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  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. Solo Artist L3t can provide portable amplification for singer-songwriters, complete with EQ, reverb and modulation for each channel. Connect your acoustic guitar to the side panel Channel 1, which features Acoustic Modeling. Connect your microphone to the side panel Channel 2. Connect a portable media player, CD player, or DJ mixer to the rear panel Aux L/R inputs for backing accompaniment or intermission music. Small Club Duet L6 LINK provides an easy way for two artists - each with an L3t- to blend their signals together without the need for an external mixer. Connect the guitars to each speaker’s Channel 1, which features Acoustic Modeling. Connect the microphones to Channel 2. When two L3t speakers are connected together as an L6 LINK loop, (L6 LINK In of each speaker connected to the L6 LINK Out of the other), this stereo system can take advantage of both side mixer panels combined. All of the left and mono signals from both speakers’ inputs will play from the speaker labeled ‘L’, and all of the right and mono signals will play from the speaker labeled ‘r’. In this configuration example, two guitars and two microphones, and even two MP3 players could be used simultaneously. Small PA with Subs When using a traditional mixer with one or more L3s subs and non-Line 6 full-range speakers, connect to the subs’ inputs first. Connect the same channel’s output from each sub to the rear panel line input of each full-range speaker. Small PA with Subs When using a traditional mixer with one or more L3t/L3m towers and one or more L3s subs connected via L6 LINK, connect both the Main Left and Main Right outputs of the mixer to one L3s’s Left and Right inputs. Connect the L3s’s L6 LINK Out/Thru to an L3t or L3m you wish to designate as left. Continue daisy-chaining speakers via L6 LINK. L3 subs and towers will automatically configure themselves as left, right, or mono (left + right), according to the table available at the link below: In the illustration above, the first sub and first tower are designated left. As there are only two subs and two towers, the other L3t/L3m and L3s are automatically designated right. The floor monitor is connected via traditional means from the mixer’s monitor output. Large PA with Subs When using a traditional mixer with one or more L3t/L3m towers and one or more L3s subs connected via L6 LINK, connect both the Main Left and Main Right outputs of the mixer to one L3s’s Left and Right inputs. Continue daisy-chaining speakers via L6 LINK. Any L3 subs and towers will automatically configure themselves as left, right, or mono (left + right), according to the table available at the link below: In the illustration above, the three floor monitors exist on a separate L6 LINK network, and as they’re turned on their sides, will automatically sum the left and right channels of any signals received (‘b’ for both). StageScape M20d - Small PA Connect the L6 LINK out from a StageScape M20d mixer to the rear panel L6 LINK In on any speaker in the network. Any L3t/L3m towers and L3s subs on an L6 LINK network are numbered independently. In the illustration above, the two L3s subs (labeled SUB 1 and 2) will, by default, play left and right, respectively. The two upright L3t/L3m towers (numbered 1 and 3) will, by default, play left and right, respectively. L3t/L3m number 2, because it’s laid on its side, will automatically play discrete monitor feed A. Any speaker on the network can have its channel assignment changed from the M20d’s touch screen interface. StageScape M20d - Large PA In the illustration above, four L3s subs (labeled SUB 1-4) and seven L3t/L3m speakers (independently numbered 1-7) are daisy-chained from an M20d mixer. The subs and upright towers automatically configure themselves to be a powerful stereo mains system. L3t/L3m speakers on their side (numbers 3, 4, and 5) automatically configure themselves as stage monitors, and play monitor feed A, B, and C respectively. You can also reassign any speaker from the M20d touchscreen.
  3. Hi I ask myself what would be better for me, a new Powercab or my good old stagesource l3t. I am using HELIX. Is there someone who has already compared? Profett
  4. 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.
  5. I've been playing my new Helix through headphones and my Marshall DSL 100 with 1960 cab. I just can't get this thing to sound good through the Marshall. Based on this forum, it sounds like sand alone speakers is what I need as opposed to using an amp cab. This is for home use only. But my home set up is a fairly large room and I like playing loud when no one's home. I assume I need to skip powered monitors and go for bigger speakers. I can afford a single Line 6 L2T or dual PA speakers (Say a pair of Alto 212's). What do you guys recommend between a single L2T versus 2 PA speakers? Thank you very much! Bryan
  6. 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
  7. Hello, i find great that the M20d can record the full band while playing...the sound quality is excellent too. I noticed though, that the level of the recorded file is extremely sounds loud when played back on the M20d itself ...but when imported into a computer, for example into Audacity, you can see the waveform is a very thin line....and playes back extremely soft. You need to normalize the audio to get to a "normal" volume. Is there anything to do on the M20d to set the recording level higher than this ? Many thanks if anyone has noticed this before...
