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  1. 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
  2. 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
  3. 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 trebly 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 directivity 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 electroacoustical 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 ‘spike’ in the signal. Triamplified system - A loudspeaker system with a crossover and three power amplifiers, each handling their own third of the frequency spectrum.
  4. Français Deutsch Q: Where can I find product manuals and specifications for the StageSource speakers? A: Product manuals and specifications for the StageSource L3t can be found Here. Product manuals and specifications for the StageSource L3s can be found Here. Q: How do I use the StageSource L3t or L3m? A: Check out our video tutorial " ". We also have examples of some common ways to setup the StageSource speakers available Here. Q: Why can't I hear anything from the middle driver on my L3t or L3m? A: The upper woofer always plays below 250Hz. The lower woofer works with the HF driver with a crossover that varies between 2.2 kHz and 7 kHz, depending on the chosen speaker mode. The details for these specs are listed here. Q: What are Smart Speaker Modes? A: The StageSource L3t and L3m use six powerful DSP-based Smart Speaker modes optimized for a variety of performance scenarios including front-of-house PA, floor monitor, personal PA, keyboard backline, acoustic guitar backline, or with a multi-effects guitar processor as a high-performance electric guitar speaker system. The six available Smart Speaker Modes are: Reference/P.A. - Reference/P.A. mode is for live sound reinforcement and features a flat frequency response, a 2.2kHz crossover frequency and maximum low-frequency extension. This mode is the optimal reference setting, whether your cabinet is mounted on a tripod, on stage or installed as part of a larger multi-component system. Playback - Playback mode is optimized for pre-recorded music. Functionally, Playback mode is similar to P.A. mode but includes an EQ curve that emphasizes extreme low and high frequencies, making it well-suited for playing back music from a CD or MP3 player, or for DJ applications. Floor Monitor - Floor Monitor mode is similar to P.A. mode with a slight reduction in low frequency content to counteract coupling when placing the speaker on the floor. If the speaker is powered on while in a horizontal position, Floor Monitor speaker mode will be selected automatically, you can then change to a different mode, if desired. Keyboards - Keyboard Mode optimizes the L3t for use as backline amplification for a keyboard rig. This mode features a flat frequency response with a 3.5kHz crossover frequency, adding more relative energy to the cone and providing a warmer response that is pleasant for instruments. This mode also provides Virtual Tilt-back, which optimizes the speaker’s tuning to achieve an upward tilt to its main axis and aim the sound towards the performer. Acoustic Guitar - Acoustic Guitar mode is optimized to provide a warm and balanced full-range amplification experience for acoustic instruments. This mode also features a 3.5kHz crossover frequency, with a custom-tailored low-frequency response to minimize “boominess” than can occur when amplifying acoustic instruments. Acoustic Guitar mode provides Virtual Tilt-Back, which optimizes the speaker’s tuning to achieve an upward tilt to its main axis and aim the sound towards the performer. Electric Guitar - Electric Guitar Mode was designed to accommodate the modern guitarist who uses a multi-effects floorboard device such as the Line 6 POD®. Rather than sending the signal from the guitarist’s floorboard to an amplifier and then mic’ing the amp, this L3t mode features an overall frequency response that emulates the sound of a 212 combo amp. The