Please ensure Javascript is enabled for purposes of website accessibility Jump to content

Search the Community

Showing results for tags 'l3m'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Community Support
    • Multi-Effects Units
    • Variax Instruments
    • Amplifiers
    • Computer Based Recording
    • Live Sound
    • Pedals/Controllers
    • Dream Rig - Line 6 Product Integration
  • General Discussion
    • Tone Discussion
    • Line 6 Lounge

Categories

  • General FAQ
    • Operating System-specific Information
  • Tutorial Videos
  • Effects/Controllers
    • HELIX/HX
    • DL4 MkII Stompbox Modeler
    • FBV Controllers (MKII / 3)
    • M5
  • Amplifiers
    • Powercab
    • Catalyst
    • Spider V
  • POD
    • POD Go
    • Pocket POD
    • POD Express
  • Guitars
    • JTV / Shuriken / Variax Standard / Workbench HD
  • Relay/XD-V Digital Wireless
  • Recording
    • Helix Native
    • Metallurgy
    • Echo Farm/Amp Farm
    • POD Farm 1/2.0/2.5
    • Computer Audio Set Up and Troubleshooting
  • Legacy Products
    • POD
    • Amps
    • 1st Gen Variax Guitars / Bass / Workbench
    • Effects and Controllers
    • AMPLIFi Series
    • Live Sound
    • Digital Wireless
    • Mobile Products
    • POD Studio / Tone Port / GuitarPort
    • Software
    • Dream Rig

