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Found 48 results

  1. In case anyone is wondering about connecting the Helix LT through the AES/EBU digital out I'll share my thread on this topic over at TGP. https://www.thegearpage.net/board/index.php?threads/helix-lt-aes-ebu-to-interface-s-pdif.2227695/ Original post: Someone will probably ask: My response:
  2. When recording your Pod Go do you use it as an interface and record digitally or do you send the analog outputs into another interface? I like the idea of going digital, but I don't like switching interfaces all the time. Is there a real difference in quality?
  3. i drive two selfmade FRFR active monitors in a stereo setup via AES/EBU on the Helix floor. Still a week ago, everything worked fine. The monitors are powerd each by a Hypex Module PSC 2.400 wich has multiple inputs (analog + digital) wich are autoswitching. Yesterdy i wanted to play (OK - i call in playing) and there was nothing. No sound, no noise - just silence. Did'nt change anything as far as i know. Tried then first to reboot, other cables, changing sides - nothing again. Via Headphone, everything ist ok. Via XLR out, everything is ok. Every output block is set to multi and as said - i changed nothing. The only thing i did the last time was the update to 2.82 but i'm not even sure, if the digital out worked once after the update or not. After a while, i found the digital output configuration in the globals set to S/PDIF instead of AES/EBU. Changing to AES/EBU - and everything was fine. So just in case someone has similar problems - check the global setings ;) - they might have been changed with the update. P.S. Sorry for my bad engish :(
  4. Hi! A quick question which has haunted me for the last few days.... So i use my Helix Pedalboard for recording with spfif. Means i connect the cables form my interface (NI Komplete Audio 6) to SPDIF in and out on my Helix. I pan the DI 100% R and my Amp tone 100% L. So i can record amp and DI tone digitally and still use my Interface as my main interface so i can have my monitors connected etc. Now i had some tracks recorded but the tone didnt fit the song so i wanted to Reamp it. I know you can do it easily with USB but as said, i want to have my Komplete audio still as my main Interface. Since i have SPDIF already set up i thought it was as easy as sending my DI track in the DAW (Studio One 4 pro) to SPDIF out and set the input on my helix to SPDIF. But my problem is that the SPDIF out shows signal but nothing comes out of the helix (or in for that matter). I tried a lot of things, for instant i send the DI to SPDIF L and R or and i treid paanning the output on the Helix differently or choosing a completely different output on the helix but.... NOTHING :( Does anyone know how to help me here or is there a video on how to reamp with SPDIF on the helix? I searched on youtube but didnt find anything... Thanks a lot!
  5. Français Deutsch 日本語 Below is a chart of the carrier frequencies for each channel in RF1 and RF2 mode. There are 2 frequencies in RF2 mode, because each channel has 2 carrier frequencies per channel. At the same time, each channel in RF1 mode has 4 carrier frequencies per channel. Line 6 Wireless Modes RF2 & RF1 The new V75, 55 and 35 default to RF2 mode, but include the ability to be switched into RF1 mode. 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. Just say no! You can check using the RF scan feature included in XD-V75 receivers. 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 RF1 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 set up to operate in RF1 mode if it is necessary to use the transmitters with older Line 6 receivers. Note: Relay G30 and G50 Receivers that have been updated to V2.0 firmware will *follow* the RF Mode that the corresponding G30 or G50 Transmitter is set to. Note: Encryption only works in RF2 mode. Please also note that the RF Performance feature (the sixth page on the XD-V75 receiver) is only functional when the Tx is in RF2 mode. To Set The THH12 Or TBP12 Transmitters (Including Relay G50/90): Enter Setup mode to display the current channel While holding down the SELECT button, press and release the ON/MUTE button on the THH12 or VALUE button on the TBP12, then release the SELECT button. The display will briefly show [XD-V75 RF1] or [XD-V75 RF2] to indicate whether it is operating in the old or new mode, respectively. This setting is retained when powering off, so as a reminder the display will also show this indication [RF1 or RF2] each time power is turned on. The XD-V75 receiver will display a [To] on the far right of the display to indicate while communicating with a RF1 software transmitter. [Tx] indicates units operating in RF2 mode. They must ALL be the same. The XD-V35 system ships set to the new dual frequency RF2 mode. To use an XD-V35 version transmitter with an earlier generation XD-V30 receiver (RF1 mode), you must change the transmitter from RF2 mode to RF1 mode. The method differs slightly between the handheld and beltpack. Setting THH06 And TBP06 Transmitters (Including G30) THH06 HandheldTransmitter Turn the transmitter off. Press and hold the channel SELECT button. While holding the SELECT button, press and hold the power ON button. The blue LED over channel 1 will flash three times to indicate that the transmitter is in the RF1 mode. To revert to the RF2 mode, repeat the above steps; the blue LED over channel 2 will flash three times when the transmitter is in this mode. TBP06 Beltpack Transmitter With transmitter off, set the Channel Select slide switch to channel 6. Turn on the transmitter. Immediately after the blue light blinks, slide the Channel Select switch completely left to channel 1 and back to channel 6. Do this 3 times total. This process must be completed within three seconds of turning on the transmitter. The blue LED will flash once to indicate that the transmitter is now in the 4-frequency transmission mode. To revert to RF2 transmission mode, repeat the above steps; the blue LED will flash twice when the transmitter is in this 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. Line 6 Wireless RF1 und RF2: Frequenzmodus wechseln Line 6 Wireless Modus RF2 & RF1 Die neuen Line 6 Wireless Sender V75, 55 und 35 werden im RF2-Modus ausgeliefert, sie können aber auch in den RF1-Modus umgeschaltet werden. Der RF2-Modus kann nicht benutzt werden, wenn ältere Line 6 2.4G Wireless-Geräte (inklusive Relay) am gleichen Ort verwendet werden, weil das zu Störungen bei beiden Gerätetypen führen kann. Welcher Modus gerade eingeschaltet ist, können Sie herausfinden, indem Sie die eingebaute Frequenzen-Scan-Funktion Ihres XD-V75-Empfängers benutzen.Um das Problem zu beheben, müssen sie entweder die neuere V2.0-Firmware auf ihre älteren Geräte aufspielen (dazu brauchen Sie Zugang zu einem V75-Empfänger und Monkey), oder sie schalten die neueren Modelle (beziehungsweise jedes Modell, auf dem die V2.0-Firmware läuft) in den RF1-Modus um.Wenn ein XD-V75-Gerät zu einem Setup hinzugefügt wird, das schon Geräte enthält, die im RF1-Modus laufen, kann das XD-V75 benutzt werden, um die älteren Geräte zu aktualisieren. Dazu brauchen Sie einen Computer mit Internetverbindung, der an den USB-Port des XD-V75 angeschlossen wird. Weitere Informationen dazu finden Sie in der Sektion über Firmware-Aktualisierung. Alternativ können Sie das Setup in den RF-1-Modus umschalten, um die Sender mit älteren Line-6-Empfängern zu verwenden. Bitte beachten Sie: Relay G30- und G50-Empfänger, die auf die V2.0-Firmware aktualisiert wurden, „folgen“ automatisch derjenigen Frequenz, auf die der dazugehörige G30- oder G50-Empfänger eingestellt wurde. Einstellen des THH12 oder TBP12 Senders (Inklusive Relay G50/90): Gehen Sie in den Setup-Modus, um den aktuellen Kanal anzuzeigen. Halten Sie den SELECT-Knopf gedrückt, drücken Sie dann den ON/MUTE-Knopf (beim THH12) beziehungsweise den VALUE-Knopf (beim