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Found 12 results

  1. Ok really annoyed .. I've invested thousands in line 6 Live sound, so the mixer and L3T tops etc. all have been great and the 6 support has been excellent but .. Needed a Sub to go with it so bought a L3S second hand as brand new they are very very expensive. . and im so glad I didn't get this brand new the sub is REALLY under powered, the drivers are a pair of 250 watt and no where near the 1200 watt advertised.!!!!!! the sound is muddy and weak see below .. The issue I experienced was when I turn up passed 12 o'clock I'm getting all kinds of ugly distortion and everything just shakes rumbles .. because I don't have another to compare too I assumed this is how they sound , but had a VERY experienced speaker engineer/ technician take a look at it out and he sent me the following report , I need to know if anyone has had the same issue or if this is normal operation ???????????? " This Line 6 L3s was presented to us for repair/inspection along with the complaint of poor output levels and poor Bass performance. Upon inspection, the lower bass driver in enclosure exhibited signs of mild breakup. No physical damage was visible, however, an AC impedance measurement yielded a possible shorted turn at an impedance of 2.13ohms @1khz. A driver replacement was recommended, but we feel this would not significantly improve matters in terms of increased bass levels. The amplifier modules were then tested at 200hz applied to the rear input panel and the loudspeaker outputs were terminated into a precision 4-ohm dummy load. Both modules produced an output of 21 volts RMS each which equates to 110.25 watts RMS per module into each 4-ohm driver @200hz. At this time the internal limiter came into operation and no further increase in output was possible. Due to the fact, there are no alignment procedures in the service manual, We were unable to confirm if this very conservative amount of limiting is implimentd to protect the drivers and amplifier modules, and is indeed correct or if an issue exists. However, It is also interesting to note in the published specifications Line 6 only lists a "peak" output power of 622w per amplifier and not a continuous RMS output. We are of the opinion this figure is somewhat meaningless In a real world environment and precludes us from quantifying any measurements. Given that the Hypex amplifier modules used in this product are only rated at 250w RMS And the drivers are rated at 350w RMS coupled with the limited amount of specifications and calibration data available to us, We are of the opinion this unit is functioning within the manufacturer's designed criteria. " over to you guys have I just wasted £800 or can something be done ???
  2. 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
  3. Hi folks I've done a lot of searches but come up blank I think I have a blown speaker in my L3s It makes a horrible overloaded farty noise with the kick drum Levels and gain are fine I can't find any info on replacement drivers for these Does anyone know if there is a drop in replacement It's heavy and inconvenient to ship to a service centre for a fairly simple repair
  4. 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
  5. 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.
  6. Hi! I have a fairly new (< 3 months old) L3S that has been went a bit haywire tonight. It started clicking and power cycling all through the set. It did this once before, but I had thought it was a loose cable. The first time this happened, I power cycled it, and wiggled the cable, and it didn't happen again. This time, I power cycled it a couple of times, reseated the cable, and even switched power outlets, but no joy. I plan to call tech support on Friday, but was wondering if anyone here might have some insight. Thanks!
  7. Ok - to paraphrase several on this forum, I think I'm in deep. I traded in my Presonus 16.4.2, Mackie 450v2's and Mackie 1801 sub on the M20d and 2 3Lt's - and I'm wondering about the sub. I often found the Mackie 1801 to be a bit, well, boomy - not tight, not well-integrated with the other speakers. It was OK, but not great, and I often didn't use it. It wasn't that expensive, so I didn't feel to badly about that. Also, in some of our outdoor church services - specifically the upcoming Easter Sunrise service, I'm not sure how helpful it was. We do it in a courtyard that's maybe 50' wide, 120' long, with brick walls on each side and back, concrete floor, and open sky on top. The one year I tried the Mackie sub it seemed to make things kind of muddy. I'm gathering the L3s will integrate well with the whole ecosystem. The kind of music we play on it is more contemporary Christian, with me on acoustic guitar, a keyboard, bass guitar, 3 vocalists and now a drum set. We get a little rowdy sometimes, and as I introduce my JT69 later this year, maybe a bit more so. I also use the system for off-site weddings and will use it for classical music, keyboards, and so on, as well as occasionally for dance music/DJ sorts of things. Trying to decide... Larry