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests


Registered Products

Found 23 results

  1. Hi there, I've ordered a pair of StageSource L2m speakers. My initial intension was to connect them via L6 link to the Helix. However I still want to include my Boss RC-300 in the setup. So I think I have to ditch L6-link and go from the Helix with 2x 1/4" out into the RC-300 L/R instrument ins and from the 1/4" outs into the L2m 1/4" (or XLR) in, right? Or am I missing some cabling option here? Maybe connecting the RC-300 in a send/return loop of the Helix instead? Is anybody using a similar setup with Helix, RC-300 and StageSource FRFRs? Best regards, Ace
  2. Unbelievable and horrible! I returned my L2ms; four of them because of a known issue with them rattling between an E & F. I replaced them with L3Ms. I thought they were ok, but they are NOT! The rattle on the L3Ms occurs around the B chord on my guitar. For anyone who wants to replicate the rattle, I get it by playing a "B" bar chord on a hot clean guitar setting with the speaker turned up anywhere from half to three quarters volume. Sustaining (rather than constantly strumming) the chord makes the rattle super obvious as the voume level of the chord drops and the rattle takes over completely. My mixer is the Line6 Stagescape M20d. What is going on Line6? I am just past my return period and I am stuck with two rattling speakers. What gives, how dare you sell this system with such a glaring problem with the speakers. I am freaking outraged and frustrated. I don't know what to do. I am heavily invested with the mixer and the subwoofers (hope they don't have a rattle also, would not be surprised if they do). Line6, what would you have me do? I have no speaker options available for this system. Both the monitor sized L2m and the L3m have rattles. Help please!
  3. I use my floor helix for my guitar, for second guitar in band and for vocal So, in my presets I have 3 paths, my go to main 1/4 outs, second guitar to send 1+2 and vocal to main xlr outs This allows to controll all volume from mixing desk Also I use headphones Yesterday I tried powercab in music shop via l6 linl And I discovered, that I need to change this destination of paths from XLR to All outputs or digital to hear any sound So, can I just get all paths sound, keeping it separated outputs, via l6 link?
  4. Hi, I have an L3m that I use as a monitor for my HD500x, the last couple of gigs I noticed it was unusually hot when I unplugged at the end of the night. I have not had any sound related issued and it was performing normally, but it was worryingly hot... I listened carefully with my ear to the fan vent and could not hear the fan running so got it home for a better look... I opened the back and sure enough the fan wasn't spinning even when I let it get pretty hot again. I took the fan out and connected it to a variable power supply, and it operates as it should increasing in speed between around 5v up to 12v, so the problem is not the fan itself. When I put a meter on the fan connection on the board, it measures between around 5v up to 12v depending on how hot the unit is getting, so that's also correct behaviour, however when I connect the fan to the board it straight away drops voltage at the fan to about 1.5v and the fan doesn't turn. So, it seems that the supply to the fan drops under load (no amps?). I'm no electronics engineer but I know just enough to get this far... Has anyone else experienced this or have any ideas? It's out of warranty so I've spoken to a local repair shop who have said that they would probably find a 12v source on the board and wire the fan into that so that it will be on full speed all the time... I'd obviously prefer it repaired properly so it's not always at full fan noise, but is this a reasonable solution? Also I should mention that the front LED is on white, but also there is a red light on too which I assume has something to do with temperature. I know ehen the red light flashes it has something to with limiting, bu this is a steady red light together with the white light. As I said the performance of the unit has not been compromised .. I'm lucky it hasn't fried itself yet and that I noticed the problem in time! Thanks for any ideas :)
  5. Regarding connecting a Line 6 StageSource speaker to a Powercab via L6 Link, the verbiage for the AES/EBU connection in the manual is as follows: "When an AES signal is detected by the first Powercab unit in the chain, the chain will split the signal's left channel going to the first Powercab unit or Line 6 StageSource® speaker and the right channel to the second." When using this configuration, the StageSource has to go before the Powercab. If the Powercab is before the StageSource, the StageSource will not play. We hope to address this in a future update.
  6. Hello Live Forum, I am selling off my line 6 inventory. LIKE NEW L3S Sub Woofers .. - 2 available.................................................. $ 850.00 ea. LIKE NEW L3T Tri-Amp Speakers - 2 available ........ (Built in mixer & FX) ..... $ 735.00 ea. LIKE NEW L3M Tri-Amp Speaker - 1 available ............................................. $ 650.00 LIKE NEW L2M Tri-Amp Speaker - 1 available ............................................. $ 595.00 FOR MORE INFO, PLEASE CALL: 7 O 2 - 3 3 O - 1 6 4 4 (Will sell individually, or get a great discount for bundling - Call for details.) Can ship them too! All the details can be found here : http://lasvegas.craigslist.org/search/sss?userid=209636668 Cheers, BB