TBP12) und lassen Sie ihn wieder los. Das Display wird kurz [XD-V75 RF1] oder [XD-V75 RF2] anzeigen, so können Sie sehen, ob der Transmitter im alten oder neuen Modus läuft. Die Einstellung wird beibehalten, wenn Sie das Gerät ausschalten. Zur Erinnerung zeigt das Display den jeweiligen Modus [RF1 oder RF2] beim Einschalten des Geräts kurz an. Der XD-V75-Receiver zeigt an der äußersten rechten Seite [To] an, wenn das Gerät mit einem RF1-Transmitter kommuniziert. [Tx] bedeutet, dass die Geräte im RF2-Modus arbeiten. Damit die verschiedenen Sender- Empfänger Generationen zusammen störungsfrei arbeiten müssen ALLE Geräte im gleichen Modus arbeiten. Bedeutet das Vorhandensein eines Senders im RF1 modus.Bedeutet das Vorhandensein eines Senders im RF2 modus. Das XD-V35-System ist bei der Auslieferung auf den neuen Dual-Frequenz-Modus RF2 eingestellt. Um einen XD-V35-Sender mit einem XD-V30-Empfänger der früheren Generation (RF1-Modus) zu verwenden, müssen Sie den Sender von RF2 auf RF1 umschalten. Die Vorgehensweise ist etwas unterschiedlich, je nachdem, ob Sie das Mikrofon- oder das Beltpack-Gerät verwenden. Einstellen des THH06 und TBP06 Transmitters (Inklusive G30) THH06 Handheld-Transmitter Schalten Sie den Transmitter aus. Halten Sie den Kanal-Select-Knopf gedrückt. Während Sie den Select-Knopf gedrückt halten, drücken Sie den Power/Ein-Knopf und halten Sie diesen ebenfalls gedrückt. Die blaue LED über Kanal 1 leuchtet dreimal kurz auf, um anzuzeigen, dass der Transmitter jetzt im RF1-Modus ist. Um in den RF2-Modus zurückzukehren, wiederholen Sie die oben genannten Schritte; die blaue LED über Kanal 2 leuchtet dreimal kurz auf, um anzuzeigen, dass der Transmitter im RF2-Modus ist. TBP06 Beltpack-Transmitter Bei ausgeschaltetem Transmitter den Schieberegler zur Kanalauswahl auf Kanal 6 stellen. Transmitter einschalten. Den Schieberegler sofort nach dem Blinken der blauen LED insgesamt dreimal auf Kanal 1 stellen, zurück auf 6 und wieder auf Kanal 1 schieben. (nicht vergessen: das muss dreimal geschehen) die Sequenz von 6 startend ist also : 6-1-6-1-6 Dieser Prozess muss nach Anschalten des Senders innerhalb von drei Sekunden geschehen. Die blaue LED blinkt einmal, um anzuzeigen, dass der Sender jetzt im RF1 Modus ist, Sie blinkt zweimal wenn man im RF2 Modus ist (auch immer nach Anschalten Status sichtbar) Um in den RF2-Ãœbertragungsmodus zurückzukehren, wiederholen Sie die oben genannten Schritte. Die blaue LED blinkt dann zweimal auf, wenn der Sender im RF2-Modus ist. Wichtig: Bitte beachten Sie, dass das Gerät den soeben eingestellten Modus (egal in welche Richtung) nur beibehält, wenn Sie das Gerät nach dem Wechsel kurz aus- und wieder einschalten. Dadurch wird der aktuell eingestellte Modus gespeichert. Wenn sie vorher eine Batterie eingelegt haben, springt das Gerät zurück zum zuletzt gespeicherten Modus. Line 6 sans fil RF1 et RF2: Changement de modes Les modes de transmission RF2&RF1 Line6 Les nouveaux systèmes sans fil V75, 55 et 35 utilisent le nouveau mode de transmission RF2 par défaut, mais possèdent la possibilité de changer en mode RF1.Il n’est pas possible d’utiliser des appareils qui utilisent le mode RF2 s’il y a des anciens appareils RF1(V70 our Relay) sur la même scène ou dans le même bâtimentSi vous l’essayez, vous allez très probablement voir des erreurs de communication sur les anciens et nouveaux systèmes. Il suffit de ne pas les combiner ! Vous pouvez vérifier la présence d’émetteurs RF1 /FR2 en utilisant la fonction « CHANNEL SCAN » RF dans les récepteurs XD-V75. Vous devez soit mettre a jour les anciens modèles vers la version 2.0 ou vous pouvez changer les modèles déjà équipés de la version 2.0 en RF mode 1. Pour mettre à jour un ancien modèle, vous avez besoin d’un récepteur XDV75, un ordinateur et le logiciel Monkey. Si une XD-V75 est ajouté à une installation qui comprend déjà des appareils fonctionnant en mode RF1, le XD-V75 peut être utilisé pour mettre à jour les appareils plus anciens vers RF2 mode.Pour mettre à jour les modèles précédents, vous devrez avoir accès à l'Internet et une connexion USB entre le XD-V75 à l'ordinateur Voir la section Mise à jour ‘’Firmware Procedure’’ pour de plus amples renseignements. Alternativement, les émetteurs XD-V75 peut être configuré en mode de RF1 s'il est nécessaire d'utiliser des émetteurs avec les anciens Line 6 récepteurs. Remarque : Les récepteurs Relay G30 et G50 qui ont été mis à jour avec le firmware V2.0 suivent automatiquement le mode RF de l’émetteur correspondant. Pour changer le mode RF des émetteurs THH12TBP12et G50/90: Entrez en mode de configuration pour afficher le canal actuel Maintenez le bouton SELECT et pressez et relâchez le bouton ON / MUTE ou la touche VALUE sur le TBP12. L'écran indiqué brièvement [XD-V75 RF1] ou [XD-V75 RF2] pour vous indiquer le mode actif. Également quand vous mettez l’émetteur en marche.Ce réglage est conservé lorsque vous éteignez l’émetteur. Le mode actif [RF1 ou RF2] s’indique chaque fois que l'appareil est allumé. Le récepteur XD-V75 affichera une Icône ( To) à la droite de l'écran pour indiquer le mode RF2, ( Tx)s’indique que l récepteur est en communication avec un émetteur dans mode RF1. Ils doivent tous être les mêmes.montre la présence d’un émetteur RF1montre la présence d’un émetteur RF2 Le système XD-V35 est déjà réglé à la nouvelle fréquence RF2.Pour utiliser un émetteur XD-V35 avec un récepteurXD-V30 d’ancienne génération RF1 vous devez changer l'émetteur de RF2 mode RF1. La méthode diffère légèrement entre le modèle micro THH06 et le modèle ceinture TBP06 (et G30). Pour changer le mode RF des émetteurs THH06TBP06et G30 THH06 émetteur micro : éteignez l'émetteur. appuyez et maintenez enfoncé le bouton SELECT canal. tout en maintenant la touche SELECT, appuyez et maintenez le bouton d'alimentation. Le LED bleu sur le canal 1 clignote trois fois pour indiquer que l'émetteur est en mode RF1. pour revenir en mode RF2, répétez les étapes ci-dessus, le LED bleu sur le canal 2 clignote trois fois lorsque l'émetteur est dans ce mode. TBP06 émetteur ceinture : mettez le sélecteur de canal sur 6. éteignez l'émetteur. allumez l'émetteur et changez immédiatement après vous voyez la DEL bleu le canal vers 1, vers 6 et vers 1. Répétez ca TROIS fois (la séquence est donc 6-1-6-1-6 (commencez sur 6) ce processus doit être achevé dans les trois secondes après la mise sous tension de l'émetteur. le LED bleu clignote une fois pour indiquer que l'émetteur est maintenant dans le mode de transmission RF1. Pour revenir en mode RF2, répétez les étapes ci-dessus le LED bleu clignote deux fois lorsque l'émetteur est dans ce mode. Remarque: Pour sauvegarder le changement de mode RF dans l’émetteur, il vous suffit de l’éteindre et de le rallumer avec avec le commutateur ON/OFF.Si vous enlevez les piles, l’émetteur se met dans le dernier mode RF saufgardé. 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  6. ****If you recently purchased a Relay V75-SC Super Cardioid Microphone and that capsule does not have microphone models when placed on another XDV-75 handheld microphone body, then you will need to update the firmware on that handheld microphone to version 2.10. Instructions for updating Line 6 wireless systems can be found in other Knowledge Base articles.