  8. I just purchased a third Stagesource Speaker. I already had 2 L2t's and I added a L3t. I wanted to use the L3t as a floor monitor. So I hooked them up as follows: Helix ------ L6 link out----- L2t - L6 link out ------- L3t ------ L6 link out-----L2t No matter what I do whatever speaker is last in the chain (that makes it speaker 3) there is no output to that speaker. I do have all 110 ohm AES/EBU cables per the manual. All cables have been tested in all configurations and they work. In theory per the manual my configuration should have the L2t's in stereo and the L3t as a Left + Right sum. Anyone else use the Stagesource speakers this way? What the heck am I doing wrong? I have plugged the Helix into each speaker via L6 link and they work fine. Tried tall three cables and they all work. The speakers also work fine as a array if the Helix is not in the chain? When the helix is in the chain the speakers set themselves as 1, 2, and 3 on back. The #3 speaker gets no output. When The Helix is not in the chain the speakers configure as L, b(both) and R just as they should. What is going on.
  9. Sorry if has been already answered (didn't find anything about), but over here in Europe looks like L2M speaker has now same price as L2T, which is almost 40% more than previous price. Is there any Line 6 official motivation behind that choice?
  10. I LOVE the Helix BUT, I have a wish. Not with the Helix unit itself though. I wish that users (or Line 6 themselves since they would be most knowledgeable/qualified to know where a potential sweet spot might be) would come up with some sort of a gold standard for creating/sharing presets where 'Helix output volume' is concerned. I know presets are always going to sound differently depending upon the many variables in music genre/guitars/amps/headphones/studio equip/etc. But the enormous difference in volume levels ,and their effect on distortion/tone, among various shared presets (and admittedly even the ones coming with the unit itself) is ridiculous. Contrary to my previous understanding, a preset does not sound the same regardless of Helix volume output knob setting being used anymore than an analog tube amp and pedal board will. I'm using a Stage-source L3t and you can't create a preset with a low Helix output volume level and expect it to sound the same when you turn the output volume up - or visa versa. 'In that particular aspect' I've found that the 4 cable method to back of an amp actually works a little better. But it seems to me that problems could be diminished greatly for everyone if everyone had a 'reasonable' standard Helix volume output knov setting for every setup "method" being used to create the setup. One for those using four cable method, one for those who go to the front of an amp, those using headphones, Stage-source/FRFR speakers or like, etc. Maybe one volume setting could work for all. I don't know but why not at least narrow it down. Maybe simply tell others, when posting, where your Helix and general external equipment volume level was when you created it. And yes, of course you would still need to tweak tone settings to suit your own desired overall volume level for any future given venue or purpose. But at least you would have a much better idea, to start with, of what the pre-set's creator actually "intended" for it to sound like. As it is now, downloading a decent preset seems like a crap shoot. And more than likely almost all of them sound really great from the perspective of the creator and his unpredictable equipment settings. LikeComment Share
  11. Hi, I play in a 6 piece covers band. 1 Fem & 4 male vox, Yamaha electronic kit & Tyros 5(through a rack mount DI), Spider 2 Valve (DI'd), Peavey Bandit (Micd) and Bass (DI'd). We use an M20d with 2 L3s, 2 L3t, and 2 L2t as monitors for front of stage with a couple of active wedges for keyboard player and drummer. We do mainly corporate and function work as we're too big for most pubs. Had the Line 6 rig for year or so with no problems until NewYears eve when we had a particularly important gig with a good agent coming to see us with a view to pushing on in the new year. Started our first 45 mins set and had a great sound until about 6 songs in, at which point the keyboard channel (linked stereo pair) suddenly started to hiss, Really loud, and no keyboard sound. No matter what I did, other than turn the channel fader down, would stop the hiss. When I checked the trim level it was stuck maxed out even though I run auto trim (Godsend). I turned the fader down and moved the Tyros to another channel and patched the guitars through 1/4 inputs to free up XLRs for the Tyros, and we finished the set. During the interval I rebooted the M20d and the problem cleared. I put everything back to how it should be and we started the 2nd 45 mins. Again after about 5 songs, same problem. Rebooted 3 times before it cleared. Our 3rd set was fine though I did reduce the gain on everything just in case I was the problem!! Question is, has anyone else had this problem or if not any ideas as the rest of the band have no faith in the set up now and want to go back to our old system of Behringer desk with Peavey amps and speakers and I'm getting a bit too long in the tooth for all that weight and wiring!! Happy New Year everyone!