  8. I had planned to report in on my initial use of the system, including the 3Ls that this group virtually DEMANDED that I get ( :)) in a previous but now hidden thread ("To Sub or not to sub, that is the question"), but I don't think Line6tony (with whom I've been in contact) has had any luck finding it - so.. thought I'd start a new thread. In short - it was flawless! The M20d worked as it should have, and it really is quite intuitive. The L3s was not an issue at all - it made the sound really full. I had FBS enabled and it did what it needed to do in the admittedly odd space - (an open-air courtyard, concrete/tile floor, brick wall on one side, brick/stucco/glass on the other, open in back, tile behind us). Played with a keyboard, drums, bass guitar, me on acoustic guitar, 5 singers... even hooked up a Mackie 15" Thump for a monitor... absolutely everything did what it was supposed to do. I was even able to record the whole Easter Sunrise service and it worked without a hitch (Sandisk Extreme 32g class 10 SD card). Happy camper! And thanks to all who encouraged me! Larry
  9. One or two of us have posted our solutions for stage space saving mounting options. These postings have often been as part of an existing topic that has no relationship to mounting solutions. So, I'm creating this topic as a central point of reference in the vain hop that it might give others ideas about how to tackle the nightmare that is rigging up a small (or large!) stage where a multitude of lighting and speaker stands are inappropriate. Background: I have; 2x L3s 2x L3m 2x L2m (used for monitors) I then have lighting: 4x Chauvet COREbar 4's 8x ADJ Mega TriPar mounted (4 onto each) on K&M cross bars 8x other standalone effects lights The problem we most of us face is being able to adequately mount all our speakers (at optimum heights) and rig up a stage lighting rig without using up so much stage space that there's nowhere left for the band to stand! I'll say that my "setup" is evolving but here's where I stand today... L3s are laid flat revealing the twin 20mm screw thread pole mounts. Into the outer pole mount, I insert a K&M 21367 Distance Rod »Ring Lock« http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Distance-and-extension-rods/21367-Distance-Rod-Ring-Lock-black which is then used to mount an L3m Into the inner pole mount, I insert a K&M 21347 DISTANCE ROD http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Distance-and-extension-rods/21347-DISTANCE-ROD-black which is then topped with a K&M 213/3 Extension Rod to get me to nearly 2.9m from floor level. This is used to mount lights In the above picture, I've mounted the K&M t-bar 21393 CROSSBAR http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Lighting-stands-accessories/21393-CROSSBAR-black direct to the top. A suggestion from litesnsirens and taken up by Digital-sound got me thinking and I've spent this morning building a mod for the top of my L3m's that enables the carrying of a small t-bar which I'll use for small moonflowers, lasers and gobos. I started by getting four squares of plywood and glued two together to get me to 24mm thickness. Extract the two cross head bolts from the top of the L3m (also on L2 cabinets). These are the suspension eye points. Make two countersunk 10mm holes in your squares (note I made my square a little big and had to take a couple of corners off for them to drop in) and a 37mm hole in the centre. Mount the square blocks to the top of the L3m by reinserting the two bolts you took out. Now mount a 20mm speaker pole connector plate onto your wooden blocks. I've used a K&M 24116 CONNECTOR PLATE http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Distance-and-extension-rods/24116-CONNECTOR-PLATE-black The 37mm hole in the blocks is for the back of the connector plate to drop in to. You now have a 20mm speaker pole mount tucked away neatly into the recessed panel at the top of your L3m (or L2m). I bought a pair of the short and long Line6 poles and these thread straight in and voila, I can now mount a short (800mm) t-bar direct to the top of my L3m's! As the poles are 35mm, you can use any 35mm compatible t-bar or as I have, a 35mm union with bolt to take the box section bars. For added flexibility (because my Chauvet COREbars only have a 28mm mount), I also have a pair of K&M 24521 REDUCER FLANGE mounts http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Lighting-stands-accessories/24521-REDUCER-FLANGE-black-M10-x-12-mm which accept a 28mm TV-pin K&M 24519 TV PIN http://produkte.k-m.de/en/Speakerlighting-and-monitor-stands-and-holders/Lighting-stands-accessories/24519-TV-PIN-zinc-plated such that I have full flexibility to mount any of the lights wherever best suits the venue, the final piece of the puzzle being a set of American Audio light stands that have a 28mm top pole.
  10. Line6Tony

    StageSource Speakers FAQ

    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.
  11. See attached document for StageSource L3s Specifications.
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