dual 10” speakers play full range, with the horn adding only the smallest amount of sparkle to the sound. Q: Will StageSource L3t and L3m function as a floor monitor? A: The StageSource L3t and L3m feature two sets of kickstands that can be used to angle the speakers upwards towards the performer. The two back-panel kickstands flip out, allowing the L3t and L3m to be angled upwards at 60°, the side mounted carrying handle doubles as a kickstand as well, allowing the L3t and L3m to be angled upwards at 30°. The StageSource L3t and L3m both include a smart speaker mode optimized for using the loudspeaker as a floor monitor. If the speaker is powered on while in a horizontal position, Floor Monitor speaker mode will be selected automatically. Check out our video tutorial on " " to see how to how to use the built in kickstands. Q: How does the L6 Link Network work with the StageSource speakers? A: Check out our video tutorial " ". When connecting speakers together in a L6 Link network, we recommend using 110-ohm AES/EBU XLR cables. Q: Can the StageSource speakers be pole mounted? A: The StageSource L3t and L3m both feature a pole mount that accommodates standard 35 mm diameter speaker poles. The L3s features three threaded pole mounts (one on top, two on the right side) to accommodate Line 6 M20 threaded speaker poles. The M20 threaded speaker pole part numbers are: Short pole - for mounting an L3t/L3m tower (Part # 98-037-0003) Long pole - for mounting an L3t/L3m tower (Part # 98-037-0004) Q: What is the proper method for suspending the StageSource speakers? A: The StageSource L3t and L3m provide four threaded M10 attachment points for suspension and one threaded M10 attachment point for pull-back and aiming the speaker. These are designed to allow for suspending the loudspeaker only by a qualified professional familiar with safe rigging practices. Improper installation may result in damage to the speaker or support structure, or injury or death. WARNING! If you are unfamiliar with suspending loudspeakers, con­sult an authorized, qualified professional prior to installation. WARNING! Before rigging or suspending any loudspeaker product, in­spect all rigging hardware, cabinets, attachment points, transducers, and associated peripherals. Any absent, warped, or non-load rated equipment could seriously compromise the strength of the installation and should be immediately corrected. WARNING! Always follow all municipal building codes, as well as any local, state, and federal safety guidelines regarding the installation and operation of loudspeakers and associated peripherals. Always use two attachment points on either the top or bottom of the L3t/L3m The rear panel pull-back attachment point is only for aiming the speaker downwards (see illustration below); it is not to be used as a load-bearing suspension point. For permanent installations, use only the Line 6 eyebolt kit (Part # 98-037-0005). Q: Can I use a different crossover with the StageSource speakers? A: Using an external crossover is not recommended when using L3t tops with L3s subs. Simply connecting the pair via Line 6 link activates the precision engineered internal crossover and DSP. However when matching the L3t speaker system with a 3rd party subwoofer an external crossover may be necessary. In this case, connect the Main outputs of your mixer into your crossovers inputs. Connect the high/mid frequency output of the crossover to the rear panel Line Level Input of the L3t or L3m loudspeaker, than connect the low frequency output of the crossover into the line input of a self-powered subwoofer system or into the power amp that powers your passive subwoofer cabinet. Q: Can I install a different speaker driver into the StageSource speaker cabinet? A: The speaker drivers used are specifically designed for the speaker cabinets and speaker modes used with the StageSource series. Changing the speaker drivers can effect reliability and performance and will void the manufacturer