**** Range XD-V 70/75 systems are rated at 300 feet under ideal conditions and the XD-V30 systems are rated at a 100 foot range. This ‘Open Air Wireless Range’ also known as ‘Line of Sight’, meaning the transmitter’s antenna must have a clear path to the receiver’s antenna and be reasonably free of interference. For best performance ‘Line of Sight’ should be maintained between the receiver’s antennas and the transmitter’s antennas. Radio waves travel in straight lines and do not go around corners. Barriers such as walls can impede the path of radio waves depending on the thickness and the type of construction. RF will not transmit efficiently through metal barriers. If you have aluminum siding or a metal roof, it is unlikely the RF signal will transmit through this barrier with much efficiency. When using wireless systems indoors you could experience a moderate reduction in range compared to outdoors depending on conditions. RF will not transmit through the earth so if the receiver is placed in the basement, and the earth or ground is obstructing the line of sight transmission, it will not receive the direct signal. Human bodies also absorb RF energy and can affect maximum range so remember to place your antennas accordingly. Avoid cupping the bottom of the handheld mic as it will block the antenna resulting in a loss of range. Another significant reduction of range can be expected if the receiver antennas for the XD-V systems are very close to other intentional radiators in the same frequency band such as Wi-Fi wireless access points. Using the XD-V70 with remote paddle antennas and separating the antennas by several feet can be an effective way to mitigate this condition. Interference Q: What is the difference between Analog and Digital wireless systems handling of interference? A: Since the XD-V wireless system is digital, it is able to ‘intelligently’ ignore all signals that are not specifically intended for it. As a result, no audible interference can be generated due to other RF signals occurring simultaneously with the XD-V RF signals. Additionally, the XD-V system utilizes a frequency diversity system in which four different RF frequencies are transmitted for each single audio channel. Only if there are errors or loss of signal on all four RF frequencies within a single transmission packet will an XD-V system mute. Loss of RF signal can be the result of trying to function at too great a distance, having unintentional transmitters too close to a receiver (near/far), or a significant amount of close-by RF signals within the same 2.4GHz range (Wi-Fi, microwave ovens, etc.). In all cases, the symptoms will be the same: reduction of RF LEDs on the front panel that indicate usable RF signal strength, followed by the audio signal muting. Once good enough RF signal is received again, the signal will unmute. Put simply, all forms of potential interference for the XD-V system will have the net effect of reducing the total usable distance for the system. If your application does not require maximum range, then typically little concern about other radio signals is required. If you intend to use your system at a distance, it is recommended that you ‘walk test’ your system in advance of an event to verify that sufficient RF signal is available to avoid mutes from occurring over the entire desired range. Output Level Q: Why does the level change when I swap an XD-V digital wireless with my old wireless system? A: XD-V digital wireless are designed to be the same as a wired mic and are "unity" at the receiver's output relative to input to the transmitter. Most other wireless systems have gain stages that amplify the signal above the mic level itself. This means there is no relationship between the input level to the transmitter and the output level of the receiver. If the gain has been turned up on your old system then you will likely notice a drop in level when you hot-swap with an XD-V. This is a simple ‘gain-structure’ issue and is not a measure of sound quality. So if you hot-swap an XD-V wireless with the same mic as the model you have selected you will not need to make any changes to your gain structure. If you are replacing an older wireless unit that has gain added, you will need to balance the trim (gain) controls on your mixer inputs to accommodate the ‘unity mic level’ of the XD-V. This is why mixer inputs have gain adjustments ‘¦ so you can properly match mic preamp gain to the input source. Remember, XD-V digital wireless is mic level output only and must be plugged into a mic level input and not a line level input. If the trim controls are calibrated on your input strips a gain of 25-30 dB will probably be in the ballpark with an average vocalist. Frequency/Channels Q: What is different about the XD-V systems compared to the XDR-955? A: The XD-V30/XD-V70 systems use a higher frequency (2.4 GHz) and operate on 6 or 12 channels respectively, rather than 5. The XD-V channels numbers do not correspond to 802.11 Wi-Fi channels however. Q: Can the XDR-955 microphone be used with the XD-V systems? A: Both systems run in completely different frequency ranges so they are not inter-compatible, but X2 and XD-V units can be used on the same stage (along with any other analog wireless systems) with no problems. Q: Are the Relay G-series components compatible with the XD-V series components (or vice versa)? A: Because they both operate in the same 2.4 GHz frequency range, they are compatible. Q: Do the XD-V digital wireless systems share channels with the Relay systems? A: Both XD-V systems share their first 6 channels with the Relay G30. The XD-V70 shares all 12 of its channels with the Relay G50 and G90 models. A total of up to 14 systems can potentially be combined if the V70 firmware has been updated. Batteries and Power Supplies Q: Can I use rechargeable batteries? A: Yes, but the hours and minutes are calibrated to alkaline batteries. Different battery chemistries discharge at different rates, therefore the battery meter reading may be inaccurate when alkaline batteries are not used. The run time will be directly related to the current capability of the batteries. Some experimentation will be necessary to determine how they perform for you. Carbon Zinc batteries should not be used with XD-V wireless systems. Q: Why is the battery meter higher when I restart than when I shut off the transmitter? A: Line 6 2.4G wireless transmitters have a circuit that measures the actual real-time voltage of the installed batteries and transmits that data to the battery meters in the receivers. The battery meters are very accurate when they have been running continuously since new batteries were installed in the transmitter and the transmitter power has not been cycled on and off. However due to the chemical nature of Alkaline batteries, when they have been shut off, the voltage begins to ‘rebound ‘ and the voltage actually increases compared to its value at shutoff. Unfortunately it does not last long and it reverts to true self over twenty minutes or so. For this reason when you first turn on a Transmitter that has been run but allowed to rest the meter will give a high reading that quickly falls over the first few minutes and continues to fall quickly for the first few minutes. This is normal behavior for Alkaline batteries. Q: What's the battery life of XD-V digital wireless systems? A: Battery life depends on the current capacity of the batteries used. Typically AA alkaline batteries can provide about 2400 mAh and will provide about 8 hours of continuous use from two AA alkaline batteries when run on "high" power. Typically you will get 10 hours on the "low" power setting. Be aware of "alkaline rebound" when turning off the unit and turning it back on, as it may look like it has more power than it really has. Antenna Distro Q: Can the RX212 Receiver antennas be linked together? A: Up to 6 receivers can be daisy-chained together using the built-in antenna distro system. LMR-195 antenna cable is required for linking up multiple XD-V receivers. The last unit in the chain should be "terminated" (using the supplied term plugs) when linking receivers together. (Please see the Advanced User Guide). External Antennas Q: What type of antennas work with the XD-V70 receiver (RX212)? A: Line 6 offers both "omni"(P360) and "patch" (P180) directional paddle style antennas as options. http://store.line6.com/. These antennas have built-in line amps to accommodate long cable runs (up to 100' or more) depending on cable type. Antennas connect to Line 6 receivers with BNC connectors. LMR-195 cable (or better) should be used and