  7. Hello Community: to those of you who do gigs with the Line6 PA system: what levels do you set on the Master out on the M20d, and where do you set the Level pot on the M3M/Ts facing the audience ? In medium/small venues i mean...bars, small stages... Is it better to keep it high on the mixer ( -10dB ?) and low on the speakers...or keep the speaker level knob on the middle notch position, and then adjust on the mixer...sorry for the maybe mundane question but i got no experience live with this PA and will have some in the near future possibly... And no, i can't try this at home!:-) Cheers, Alberto
  8. I have my Helix floor connected to a L6 L3m via the L6 Link output on the helix; this first L3m is also running the L6 link out to a second L3m for a stereo pair setup. All documentation says that the L6 link will auto recognize and put the speakers in L and R mode, with L and R indicated on the back panel of the stagesource L3m. Mine only display 1 and 2. This doesn't change if I enter any of the other playback modes. Any advice? Is 1 and 2 the same as L and R?
  9. I had the L3M and L3T on my Thomann wishlist for a while. Now they're no longer available and the same goes for the L2M and L2T models. They're a few years old now, and with NAMM 2018 coming up is there any sign of a new series being released?
  10. I got these 2 in a local/private sale shipped to me by FedEx. FedEx dinged them up during shipping - I know this because the original photos shown them immaculate. Can this be opened up and potentially popped back out to make it somewhat appear normal? The screws holding the chasis together don't look like normal ones? Anyone have any info on these
  11. Does anyone have experience or thoughts on the L3M as a bass guitar stage monitor? I am about to buy a Helix and I would like a nice reference/stage monitor to go with it. My expectation is to have similar performance as a moderately powered 2-10" or 1-15" bass cabinet. I have been playing with my guitarist's Helix and some 3rd party bass cabinet IR's. After a set, we tried the Helix with the bass patches we created and the sound/tone was very impressive through the PA. His L2M did surprisingly well for it's size... but I would like comfortable headroom. On paper, the L3M looks great! I am curious of the L3M user's thoughts and experience before I make any decisions.
  12. Hello, I have an L3m. I love it. I would like to purchase an L3t to use for multiple scenarios not the least of which are: 1. Use the L3t all by itself for small gigs, take advantage of built in mixer, FX, etc not available on my L3m. 2. Use my current L3m as LEFT and the soon-to-be-purchased L3t as RIGHT (or vice versa) for bigger gigs (along with an L3s eventually once I have enough saved). My question is for use case 2, are there any issues using the digital networking (L6 Link) between an L3m and and L3t either with or without the L3s connected? In other words I know I can run 2 L3m cabs. I know I can run two L3t cabs. But can I run once of each and still benefit from the digital networking / stereo separation / auto crossover feed to the sub woofer (when connected), etc. Or Are the L3m and L3t simply not compatible with each other? Hoping for the best and looking for a Line 6 guru (a k a employee) to chime in. Thanks! --Joe
  13. I am in the process of redesigning my stage from a small corner wedge to a 32' - 36' wide stage. I picked up a pair of L3m's, and an L3s. One issue is that I have a low roof. About 9'. While I am not 100% that I will do this, I am considering mounting the L3m's horizontally. The videos show that they will automatically act as a floor monitor. Even if I manually select Reference/PA, will the speaker still function well horizontally? My concern is that the 100 degree x 40 degree spray will now be shooting at the floor and ceiling and not across the room. Also, with such a low ceiling, I don't want a stage too high. With only one L3s, I am considering placing the sub centered under the stage; but on its side. Will it still work well on its side? I am most likely going to mount the sub on its side, while the L3m's are likely to be mounted vertically, but I want to keep my options open if possible. Thanks in advance for all the help/feedback.
  14. StageSource L3M not turning on when powered up (have checked cables, etc). When we switch on we get a faint electrical click, but no lights on the back of the unit (as is the case on the other working unit we have). Help will be greatly appreciated as currently in Albania using them with a Kids holiday camp Mark
  15. Hey Folks - First of all, I apologize for the newbie question with this one. I'm just getting in to this live music environment... So, I just added to my rig and wanted to ask for the best method/design to hook it all up. The list of equipment is here... the only real question I have is about the L6 Link. The speakers are the only devices to have both Male & Female connections with the passthrough, while the other two devices have only Male connectors. Is there a Female to Female L6 Data Link cable or adapter to make this work? Or what is the preferred design to make sure I can use both the StageScape mixer and the 500X effects? Variax guitar <Variax Cable> POD HD500X (L6 Link: Male) L2m Left (L6 Link: Female IN; Male OUT) L2m Right (L6 Link: Female IN: Male OUT) StageScape M20d (L6 Link: Male) Thanks for any input or suggestions. Thanks, Damon
  16. I took delivery of a shiny new L3m on Saturday. This is to be used with my HD500 and JTV 59 to create an FRFR rig. I spent Saturday night tweaking patches and at low volume it sounded great. We had a gig on Sunday, powered up the L3, turned up and WOW...it sounded awesome!! I was well pleased with my purchase as was he rest of the band. Some of the patches still needed a bit of tweaking so I spent yesterday in my studio doing just that at a lower volume, which is when it happened. I was playing a riff and tweaking when suddenly I lost all the top end tone, losing all the 'sparkle'. I turned everything off and on again, still no top end, then suddenly it came back. This happened 4 or 5 times. The L3m is set to electric guitar mode, HD500 to studio, and I'm using a 1/4 inch lead from the POD to the speaker. Any ideas guys?? EDIT...I have found a post relating to this problem and it seems it is an internal connection problem within the speaker. I am returning it to the vendor for a replacement.