  12. 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
  13. I just got off the phone with Line6 support who confirmed my dilemma. Here’s my situation: Solo acoustic artist Want to record every show Have an M20d, L3t, & L3m Love the L3t acoustic modeling Haven’t been able to recreate the same tone/body with M20d DSP effects/presets If I plug guitar into L3t and take its Mix Out back to the M20d, it competes with L6 Link (feedback loop) Bottom line, if I want to use M20d (which I do for recording, vocals FX, setup/scene recalls, etc), I can’t use L3t's acoustic modeling So… Has anyone found the right M20d DSP chain and dialed in the best combo of FX presets to emulate L3t’s acoustic modeling? If so, can you please share the chain & each block’s settings? I will also post this feature request as an idea for their next firmware update here ->
  14. Hello, I have an l2t speaker being driven with my Pod HD500x using a single 1/4" cable from the unbalanced output and into the line input of the l2t. I'm using the 'line' setting on the HD500x. I've been using it now in my band for about 4 months and never had a problem before last night. We typically play fairly loud during practice (seems like I have to really crank it to hear over the drummer). To give you an idea how loud, the master level is typically set at around 1 o'clock and the master output on the HD500x is around 2 o'clock. The modeled 'patch' amps for the HD500x are typically around 75% cranked. So the story is last night after about 1 1/2 hours of playing, it just cuts out and stops playing anything. I waited for a few minutes and it started making sounds again, then seemed to be playing fine for about a minute -- then stops playing anything again. The 2nd time when it started to come back to life, it was very faint -- like it was struggling to do anything. The speaker was facing me so I couldn't see it the master 'limit' light was coming on. I'm assuming if I was overdriving it, the limiter would simply clip the sound which isn't what happened - -it simply stop playing anything although the light in the front was on. Therefore, did I overheat it and it shuts down for safety? If that's the case, do I simply need more power? -- i.e., do I need TWO l2t's or say one l3t? Thank you
  15. Howdy folks! I have a Line 6 StageSource L2M powered speaker in excellent condition listed for sale on eBay. The auction includes the Line 6 L2TM rolling speaker bag also in excellent condition! I’ve used it a handful of times with my Pod HD500x on the gig and they sound great together! I’ve switched back and forth between using a power amp/ guitar cabinet and the L2M and have decided the guitar cab setup just works better for me. Here is the link to the auction: Attn forum moderators: I looked around to see if there were rules and regs regarding posting items for sale and couldn't find any info so if this isn't appropriate please let me know and I will gladly delete the topic. Thanks!
  16. Hey there, I am curious what you all think would be a better set up when playing live... An Amplifi 150 or An fx100 with one of the stagesource speakers.... to my understanding there is no way to connect the Amplifi to the Stagesource set up.. :( with out miking it at least. and obviously without using the headphone out.
  17. 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 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.
  18. So I have a JTV, HD500X,and a DT25 and I'm looking to ad an L series to the Dream Rig. I'm looking for some advice on which to purchase. I like to get loud but I also play in my Condo at times. Will the L3 play low enough for condo use? I also play a little bass and saw that the L3 will dedicate a driver to the low end frequencies which I thought might be better for the bass.I will eventually want to add to the system ( I just saw that Sweetwater dropped the price on the MD20 by another $500 ). Anyway I would love to hear some opinions. Thanks.
  19. I've just completed my Dream Rig with the purchase of a shiny new L3m, no DT. I was playing around to get my patches to sound right when it occurred to me that there are a lot of you guys who have already gone through that pain and nailed their tones. I have looked through Customtone and a lot of the Dream Rig patches are to be used with a DT amp so are only of limited use. It would be great if there was a resource for us 'Stagesource Dream Riggers'- there is no apparent way to search for this type of thing in Customtone so how about sharing in this thread? I will get some of the patches I have tweaked on the thread when I get home from work. I'm currently on a (ahem) break......
  20. 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!
  21. 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??
  22. Hi all, I recently purchased a Stagesource L2T powered monitor to connect to my HD500 (and I also have a JVT-59) to create a non DT50/25 guitar amp 'Dream Rig'. I've noticed (besides the L2T smelling like weed) that whenever I connect the hd500 to the L2T using the L6 Link, that it forces the HD500 into combo which point the combination sounds like crap. I then have to go into the hd500 system edit and change it back to direct and everything is ok again. Has anyone else experienced this? is there a way to force the HD500 to stay in direct mode when I connect the L6 link cable? I know I could use the XLR connection, but then I have to fart around with each patch mixer setting (I only have a single L2T at the momment and use it like a guitar amp). Thanks
  23. 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.
  24. I'm comparing different "all in one" PA systems. Was recently able to demo an HK Lucas Nano 300 in a store and was quite impressed, especially for the price and weight. Downside was that it did not have any built in effects or EQ. The Stagesource series, if I understand it right the "t" models have the built in mixer and effects, while the "m" models do not, is that correct? What are the major differences between the L2 and the L3 t models? Just power or? Has anyone here played a jazz guitar through the StageSource,, if so, how did it sound? Thanks!!
  25. Top Features: Smart Speaker Modes for great live sound in any live sound situation Multi-channel mixer with 3-band EQ, Smart Effects and acoustic guitar modeling Multi-function design for true scalability L6 LINK digital networking for multi-speaker setups 800-watt, 2-way, bi-amped speaker system Multi-band feedback suppression On-board accelerometer and pole-mount sensors Virtual Tilt-back projects speakers output upwards in backline mode Tour-grade plywood enclosure with M10 suspension points Retractable handle for easy portability
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