the gain switch should be set to match the approximate loss of the cable. There are many specialty antennas made by third parties that may also be used. They must be specifically tuned for the 2.4GHz band. You must remember to take into account line loss when using passive antennas Mic Capsules for XD-V Handheld Transmitters Q: What mic capsules can be used with the XD-V handheld transmitters? A: XD-V Handheld transmitters have been designed to allow for the use of interchangeable capsules from 3rd party manufacturers such as Earthworks, Telefunken, Shure and others. However since there is no actual standard for compatibility there is some risk of unintended signal or mechanical issues. Users are advised to test specific combinations prior to purchase. Before replacing a capsule the power should be shut off. Simply screw on the desired capsule, then turn on the power. Mic modeling is bypassed (and not available) when using 3rd party capsules. Depending on the level of the capsule and the loudness of the person singing/speaking into it, the Environment filter may need to be switched ‘off’ if a gating sound occurs. Using Third Party Mics w/ Beltpacks Q: What is the pin-out for wiring to a TA4F connector? A: Pin 1 - Gnd Pin 2 - V+ Pin 3 - Signal Pin 4 - Z (leave open for instrument)(short to pin 3 for mic) For a normal, everyday, run-of-the-mill, Tip/Sleeve (TS) connector for a 1/4" instrument cable end,... the signal goes from 1/4" Tip to TA4F pin-3 (Signal), and 1/4" Sleeve goes to TA4F pin-1 (Gnd). Don’t worry about pins 2 and 4, those are used for Lavaliere Mic connections. Q: What mics work with the XD-V70 Beltpack Transmitter A: Questions often come up as to what mics are compatible with the system and how to adjust the gain to match other wireless systems. Line 6 XD-V70 beltpacks (TBP12) are essentially unity level devices meaning the output voltage of receiver essentially matches the input voltage of the transmitter. So it raises the question’¦ ‘match the level to what?’. Traditional systems are essentially a mic coupled with a preamp, not just a microphone alone. This may require thinking about your system in a new way. With traditional wireless systems that have limited dynamic range, gain and level control are essential if one hopes to have reasonable hiss free operation without excessive distortion. No gain or level matching is required when using XD-V wireless systems because of the XD-V’s wide dynamic range and compander free operation. So the system gain requirement is to have the speech or vocal input to the microphone present an appropriate level into the mic preamp so that the preamp can raise the voltage to be optimum into the next stage of the mixer. Gain is likely needed somewhere in this chain, but as long as the mic preamp has enough gain available there is no problem re-adjusting the input trim to do this. Just turn it up as much as needed. Just remember to plug the output of the XD-V into a ‘mic level’ input on the mixer as it is not intended to be used into a ‘line level’ input. In order to be able to certify a mic and being compatible one would have to know the distance from the user’s mouth and the level of their singing/speech. The sensitivity of both the Line 6 HS70 and the LM4-T lav mic is -46 dB, so using a mic that is approximately the same in sensitivity will result in a similar output voltage to the factory supplied mic. If a lower sensitivity mic were used with any traditional wireless system you would need to turn up the gain in the transmitter, receiver and/or the mixer. If the levels of these three controls are not in perfect sync with each other the result will be extra distortion or extra noise/hiss. With Line 6 XD-V is greatly simplified. Simply make adjustments at the mixer (in the same way as you work with a mic with a cable). Much less complicated (although it may be different than what a user is used to) it insures maximum headroom and far less chance to get it wrong. Just turn up the mixer, that’s why the knobs move. Remember, the relative position of a knob means almost nothing. The correct place is the correct place’¦ no matter where it occurs on the rotation. Examples: Shure® WL-185â„¢ lav is -45.5 dB WL-184â„¢ lav is -44.5 dB’¦ so these mics would be almost identical to The Line 6 LM4. WH30TQâ„¢ headset is -55 dB so it will need a 10 dB boost of the mic trim control on the mixer as compared to the LM4-T to have the same level. Countryman® E6 headsets come with different sensitivities and are specified per application. The E6ow5â„¢ is for general speaking and is the closest to our LM4 levels The E6ow6â„¢ is for strong speaking and singing The E6ow7â„¢ is for ‘powerful vocals’ and will seem very quiet if used for ‘normal speech’ as compared to our LM4-T. This would likely be a poor choice for general speech but could be the proper mic for a screaming singer. Countryman also provides caps to cover and further modify the mic element which can provide additional gain. Audio Technica® AT831â„¢ lav is -46 dB AT898â„¢ lav is -46 dB * Please double-check that the Audio Technica mic is a model equipped with the TA4F connector. You may need to special order a unit with the correct connection type or refit your existing cable end with the TA4F plug. DPA® 4066â„¢ omni headset is -44 dB 4061â„¢ omni lav is -44 dB 4060â„¢ high output omni lav is ‘“ 35 dB good with very quiet talkers or if the mic is some distance from the performer. Microphone sensitivity does affect the performance of the Environment Filter. If the sensitivity of the mic used is too low there may be audible artifacts. Depending on the situation it may be advisable to switch the filter to ‘off’. Racking V70/75 Receivers Q: How do I connect multiple receivers for rack mounting? A: The XD-V 70/75 half rack sized receivers can be locked together to become a single rack width using the supplied "dovetail key". When mounting a pair of receivers side by side, start with the dovetail inserted approximately half way in the side groove. Then start the second unit, from the front towards the rear and slide until they are closely aligned. A small tap with a mallet and block will align and secure the key in place and level the front faces. Use the short rack ear supplied with each receiver to complete the pair. Multiple rack pairs can be linked together by using dovetail keys in the top and bottom slots of a rack pair. When assembling more than a single pair it is recommended that the left ‘half’ and the right ‘half’ be assembled first and then the ‘halves’ joined together into the 19’ assembly. Wi-Fi Interference Q: Why does my Wi-Fi slow down when I get my transmitter near my computer? A: Because Wi-Fi and Line 6 2.4GHz wireless products share the same frequency band-space. Some users may experience a slowing down or even interruption of their Wi-Fi capabilities when using microphone or instrument transmitters in close proximity to their computers or routers. This is an example of a near/far interference problem and it may be intensified because consumer grade Wi-Fi typically has limited RF dynamic range. Using more XD-V channels operating at the same time will create more competition to Wi-Fi than a single channel would. If your Line 6 transmitter gets within 6 feet of your laptop you may witness this situation especially if your Wi-Fi access point is some distance away. Typically, simply moving your Line 6 transmitter farther away from your computer will remedy the situation. Users of Line 6 twelve channel systems can switch their transmitters to the ‘low power’ setting as this will mitigate the problem as well. If you are using the system outside the USA you can likely switch your Wi-Fi channels to 12, 13 or 14 depending on your location. The frequencies for these channels are outside the Line 6 2.4GHz frequencies. Likewise, switching Wi-Fi to 802.11n in the 5GHz band will avoid Line 6 wireless frequencies and double your potential Wi-Fi