit nécessaire d'avoir un ordinateur avec. Vous pouvez choisir de 18 canaux pour enregistrer parfaitement à 24 bit/48 kHz sur des pistes individuels et transférer ceux sur votre DAW ou ordinateur comme fichiers .wav. ***Les entrées AUX 17-18 ne sont pas enregistrables. Canaux 1 à 16: Entrées Mic/Line avec pré-fader et prétraitement. Canaux 19 à 20: "Main Outs" stéréo avec post-fader et post-traitement. Deux canaux, les entrées 17 et 18 peuvent stream de l'ordinateur au M20d. L'enregistrement par carte SD (class 10) est une possibilité d'enregistrement élégant et sans l'utilisation d'espace ou des câbles (USB et connexion d'alimentation). USB streaming audio à votre station audio-numérique (DAW) avec StageScape M20d: Pour défiler audio sur votre DAW avec StageScape M20d, vous avec besoin des pilotes M20d de ce lien: http://fr.line6.com/software/index.html Sur cette page, vous avez 3 menus. Sélectez "M20d StageScape" dans le menu "All Products". "Drivers" pour le menu "All Software" et le système d'exploitation de votre ordinateur dans le dernier menu. Une fois le téléchargement a terminé, démarrez le programme d'installation des pilotes. "M20d StageScape Drivers Installer". Suivez les instructions du programme. Dans votre DAW, vous devez changer l'interface audio à ASIO M20d StageScape. Créez nouvelles pistes audio qui correspondent aux entrées sur le M20d. Attention, si vous utilisez les pilotes DX/MME du StageScape, le StageScape doit être la périphérique par défaut pour Windows. Aussi, si vous enregistrez avec DX/MME, vous recevez uniquement du son des entrées 1 et 2. Le pilote son USB 2.0 Windows StageScape M20d utilise WDM et ASIO. Soutenus sur les systèmes d'exploitation 32bit et 64bit. Le pilote défile 18 entrées à l'ordinateur et un stream retour stéréo au M20d. Sur les ordinateurs Mac, le pilote est un pilote Core Audio. Configuration Streaming Input: Canaux 1 à 16: Entrées Mic/Line avec pré-fader et prétraitement. Canaux 19 à 20: "Main Outs" stéréo avec post-fader et post-traitement. USB Stream retour stéréo: Le retour stéréo est défilé aux entrées stéréo AUX du M20d (canaux 17 et 18). Pour entendre le retour stéréo, un icône dans Stage doit être assigné aux entrées AUX en utilisant l'écran tactile du M20d. Le preset "Laptop" est parfait pour cet usage et peut-être trouvé dans la gallérie des icônes.