warranty. Q: Where do I register my new StageSource speakers? A: Line 6 products can be registered to your Line 6 User account Here. Q: Where can I find out more information about Live Sound? A: Check out our Live Sound Resources and Live Sound Glossary of Terms. Wo kann ich Benutzerhandbücher und Spezifikationen der StageSource Lautsprecher finden? Handbücher und Spezifikationen des StageSource L3t können Sie hier finden, Handbücher und Spezifikationen des L3s hier und für das L3m, hier. Wie benutze ich die StageSource L3t und L3m? StageSource L3t und L3m haben sechs leistungsfähige Smart Speaker Modi, welche auf digitaler Signalverarbeitung basieren und für eine Vielfalt von Aufführungs-Szenarien optimiert sind, wie z.B. Front of House Beschallung, Bodenmonitor, persönliche Beschallungsanlage, Keyboard Backline, Akustische Gitarren Backline oder mit Multieffekt Gitarrenprozessor als hochleistungs Lautprechersystem für elektrische Gitarren. Die sechs verfügbaren Smart Speaker Modi sind: Reference/P.A.: Der Reference/P.A. Modus dient der verstärkung von Live Sound und hat einen fixen Frequenzgang, eine 2.2kHz Trennfrequenz und zusätzlich eine Erweiterung der maximal Tieffrequenz. Dieser Modus ist die beste Allgemeineinstellung egal ob Ihr Gerät nun auf einem Dreibein befestigt ist, auf der Bühne steht oder in ein größeres System mit mehreren Komponenten eingebunden ist. Playback: Der Playback Modus ist optimal für voraufgezeichnete Musik. Funktionell ist dieser Modus dem P.A. Modus sehr ähnlich. Er beinhaltet jedoch eine EQ Kurve, die extrem tiefe und hohe Frequenzen betont, was ihn perfekt zum Abspielen von Musik eines CD/MP3 Players oder zur Benutzung von DJ Anwendungen macht. Floor Monitor: Der Floor Monitor Modus ist auch wieder ähnlich dem P.A. Modus, jedoch mit einer leichten Minderung des Tieffrequenzberiches, was eine Bass Frequenzkopplung unterdrückt wenn man den Monitor auf den Boden stellt. Wenn der Lautsprecher angeschaltet ist während er sich in einer horizonatalen Position befindet wird der Floor Monitor Modus automatisch eingeschaltet. Sie können dann immernoch den Modus wieder umstellen wenn Sie möchten. Keyboards: Der Keyboard Modus optimiert den L3t zur Nutzung als Backline Verstärker für ein Keyboard-Rig. Dieser Modus hat eine fixen Frequenzgang mit einer 3.5kHz Trennfrequenz, was zusätzliche Energie an die Membran liefert und so eine wärmere Resonanz erzeugt, die besser ist für Instrumente. Acoustic Guitar: Der Acosutic Guitar Modus ist auf warme und balancierte Verstärkung für akustische Instrumente optimiert. Dieser Modus hat eine 3.5kHz Trennfrequenz mit maßgeschneiderter Tieffrequenz um Dröhnen zur vermindern, welches entstehen kann wenn man akustische Instrumente verstärkt. Außerdem optimiert dieser Modus noch die Abstimmung des Lautsprechers um eine Aufwärtsneigung zu simulieren und so den Ton auf den Künstler zu richten. Electric Guitar: Der Modus Electric Guitar wurde für den modernen Gitaristen entworfen, der ein Multi-Effekt Floorboard wie das Line 6 POD® benutzt. Anstatt das das Signal vom Floorboard an den Verstärker gesendet wird, simuliert der Lautsprecher den Ton einer 212 Combo anhand eines angepassten Gesamtfrequenzganges. Die doppelten 10" Lautsprecher spielen hier die volle Spektrum. Das Horn fügt nur noch die kleinste Verfeinerung hinzu. Funktionieren die StageSource L3t und L3m als Bodenmonitore? StageSource L3t und L3m haben zwei Sätze von ausklappbaren Ständern, die benutzt werden können um den Lautsprecher auf den Künstler zu richten. Die zwei Ständer auf der Rückseite des L3t und L3m können ausgeklappt werden um einen Winkel von 60° zu erzeugen und der Tragegriff kann ausgeklappt werden und dient so auch als Ständer mit einem Winkel von 30°. L3t und L3m enthalten beide einen Smart Speaker Modus, der die Lautsprecher als Bodenmonitore optimiert. Wenn der Lautsprecher angeschaltet ist während er in horizontaler Position ist, schaltet sich der Floor Monitor Modus automatisch