throughput. Suggested channels settings to avoid interfering with Wi-Fi. If your wifi network utilizes the channel listed, use the channel # listed under the Line 6 wireless channel column. Troubleshooting Q: Why am I getting dropouts? A: Assuming no hardware issues, dropouts generally occur because of local conditions. Do I have clear line of sight? The transmitter antenna should be able to ‘see’ the receiver’s antennas. Is your audience blocking the line of sight? Raising antennas to 6-8 feet high will often fix this problem. Make sure you are not being blocked by obstacles such as metal posts, walls, etc. Are your antennas connected firmly and splayed at 90 degrees? If they are straight up and down you could fall victim to a dead zone. Are other XD-Vs operating on the same channel? Each system needs its own unique channel to operate on. Do you have the receiver’s antennas near any intentional transmitters such as walkie-talkies, In-Ear Monitors, etc? They will need to be separated. The distance will depend on the strength of the transmitter and the gain of the transmitting antenna. Are you using the factory power supply? If you are using a substitute supply you must make certain it can supply the required 9vdc at 350 ma. Q: Why is the signal so weak compared to other wireless systems? A: XD-V digital wireless systems have "mic level" outputs (both XLR and 1/4" jacks) and need to be connected in the same manner as wired microphones are and with similar gain/trim settings. Plugging into a "line level" input or a channel with pads engaged will result in a weak and likely noise signal. The preferred connection is with the XLR output on the receiver to an XLR input on the mixer. The 1/4" output is unbalanced and is included as a convenience for users plugging into instrument amplifiers. It is important to NOT use TRS plugs into this jack as the "ring" is used for system upgrades and carries digital information that could be "noisy" if it were connected to an audio input. Q: Why is the sound so "thin"? A: This may be caused by the "Environment Filter" is the signal is too weak, especially when using lav mics. Try turning the filter to the "off" position. Q: What does the Near/Far spec mean? A: The Near/Far interference problem is common to all radio systems and happens when a strong RF signal in the same band uses a large portion of the available gain in a receiver making it difficult or impossible for the receiver to decode the weaker signal. Imagine having a conversation in a quiet room with a person 20 feet away from you. It is likely that you can carry on a conversation with normal voice levels. Now if you move to a noisy environment, with lots of other voices right around your ears, it may be very difficult for the conversation to continue with your long distance friend without the both of you shouting. A similar circumstance occurs with radios, and since the long distance transmitter is incapable of increasing its power output, it is very likely a very near transmitter may interrupt it. In the real world, this is rarely an unmanageable problem. You should avoid having a transmitter closer than 3 feet to a receiver that is not on your channel if the intended transmitter is more than 50 feet from this receiver. If this is a regular requirement you should install remote paddle antennas (G90, XD-V70 series). The near/far spec for XD-V70 is 50’/3’ which means if another transmitter (even though it is on a different channel) gets within 3 feet of your channels antennas at the same time you get 50 feet away the system could be affected in a negative manner.. By increasing the distance between antennas (using the paddle antennas) or simply raising the units up higher, it will become far less a possibility. LED Codes Q: What do the different LED colors mean on the XD-V system components? XD-V70 System THH12 Handheld Transmitter: No LEDs (see owner’s manual for LCD screen info) TBP12 Beltpack Transmitter LED states: Blue LED = power/>1hr battery life Solid red LED = Low Flashing red LED = Very Low/Change batteries Audio LED = Green LED (indicates audio signal) RX212 Receiver: Audio Green LEDs = audio signal present Battery Green LEDs = full battery life Red LED = less than two hours remaining Flashing red = Very Low / Change batteries RF Transmitter on same channel as receiver: Green to indicate signal strength/quality: from 5 Green = Data excellent, interference low to 1 Green meaning Data minimal, may have significant interference. When transmitter is off, or set to different channel than receiver these LEDs show as follows: No LED = No data, no interference 1 Red = No data, some potential interference up to 5 Red = No data, high potential interference. XD-V30 System THH06 Handheld Transmitter LED states: Channel LEDs - Illuminates blue to show the current active channel THH06 is transmitting on. Channel 6 LED will illuminate red when battery life is low and blink red when very low (change batteries). TBP06 Beltpack Transmitter LED states: Audio Green LED = Audio Signal Orange = On power/channel change Battery Blue LED = power/>1hr battery life Solid Red LED = Low Charge Flashing Red LED = Very Low Charge Purple: On channel change RXT06 Receiver LED states 3 Green = Data excellent 2 Green = Data OK, may have some interference 1 Green = Data minimal, may have significant interference No LED = No data, no interference 1 Red = No data, some interference 2 Red = No data, more interference 3 Red = No data, high interference 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
  7. Device Positioning for Updating XD-V7x Transmitters and Receivers Updating the TBP12 Transmitter (Relay G50, G90, XD-V55L, XD-V70L, XD-V75L) Updating the TBP06 Transmitter (Relay G30, XD-V30L, XD-V35L)
  8. Support video tutorials expanding on what is covered in the two KB Documents: How to Update the XD-V7x via USB & Device Positioning for Updating XD-V7x Transmitters and Receivers 1. Updating the XD-V75 Receiver (View this video FIRST before the following target device video!) 2. Updating the XD-V70 Receiver (all other Line 6 receivers with 1/4" to 1/4" stereo/TRS connections can use this example)
  9. Hey Helix fans, I am trying to get a descent sound from my Helix LT direct to PA through XLR. Problem is: it always sounds to edgy/fizzy when using any kind of distortion And instead of adjusting each effect with a super low "treble" setting, I'd prefer to use them just as I would real pedals into an amp, so I stay familiar with them. I've added a global high-pass filter to 8k... but still, I find it kinda just gives a "pillow over speaker" effect Any Amp/Cabinet combo settings you would suggest that might be ideal? Any suggestions for global settings? EQ settings? Thanks everyone
  10. I think the hexil is a great unit, GREATS AMPS SIMULATIONS!!! but They are missing some essential things like delays, where is digital delay with modulation? Another think is how to clone a tc2290, a sdd3000 or a eclipse? Helix has a lot of potential but line6 has a long road ahead. Another think to improve is to have presets references , for example to do simmer.
  11. I have a strange problem. I made a preset as seen on the picture: The signal paths are as follows: Path 1A is a seperate path to be usaed for a microphone so I can put some effects on my voice. Path 1B is for guitar and continues to path 2A. Pathe 2A splits after the amp to path 2B with a Y-split. Path 2B Contains some post amp effects. I do this to have a signal without the delays going to the output as wel as a singnal with delays. This makes my guitar playing more articulate, not completely being delayed. Both 2A and 2B ar set to Digital output because I send to my DT25 through Line6 Link. The problem (bug?): If I change the output to something else I can't return to Digital. Somehow the digital output is not available, eventhough it's selected allready. Why is this? Am I doing something wrong? Is it a bug?