  17. I'm currently using a 1 x 12 50w Marshall tube amp with an HD500 and JTV 59. I'm convinced about the whole FRFR rig concept, especially as I play in a band covering everything from Metallica to mellow acoustic and need the versatility. The only thing I'm worried about is whether the L3 packs enough of a punch compared to my 50w Marshall. I'd really appreciate comments from you guys, especially those who have gone FRFR. Is the L3 loud enough??
  18. I tried to do this last night and it sounded really bad. I switched the XLR to the balanced mono on the Pro and the input on the L2M and it sounded a little better. What am I doing wrong? Do I need to turn off the cab sims? Do I put the DSP on the L2M to Line or Electric Guitar? Help!!!!
  19. Français Deutsch To switch Feedback suppression modes: Press and hold the FBS button and you will see the colors cycle through, green to yellow to red and back to green. Release the FBS button when you are on the desired setting. RED is for speech. An example is an individual doing a Power Point presentation. This could apply to a couple of people speaking at the same time, but the key is that human speech and human speech ONLY, is coming through the system. YELLOW is for vocal singing. An example would be acapella singing. This could be a group or a solo singer/performer, but it is meant for human singing voice only, with no other instrumentation. You may be able to use this for a singer/songwriter solo guitar and vocal. Yellow can work in this case because guitar and voice are in very similar frequency ranges, but, depending on the material, GREEN may be a better option in that case. GREEN is intended for universal application and should be used as a default feedback suppression setting. Only switch to the YELLOW or RED setting when the GREEN setting is not properly addressing your feedback concerns, or where feedback reduction is more important than audio quality. Using more aggressive feedback suppression settings may cause sonic artifacts in some cases. If you are experiencing undesirable artifacts when using Feedback Suppression: If you are experiencing undesirable artifacts when using Feedback Suppression it may be that a less aggressive setting should be used. Results are typically most pleasing when using the least aggressive setting that is appropriate for the given situation. It is good practice to start with the GREEN mode and only to move on to YELLOW and then RED if feedback is not being properly addressed. Green is for good and green is for go. In the majority of cases, customers should use green and they will be good to go. Pour changer les Suppression Modes: Maintenez enfoncé le bouton FBS et les couleurs parcourent. Vert, rouge et jaune. Relâchez le bouton si le couleur est sur le réglage désiré. ROUGE est pour le discours comme une présentation PowerPoint. Ça fonctionne aussi pour plusieurs personnes en même temps mais attention, seulement la voix est transmet dans ce mode. JAUNE est pour le chant comme a cappella. Ceci fonctionne pour un groupe mais aussi pour un seul chanteur. Cette fonction est seulement pour le chant sans instruments. C’est possible d’utiliser ceci pour un seul artiste avec guitare parce que la voix et la guitare sont des fréquences très similaires mais ça dépend au instrument, VERT est la possibilité meilleure généralement. VERT est pour une application universelle, cette fonction devrait être utilisée comme mode suppression par défaut. Utilisez ROUGE et JAUNE uniquement ci VERT ne répond pas correctement à vos inquiétudes de rétroaction ou si la réduction de la rétroaction est plus importante que la qualité audio. Si vous avez des artéfacts dans le son si vous utilisez la suppression de rétroaction c’est possible que vous deviez utiliser un réglage moins agressif. Éssayez VERT après JAUNE et ROUGE comme réglage dernier. Pour la plupart des applications, VERT fonctionnera mais les autres sont plus agressifs si nécessaire. Wechseln der Rückkopplungsunterdrückung : Halten Sie den FBS Knopf gedrückt und Sie sollten die Farben abwechselnd leuchten sehen. Von grün nach gelb und dann rot. Lassen Sie den Kopf be ider gewünschten Einstellung einfach los. ROT ist für Ansprachen wie PowerPoint Präsentationen. Dieser Modus lässt ausschließlich die menschliche Stimme durch. Der Modus funktioniert auch mit mehreren sprechenden Personen. GELB ist für Gesang wie z.B. Acapella. Eine Grupe sowie ein einzelner Sänger können diesen Modus verwenden. Ohne Instrumente. Manchmal kann dieser Modus auch mit Gitarre benutzt werden da Gitarren Tonfrequenzen denen des menschlichen Stimme sehr ähnlich sind. Generell soltle mit instrumenten jedoch der grüne Modus benutzt werden: GRÜN ist für eine universelle Anwendung und sollte als standard Rückkopplungsnterdrückung benutzt werden. Schalten Sie nur dann auf GELB oder ROT, wenn es Rückkopplungsprobleme gibt oder wenn Rückkopplungsverringerung wichtiger ist als Tonqualität. Aggressivere Unterdrückungen können zudem Artefakte im Sound hervorrufen. Wenn Sie Probleme mit zuvielen Artefakten haben: Versuchen Sie am besten andere Modi aus. Starten Sie dabei beim GRÜNEN Modus, dieser funktioneirt in den meisten Fällen am besten. Testen Sie dann GELB und später ROT falls es noch zuviel Rückkopplung gibt.
  20. 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.
  21. See attached document for StageSource L3m Specifications.
×
×
  • Create New...