an. Für eine Anleitung schauen Sie sich bitte dieses Video an: " " (Englisch) Wie funktioniert das L6 Link Netzwerk mit den StageSourde Lautsprechern? Dieses Video beschreibt die Nutzung von L6 Link: " ". Wenn Sie Lautsprecher in ein L6 Link Netzwerk einbinden wollen empfehlen wir die Nutzung von 110 Ω AES/EBU XLR Kabeln. Kann man die StageSource Lautsprecher auf eine Stange montieren? Die StageSource L3t und L3m haben beide eine standard 35mm Einfassung. Das L3s hat drei Einfassungen (Eine oben und zwei auf der rechen Seite.) um Line 6 M20 Stangen zu befestigen. Die Teilenummern für M20 Stangen sind: "Short pole" – Zum Aufbau eines L3t/L3m Turmes. (Nummer 98-037-0003) "Long pole" – Zum Aufbau eines L3t/L3m Turmes. (Nummer 98-037-0004) Was ist die ordnungsgemäße Methode zur Aufhängung meiner StageSource Lautsprecher? Die StageSource L3t und L3m Lautsprecher bieten vier M10 Befestigungspunkte für die Aufhängung und einen M10 Befestigungspunkt um den Lautsprecher nach hinten zu ziehen und auszurichten. Diese sind dazu entworfen, von einem qualifizierten Professionellen mit ausreichend Rigging-Erfahrung, den Lautsprecher aufzuhängen. Nicht ordnungsgemäße Befestigung oder Aufhängung kann denn Lautsprecher, die Aufhängung beschädigen und zu Verletzungen und Tod führen. ACHTUNG! Wenn Sie sich nicht mit der Aufhängung von Lautsprechern auskennen konsultieren Sie bitte einen autorisierten, qualifizierten Professionellen vor der Installation. ACHTUNG! Vor dem Riggen oder Aufhängen eines Lautsprechers müssen Sie immer jegliche Hardware, Boxen, Befestigungspunkte, Wandler, und alle anderen angeschlossenen Geräte überprüfen. Jedes fehlende, verbogene Material oder Material, welches keine Belastbarkeitsmarkierung hat, könnte die Festigkeit des Aufbaus kompromittieren und sollte umgehend korrigiert werden. ACHTUNG! Folgen Sie immer den kommunalen Bauvorschriften sowie lokalen, staatlichen und föderalen Sicherheitsrichtlinien in Bezug auf den Aufbau und Betrieb von Lautsprechern und dazugehörigen Peripheriegeräten. Benutzen Sie immer zwei Befestigungspunkte entweder oben oder unten des L3t/L3m. Der hintere Befestigungspunkt ist ausschließlich zur Ausrichtung des Lautsprechers abwärts (wie auf folgendem Bild) und darf nicht als tragender Aufhängungspunkt benutzt werden. Für permanenten Aufbau, benutzten Sie bitte ausschließlich das Line 6 Eyebolt Kit (Teilenummer: 98-037-0005) Kann ich ein anderes Crossover mit meinen StageSource Lautsprechern benutzen? Die Nutzung eines externen Crossovers mit L3t Tops und L3s Subs ist nicht empfohlen. Die Verbindung der Beiden via Line 6 Link aktiviert das interne Crossover und die digitale Signalverarbeitung. Wenn Sie jedoch den L3t Lautsprecher mit einem Subwoofer eines Drittanbieters verbinden könnte ein exteres Crossover von Nöten sein. In diesem Fall müssen Sie dann die Main Outs des Mixers in die Crossover Eingänge stecken. Verbinden Sie den Hoch-/Mittenfrequenz Ausgang des Crossovers mit dem Line Level Eingang des L3t oder L3m Lautsprechers und verbinden Sie dann den Ausgang der Tieffrequenz des Crossovers mit dem Line Eingang des Subwoofers (sofern mit externer Stromversorgung ausgerüstet) oder in die Endstufe, die Ihren passiven Subwoofer versorgt. Kann ich einen anderen Treiber auf die StageSource Lautsprecher installieren? Die Lautsprechertreiber, die auf den StageSource installiert sind benutzen speziell für die Modelle entworfene Treiber und Lautsprecher Modi. Das Wechseln der Treiber kann Performance und Verlässlichkeit beeinträchtigen außerdem hebt es die Herstellergarantie auf. Wo kann ich meine neuen StageSource Lautsprecher registrieren? Line 6 Produkte können auf Ihrem Line 6 Benutzerkonto registriert werden: Hier. Wo kann ich mehr Informationen über Live Sound finden? Versuchen Sie es hier: Live Sound Resources und hier: Live Sound Glossary of Terms. (Englisch) Où est-ce que je peux trouver des manuels et spécifications des haut-parleurs StageSource? Manuels d'utilisations et