  12. Hi guys. I'm looking at purchasing the Line6 POD HD500x. I want to combine this multi fx unit with a few analog pedals I have and possibly also my amp distortion (marshall jcm 900). I want to keep all my nice analog overdrive and distortion sounds that I use live already but I want to then add some sweet line6 delays, reverbs etc on top of this. Can I do this with the Line6 POD HD500x and will it affect my nice analog core sound that I've already got going? Cheers Jack
  13. Hello everyone, I'm having trobule with S/PDIF on Line 6 UX -2. I'm using windows 7, and cubase 5 and motherboard is Gigabyte GA - MA770-UD3... I connected S/PDIF cable on motherboard and on the UX2. On sound manager I put to Default device (Playback) is "Realtek High Definition Audio" and so in Realtek HD Audio Manager. When I play some music on my PC, the 'vu metar' is showing me to something is playing on Realtek Digital Output, but I can't hear anything on my speakers, when I changed to the default device is "Line 6 UX 2" I can hear music on my speakers... So, can anyone help me about this? Thanks
  14. Hey guys, as many of us use a digital amp like a Pod, AxeFx or Kemper in combination with some wireless system (e.g. a relay...as you read this post ;) ), our signal path is quite full of AD and DA conversions. Therefore I'm thinking of a wireless unit that has digital outputs as well as the good old analog jack. Most of those digital amps have spdif (coax) in- and outputs, hence a spdif-out in the wireless receiver would be nice to have. Are there already plans for such a wireless systems? (Haven't found any topics regarding this with the board search :rolleyes: ) I hope there are some of you, who would like that kind of wireless system as well - if so, raise your voice :) ...the Sennheiser Digital 9000 with its AES-outputs is pricey for a "normal" user :D Greetings Stefan
  15. Below are all the 2nd and 3rd generation wireless products in one document: Wireless Comparison Sheet.xlsx
  16. Deutsche Version. Version française. Preparing the Room: Remote Antennas This guide outlines the steps involved in preparing the room so that you and your customers get the full performance benefits of Line 6 digital wireless systems. In order to maintain optimal antenna coverage and the best possible line of sight, it is sometimes necessary to mount the antennas remotely from the receiver chassis. Line 6 offers two remote antenna options, P180 directional and P360 omni-directional. Both the P180 and P360 have built-in amplifiers and are switchable for +3dB, +12dB or +23dB of gain, which correspond to approximately 16', 65' and 124' makeup gains for LM-195 cable. Greater cable distances can also be achieved with low loss cable such as LMR-400 (6.8dB per 100 feet) or 9913 (7.7dB per 100 feet). Directional antennas are recommended for precision reception of one or more transmitters on a stage. Omni antennas are recommended for general reception of transmitters in a wider space such as audience mics. ANTENNA ORIENTATION During setup, it is best to P180 directional antennas on boom mic stands angle the paddles down toward the performer and the area that the performer tends to move around in. Try to keep the antennas reasonably close together and overlap their coverage patterns as much as possible for redundancy and also to take advantage of the system’s time and space diversity, but they must be at least 5 inches apart. The following sections outline typical deployment examples. INSTRUMENT TRANSMITTER COVERAGE To cover a single transmitter used by a guitar player, the two remote antennas should be located at the edge of the stage as close to the performer as possible, pointed downward toward the guitar player’s bodypack, and angled slightly outward from each other in order to cover other parts of the stage that the performer may use. Above is a side view of the mounted remote antennas pointed toward the guitar player. Below is a stage view that shows the orientation of the remote antennas to the performer. MICROPHONE TRANSMITTER COVERAGE To cover a single microphone transmitter used by the lead vocalist, the two remote antennas could be located on either side of the drum set, pointed downward toward the singer’s microphone, and angled slightly inward in order to cover the main singer position as well as the other parts of the stage that the performer may use. MULTIPLE PERFORMER COVERAGE Use remote antennas together with the XD-AD8 antenna distribution system to cover multiple performers. The two remote antennas could be located on either side of the stage pointed toward the performers. The above illustrations are simply to offer general recommendations. In all cases it is recommended to walk your intended coverage area and check performance. Small adjustments can yield big improvements. Remember, antenna patterns should be selected with the thought of including or rejecting pickup of a selected area. Antenna Height and Angle Your remote antennas should be placed at least three feet above the floor in order to minimize RF reflections, and ideally the antennas should be raised just over the heads of your audience, but not too high overhead or up near the ceiling. Antennas placed too high up tend to pick up more undesired signals while increasing the distance from the performers you are trying to cover. Proper antenna height will maximize the range of your wireless system. The overall goal is to place the antennas as close to the performers as possible while also being as far away from any interference sources as you can. For example: if there is a WiFi router mounted to a wall or ceiling in the same room as the performance space, point the directional antenna away from the WiFi router and toward the performer. Antenna Distribution System Line 6 also offers the XD-AD8 antenna distribution system. The system allows multiple wireless receivers to share the same pair of antennas, giving greater flexibility in the configuration of multi-wireless installations. With rack-mounted wireless systems, setup is easier and the wiring connections are uncluttered, with the added convenience of powering the receivers from the AD8. L’installation des antennes Que vous organisiez une installation permanente, un événement ou une tournée. Vous devez installer vos antennes correctement pour assurer que systèmes sans fil performent parfaitement. Ce manuel décrit les étapes nécessaires pour recevoir le meilleur résultat des appareils Line 6 possible pour vous et votre client. Antennes à distance Pour avoir une couverture antenne optimale et une meilleure ligne de mire, parfois, c’est nécessaire d’utiliser des antennes à distance. On place des antennes à distance du récepteur. Line 6 offre deux options ici : L’antenne P180 directionnelle et P360 omnidirectionnelle. L’un et l’autre on des amplificateurs intégré qui sont changeable de +3dB, +12dB ou +23dB que correspond à 5m, 20m et 38m de câble LM-195. Si vous avez besoin des plus grandes distances, vous avez besoin du câble faible perte comme LMR-400 (6.8dB par 30m) ou 9913 (7.7dB par 30m). Nous recommandons les antennes directionnelles pour une réception précise d’un seul ou plusieurs émetteurs sur scène. Nous recommandons les antennes omnidirectionnelles pour une réception générale des émetteurs dans un espace plus large. Orientation de l’antenne Pendant la configuration, il est préférable de visser une P180 sur un pied de micro. Oriente