spécifications du StageSource L3t ici, les manuels et spécifications du L3s ici et pout le L3m, vous les pouvez trouver ici. Comment est-ce que j'utilise le StageSource L3t ou L3m? Consultez notre vidéo tutoriel " " (anglais). Quelques exemples communs pour installer les haut-parleurs StageSource: Ici. Que sont les modes Smart Speaker? Les StageSource L3t et L3m utilisent 6 modes Smart Speaker puissants basés sur DSP (Traitement numérique du signal) qui sont optimisés pour divers scénarios, comprenant les systèmes PA, comme retour de scène, les systèmes PA personnels, clavier en backline, guitare en backline ou comme système haut-parleur guitare de haute performance avec un processeur multi-effets de guitare. Ces modes Smart Speaker disponibles sont: Reference/P.A.: Reference/P.A. est pour renforcement du son live et a une réponse en fréquence fixée, une fréquence de coupure de 2.2kHz et une extension de basse-fréquence maximale. Ce mode est le réglage optimal si votre haut-parleur est monté sur un trépied, sur scène ou installé comme partie d'un système plus grande à plusieurs composants. Playback: Le mode Playback est optimisé pour la musique préenregistrée. Ce mode est similaire au mode P.A. mais a une courbe d'égalisation qui met l'accent dur les fréquences extrêmement basses et hautes que le fait le mode optimal pour jouer la musique d'un lecteur MP3 ou CD ou pour les applications DJ. Floor Monitor: Le Mode Floor Monitor est similaire au mode P.A. mais avec une réduction en contenu en fréquence basse pour neutraliser le couplage si vous le placez sur le sol. Si l'haut-parleur est allumé et en position horizontale, le mode Floor Monitor est sélecté automatiquement mais vous pouvez le changer si désiré. Keyboards: Le mode Keyboard optimise l'haut-parleur pout l'utilisation avec un rig au clavier. Ce mode a une réponse en fréquence fixée avec une fréquence de coupure de 3.5kHz, ce qu'ajoute d'énergie relative à la cône et offre une réponse améliorée pour l'utilisation avec des instruments. Ce mode change aussi le réglage du haut-parleur pour atteindre une inclination vers le haut et vise comme-ça le son vers l'artiste. Acoustic Guitar: Le mode Acoustic Guitar est optimisé pour l'expérience d'amplification en pleine-gamme équilibrée avec les instruments acoustiques. Ce mode a une fréquence de coupure de 3.5kHz avec une réponse en fréquence basse sur mesure pour réduire la résonance que peut se produire si on amplifie des instruments acoustiques. Le mode Acoustic Guitar change aussi le réglage du haut-parleur pour atteindre une inclination vers le haut et vise comme-ça le son vers l'artiste. Electric Guitar: Le mode Electric Guitar a été créé pour le guitariste moderne, qui utilise un floorboard come le Line 6 POD®. Plutôt que le signal sera transféré du floorboard au amplificateur, ce mode a une réponse de fréquence globale qui émule le son d'un ampli combo 212. Les deux haut-parleurs 10" jouent en gamme complète. Le Pavillon à chambre de compression ajoute seulement une peut de vivacité. Est-ce que StageSource L3t et L3m fonctionnent comme retour de scène? StageSource L3t et L3m ont deux séries de kickstands lesquelles peuvent être utilisés pour orienter le haut-parleur vers l'artiste. Les deux kickstands du panneau arrière déplient pour un angle de 60° mais la poignée de transport est aussi un kickstand qui déplie pour un angle de 30°. L3t et L3m comprennent un mode Smart Speaker optimisé pour l'utilisation comme retour de scène. Si le haut-parleur est allumé en position horizontale, le mode Floor Monitor sera sélecté automatiquement. Ce vidéo vous aide avec l'utilisation des kickstands: " " (anglais) Comment est-ce que L6 Link fonctionne avec les haut-parleurs StageSource? Regardez ce vidéo tutoriel: " " (anglais). Si vous connectez vos haut-parleurs avec un réseau L6 Link, nous recommandons un câble AES/EBU XLR de 110 Ω. Est-ce que je peux monter StageSource sur un poteau? Les StageSource L3t et L3m on une fixation