l’antenne vers le bas vers l’interprète et la région dans laquelle l’interprète se bouge. Essayez de garder les antennes rapprochés et essayez de chevaucher la couverture des antennes pour assurer la redondance. Les systèmes doivent avoir d'au moins 13cm de distance. Les exemples suivants montrent des déploiements typiques. Couverture d’émetteur Pour un joueur de guitare placez deux antennes à distance au niveau du bord de la scène le plus près de l'artiste possible. Orienté vers le bas et vers le body pack de l’artiste aussi un peut vers l’extérieur pour couvre autres parties de la scène que l'artiste pourrait utiliser. Antennes à distance fixés et orienté vers l’interprète. Et le vue de la scène : Couverture de l’émetteur de microphone : Pour couvre un seul émetteur microphone utilisé par le chanteur, vous pouvez mettre les deux antennes à distance en position par exemple de chaque côté de l’ensemble de batterie. Orienté vers le bas vers le microphone du chanteur et incliné vers l’intérieur pour couvre la position du chanteur mais aussi les autres parties de la scène que l'artiste pourra utiliser. Couverture pour plusieurs artistes : Utilisez des antennes à distance avec le système distribution XD-AD8 pour couvre plusieurs artistes. Les deux antennes peuvent se trouver de chaque côté sur scène orienté vers les artistes. Les illustrations ci-dessus sont des recommandations générales. Dans tous les cas, c’est recommandé de testé tous la région de couverture pour assurer que vous avez un signal partout. Des ajustements mineurs peuvent produire des résultats grands. Sélectez un modèle de couverture des antennes pour les artistes d’être capable de bouger librement. Hauteur et angle de l’antenne : Placez vos antennes à distance au moins 1 mètre au-dessus du sol afin de réduire les réflexions RF. Les antennes doivent être soulevées un peu au-dessus des têtes de l’auditoire mais pas trop élevé près du plafond. Antennes placés trop élevés sont trop loin de l’artiste et ramassent des signaux non désirés. Une hauteur propre maximise la gamme de votre système sans fil. Essayez de placer les antennes aussi proche à l’artiste que possible mais aussi loin que possible des interférences. Par exemple, s'il existe un routeur WiFi monté sur un mur ou au plafond dans la même chambre que l'espace de représentation. Orientez l’antenne directionnelle à partir du routeur WiFi et vers l’artiste. Système de distribution d’antenne: Line 6 offre le système de distribution d’antenne XD-AD8. Le système permet à plusieurs récepteurs sans fil pour partager la même paire d'antennes que vous offre une grande flexibilité pour configurer des installations sans fils multiples. Avec un système sans fil monté en rack, l’installation est facile et les connections de câblages sont épurés. En outre, vous pouvez faire fonctionner les récepteurs à partir de l’AD8. Vorbereitung des Raums: Remote-Antennen Diese Anleitung wird Ihnen Schritt für Schritt zeigen wie Sie den Raum so vorbereiten können, dass Sie eine best-mögliche Leistung aus Ihren digitalen und kabellosen Line 6 Geräten bekommen können. Um den Raum optmal abzudecken und eine Sichtlinie zwischen Antenne und Transmitter zu haben müssen oftmals Antennen an anderen Position aufgestellt werden als die des Empfängers. Line 6 bietet hier zwei verschiedene Antennen, die P180 gerichtete Antenne und die P360 Rundstrahlantenne. Sowohl die P180 als auch die P360 haben eingebaute Signalverstärker welche auf +3dB, +12dB und +23dB eingestellt werden können. Diese entsprechen einer zusätzlichen Kabellänge von 5m, 20m und 38m LM-195 Kabel. Für größere Kabeldistanzen brauchen Sie Spezialkabel mit geringem Verlust wie das LMR-400 (6.8dB auf 30m) oder das 9913 (7.7dB auf 30m). Ausgerichtete Antennen empfehlen wir für einen präzisen Empfang für einen oder mehr Transmitter. Rundstrahlantennen empfehlen wir für allegemeinen Empfang auf größerem Raum wie z.B. Publikumsmikrofone. Die Antennenausrichtung: Während der Aufstellung ist es oft am Besten die P180 ausgerichteten Antennen auf Mikrofonstative mit Galgen aufzusetzen und die Antennen dann nach unten in Richtung Künstler zu winkeln. Versuchen Sie außerdem die Antennen relativ nah nebeneinander stehen zu haben damit die Abdeckungen sch überschneiden. Die Antennen sollten jedoch mindestens 13cm voneinander entfernt sein. Die folgenden Kapitel schildern typische Einsatzbeispiele: Instrument Transmitter Abdeckung: Um einen eizelnen Transmitter, der von einem Gitarrenspieler verwendet wird abzudecken sollten beide Remote-Antennen an der Kante der Bühne aufgestellt werden, so nah wie möglich am Gitarrenspieler. Die Antennen sollten in Richtung des Bodypacks gerichtet und leicht nach außen gedreht sein damit die Antennen auch Teile der Bühne abdecken, in den der Spieler bewegen könnte. Oberhalb befindet sich eine Seitenansicht der Remote-Antennen und unterhalb eine Bühne auf der man die Orientierung der Remote-Antennen erkennen kann. Mikrofon Transmitter Abdeckung: Um einen einzelnen Mikrofon-Transmitter eines Sängers abzudecken können sich die beiden Antennen auf einer Seite des Schlagzeuges befinden. Die Antennen müssen dann nach unten in Richtung des Mikrofons und leicht nach innen gerichtet werden um so den Bereich abzudecken in dem sich der Sänger bewegt. Antennenabdeckung für mehrere Künstler: Nutzen Sie dazu die Remote-Antennen sowie das XD-AD8 System. Beiden Antennen könnten sich in diesem Falle jeweils links und rechts an der Kante der Bühne befinden und in Richtung Künstler gedreht sein. Die obrigen Illustrationen sind Vorschläge. In allen Fällen ist es wichtig die Bühne abzulaufen und zu überprüfen ob die Künstler überall Empfang haben. Kleine Änderungen können hier großes bewirken. Die Abdeckung der Antennen können Sie hier anhand der Ausrichtung selbst bestimmen. Antennenhöhe und –Winkel Ihre Remote-Antennen sollten Sie mindestens einen Meter über dem Boden positionieren um RF Reflektionen zu minmieren und idealerweise sollten die Antennen über den Köpfen des Publikums plaziert werden jedoch nicht zu hoch oder nah an der Decke. Antennen, die zu hoch plaziert sind nehmen oftmals mehr unerwünschte Signale auf. Die korrekto Höhe der Antenne wird die Reichweite Ihres kabellosen Systems maximieren. Das Hauptziel ist es die Antennen so nah wie möglich beim Künstler und gleichzeitig weit weg von Interferenzen aufzustellen. So kann zum Beispiel ein WLAN Router, der an der Decke des Raumes installiert ist das Signal stören. Richten Sie in diesem Fall die Antenne auf den Künstler und nicht in die Richtung des Routers. Antennenverteilersystem Line 6 bietet außerdem das XD-AD8 Antennenverteilersystem an. Das System es mehreren Empfängern das selbe Paar Antennen zu benutzen, welches Ihnen mehr Flexibilität für Ihre Aufstellungen mit mehreren Empfängern bietet. Mit Rack-Wireless Systemen ist die Einrichtung einfach und nicht überladen. Zusätzlich können Sie die Empfänger vom AD8 aus betreiben.
  17. Hey Everyone, So I have an HD 500 that I use live and a marshall half stack for home use. I want to get into some home studio recording and I need a Digital Audio interface to record the way I want to. What I want to know, before I go out and buy a microphone, is can I use the mic input on my HD 500 as a digital audio interface to record my Marshall Half stack? The HD 500 has a USB out that I have recorded into Garageband lots on its own but can you record the mic input into garageband??? Thanks!!!