pour un poteau standard 35mm. Le L3s a trois fixations (une en dessus et deux sur le côté droit) pour les poteaux Line 6 M20. Les numéros de pièces pour les M20 poteaux sont: Poteau courte pour L3t et L3m (N° de pièce 98-037-0003) Poteau longue pour L3t et L3m (N° de pièce 98-037-0004) Quelle est la propre méthode de suspendre les haut-parleurs StageSource? Les StageSource L3t et L3m ont quatre points de fixation M10 pour la suspension et un point de fixation M10 pour tirer et viser l'haut-parleur. Ces points sont créés pour la suspension du haut-parleur seulement par un professionnel qualifié avec pratique sûre. Installation incorrecte peut causer de dommage au haut-parleur, la structure ou blessure ou décès. ATTENTION! Si vous ne savez pas comment suspendre des haut-parleurs, consultez du personnel qualifié avant l'installation. ATTENTION! Avant que vous suspendiez un produit haut-parleur, vérifiez toujours tous le matériel, haut-parleurs, points de fixation, transducteurs et périphériques associés. N'importe quel produit manquant, déformé ou sans capacité de gain spécifiée peut compromettre la robustesse de l'installation et doit être corrigé directement. ATTENTION! Suivez toujours les codes du bâtiment municipaux et les directives de sécurité locale, gouvernementale et fédérale concernant l'installation et exploitation des haut-parleurs et périphériques associés. Utilisez toujours deux points de fixation en dessus ou dessous du L3t/L3m. Le point de fixation en arrière est uniquement pour viser le haut-parleur et ne peut pas être utilisé comme point de fixation portant. Utilisez uniquement les Line 6 Eyebolt Kits (Part # 98-037-0005) pour les installations permanentes. Est-ce que je peux utiliser un crossover différent avec les haut-parleurs StageSource? Ce n'est pas recommandé d'utiliser un crossover externe avec les L3t tops et L3s subs. Simplement connecter les deux via L6 Link active le crossover et DSP interne. Si vous soulez connecter le L3t avec un subwoofer d'un tiers, un crossover externe peut-être nécessaire. Dans ce cas, connectez les Main Outs du mixeur avec les entrées crossover. Connectez les sorties de fréquence mi/haute du crossover au panneau en arrière (Line Level) du L3t ou L3m et connectez la sortie de fréquence basse du crossover au Line In du système subwoofer (avec alimentation externe) ou au ampli de puissance qui fais fonctionner le subwoofer passive. Est-ce que je peux installer d'autres pilotes dans mon haut-parleur StageSource? Les pilotes sont spécialement conçu pour les haut-parleurs StageSource et les modes apprenantes. Le changement du pilote peut affecter la fiabilité et performance et annulera la garantie. Où est-ce que je peux enregistrer mes StageSource? Les produits Line 6 peuvent être enregistrés sur votre compte Line 6 ici. Où est-ce que je peux trouver plus d'informations sur Live Sound? Essayez ses liens (en anglais): Live Sound Resources et Live Sound Glossary of Terms.
  5. See attached document for StageSource L3m Specifications.
  6. See attached document for StageSource L3s Specifications.
  7. StageSource L3t Technical Specifications StageSource L3t combines multi‐function design, powerful DSP and precision components to deliver the perfect blend of high‐powered performance and true scalability. With Smart Speaker modes, an integrated mixer and digital networking, StageSource L3t delivers best‐of‐class performance across the widest variety of live sound applications. • 1,400‐watt, 3‐way, tri‐amped speaker system • 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‐band feedback suppression • On‐board accelerometer and pole‐mount sensors • Virtual Tilt‐back projects speaker’s output upwards in backline mode • L6 LINK™ digital networking for multi‐speaker setups • Multi‐function design for true scalability • Dual‐braced tour‐grade plywood enclosure with M10 suspension points • Retractable handles for easy portability
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