  18. 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
  19. Version française. Deutsche Version. The 1.20 firmware update for the StageScape M20d features a new fader view for enhanced control on touch screens and Artist Presets. ****Please be aware that if you are updating from firmware 1.00 directly to 1.20, the update file will state that you are installing version 1.32. This is a typo that will be fixed in the future and it will have no affect on your firmware 1.20 installation or functionality.**** IMPORTANT NOTICE: This version of the StageScape firmware works only with StageScape remote app v1.10. Please update your StageScape remote app on your iPad when updating your StageScape firmware. When updating firmware, have ONLY the SD card or USB drive that is being used to install the update plugged into the StageScape. This update is available from this web address http://line6.com/software/index.html. Be sure to select StageScape M20d under All Products, click the red Go button, and you will be able to download the Firmware 1.20 update. You will have to download this file and save it to a SD card or USB thumb drive. Insert that device into your StageScape M20d, go to the i menu, Show System Settings, Update M20d, Update System Firmware. The update file will have to be in the top hierarchy of your media device. Firmware install files will not be recognized if they are placed in a folder. Be sure to unplug any other media device (USB, SD card or PC) from your StageScape that is not being used for the firmware update. New Features Bug fixes: Output preset recall resetting output level Minor bug fixes Fader View: With the new 1.20 firmware, the perform mode now has a fader view option on the touch screen of the StageScape M20d. This allows you to view and manipulate levels for your inputs, monitors, global FX, and main mix as virtual faders on the touch screen. You can also control your trim, pan, and global FX send levels with the rotary encoders under each virtual channel strip. Artist Presets: Brad Madix and Daniele Di Giovanni Brad Madix: Rock Kick - Aggressive rock bass drum. Sits in the mids when you really lay into it, somewhat more natural when played quietly. Rock Snare - A "fat" rock snare with a bottom that is shaped using the dynamic eq. Pushes up the low end for that "arena rock" sound. Drum Buss Crush - Crush a drum sub mix. Really pumping compression. Scary on its own, but blend it back in with the uncompressed drums and the whole kit will come forward. A little goes a long way. Rock Bass - Big mid boost to get the bass to pop out in the mix Rock Guitar - Bright and cutting. Best for leads. Vocal - Bright and clear without sibilance using the de esser Brighten up that male vocal without it getting too "essy". Daniele Di Giovanni: Grand Piano (PianoMic)- Earthworks PianoMic at its best Attention, cette version du firmware StageScape a une nouvelle vue fader pour un contrôle augmenté sur les écrans tactiles et les presets Artistes. ***Si vous installez firmware 1.20 sur 1.00, la mise à jour indique que vous installez version 1.32. C’est une faute de frappe. Ignorez ca. Il n'aura aucun effet sur ​​votre firmware 1.20 ou l’installation.*** Attention, cette version firmware fonctionne uniquement avec l’application StageScape Remote 1.10. Donc vous devez mettre à jour l’application StageScape pour l’utiliser avec la nouvelle version du firmware. Débranchez tous les appareils USB de votre StageScape sauf l’appareil avec le nouveau firmware. Vous pouvez trouver la mise à jour ici : http://fr.line6.com/software/index.html. Sélectez le StageScape M20d sous « All Products » et cliquez « Go ». Téléchargez le Firmware 1.20 et sauvez le fichier sur une carte SD ou clé USB. Insérez la carte ou la clé dans votre M20d et cliquez sur le menu « i », « Show System Settings », « Update M20d » et « Update System Firmware ». Placez le fichier directement sur la carte SD ou clé USB et pas dans un dossier sur la clé/la carte. L’appareil ne trouvera pas le fichier si vous le placez dans un dossier. Débranchez tous les autres dispositifs du StageScape M20d que vous n’utilisez pas pour la mise à jour. Corrections des bugs mineurs. Fader View Avec la mise à jour du firmware 1.20 le mode perform a une option Fader View sur l’écran tactile qui vous permet de voir et manipuler les niveaux des entrées, moniteurs, Global FX et du mix principal comme curseurs sur l’écran tactile. Vous pouvez aussi contrôler Trim, Pan et Global FX niveaux d’envoi avec les encodeurs rotatifs dessous les canaux. Presets Artistes: Brad Madix et Daniele Di Giovanni Brad Madix: Rock Kick: Grosse caisse rock agressive. Très naturel si vous le jouez doucement. Rock Snare: Basses formés avec l’EQ dynamique. Augmente les basses pour un son « arena rock ». Drum Buss Crush: Compression massive. Jouez-le avec une batterie non compressée. Rock Bass: Un boost pour les mis. Rock Guitar: Très bien pour le joueur principal. Vocal: Pour on son très clair. Daniele Di Giovanni: Grand Piano (PianoMic) – Le PianoMic de Earthworks à son meilleur. Das Firmwareupdate 1.20 für StageScape M20d erweitert Ihr M20d um zusätzliche Schiebregler für mehr Kontrolle und neue Artisten Presets. ***Achtung, wenn Sie von Firmware 1.00 auf 1.20 aktualisieren wir das Update Ihnen anzeigen, dass Sie Version 1.32 installieren. Dies ist ein Schriftfehler, der in Zukunft behoben wird. Ignorieren Sie diesen Fehler, denn er beeinträchtigt die Funktionalität des Updates nicht.*** Achtung, diese Firmware Version funktioniert nur mit der StageScape Remote App 1.10. Wenn Sie die Firmware aktualisieren, entfernen Sie bitte zuerst alle anderen SD Karten und USB Sticks abgesehen vom USB Stick oder SD Karte, auf welcher die neue StageScape Firmware abgespeichert ist. Dieses Update können Sie auf der Internetseite http://de.line6.com/software/index.html finden. Wählen Sie das M20s unter All Products aus, klicken Sie dann auf Go und dann sollten Sie das Update auch schon sehen. Laden Sie sich hier dann Version 1.20 herunter. Speichern Sie es dann auf einem USB Stick oder einer SD Karte ab. Stecken Sie diese dann in den M20d. Auf dem M20d gehen Sie dann auf das i Menu, Show System Settings, Update M20d und Update System Firmware. Die Datei muss sich direkt auf der SD Karte/USB Stick befinden un dort nicht innerhalb eines Ordners. Fehlerbehebungen: Kleinere Fehlerbehebungen. Neue Schiebregler: Mit der neuen Firmware Version 1.20 ist der Perform Modus um ein Set Schiebregler erweitert worden. Mit diesen können Sie Input, Monitor Global FX und Main FX Pegel auf dem Touchpad einstellen. Außerdem können Sie Trim Pan und Global FX Pegel via der normalen Drehknöpfe verändern. Artisten Presets: Brad Madix: Rock Kick: Agressives Rock Schlagzeug. Klingt sehr natürlich wenn man es ruhig spielt. Rock Snare: Die niedrigen Frequenzen sind per dynamischem EQ geformt. Drückt den Bass außerdem nach oben für den typischen Arena Rock Sound. Drum Bass Crush: Extreme Kompression. Mischen Sie diese dann mit unkomprimiertem Schlagzeug um einen einzigartigen Sound zu bekommen. Rock Bass: Boost für die Mitten. Rock Guitar: Perfekt für den Lead. Vocal: Für klaren Sound. Daniele Di Giovanni: Grand Piano (PianoMic): Earthworks PianoMic.
  20. 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
  21. Hi Guys, Would need your help to verify if you guys also experience the same issue. I seems to have a weird old rotary phone like noise coming out of my amp when i turn the EQ knob especially on the treble knob, and especially obvious on topology II,III or IV, when you turn up the channel volume up to at least close to 12 oclock or beyond and considerable amount of master volume. Can anyone of you guys verify if you have the same issue? I try bypassing my pedals where my guitar goes direct into/ infront of the amp and still the same issue. It is more prevalent when you turn the volume and master real loud. Without playing any note, guitar volume knob still up, muted the strings, while turning the treble eq knob, gave the dialing sound. A low-midrange kinda "dub dub dub dub dub dub" like noise. I call up the tech shop , authorize dealer for Line 6 where i bought the amp from, and they said it might be the motherboard or IC issue. I just bought this amp 3 days ago and now this issue? I really hope the guy is wrong. Hope any of u guys can assist here. Thanks
  22. Hello everyone! I am about to buy a DT25 combo to use with my POD HD500. I read somewhere, when you connect both devices through L6 Link, HD500 USB out goes quiet and only works as a MIDI interface (no sound signal). I used to make my recordings directly from HD500 USB out to a PC USB and directly to a DAW (Audacity, Reaper, etc...). Is there any way of continuing recording digitally, while playing HD500 connected to DT25 via L6 Link? If not, my enthusiasm on that Amp goes completely down the drain and I might call the deal off :( Anyone could give me a hint? Thank you all! Miguel
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