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  1. Support video tutorials expanding on what is covered in the two KB Documents: How to Update the XD-V7x via USB & Device Positioning for Updating XD-V7x Transmitters and Receivers 1. Updating the XD-V75 Receiver (View this video FIRST before the following target device video!) 2. Updating the XD-V70 Receiver (all other Line 6 receivers with 1/4" to 1/4" stereo/TRS connections can use this example)
  2. Below are all the 2nd and 3rd generation wireless products in one document: Wireless Comparison Sheet.xlsx
  3. Deutsche Version. Version française. Preparing the Room: Remote Antennas This guide outlines the steps involved in preparing the room so that you and your customers get the full performance benefits of Line 6 digital wireless systems. In order to maintain optimal antenna coverage and the best possible line of sight, it is sometimes necessary to mount the antennas remotely from the receiver chassis. Line 6 offers two remote antenna options, P180 directional and P360 omni-directional. Both the P180 and P360 have built-in amplifiers and are switchable for +3dB, +12dB or +23dB of gain, which correspond to approximately 16', 65' and 124' makeup gains for LM-195 cable. Greater cable distances can also be achieved with low loss cable such as LMR-400 (6.8dB per 100 feet) or 9913 (7.7dB per 100 feet). Directional antennas are recommended for precision reception of one or more transmitters on a stage. Omni antennas are recommended for general reception of transmitters in a wider space such as audience mics. ANTENNA ORIENTATION During setup, it is best to P180 directional antennas on boom mic stands angle the paddles down toward the performer and the area that the performer tends to move around in. Try to keep the antennas reasonably close together and overlap their coverage patterns as much as possible for redundancy and also to take advantage of the system’s time and space diversity, but they must be at least 5 inches apart. The following sections outline typical deployment examples. INSTRUMENT TRANSMITTER COVERAGE To cover a single transmitter used by a guitar player, the two remote antennas should be located at the edge of the stage as close to the performer as possible, pointed downward toward the guitar player’s bodypack, and angled slightly outward from each other in order to cover other parts of the stage that the performer may use. Above is a side view of the mounted remote antennas pointed toward the guitar player. Below is a stage view that shows the orientation of the remote antennas to the performer. MICROPHONE TRANSMITTER COVERAGE To cover a single microphone transmitter used by the lead vocalist, the two remote antennas could be located on either side of the drum set, pointed downward toward the singer’s microphone, and angled slightly inward in order to cover the main singer position as well as the other parts of the stage that the performer may use. MULTIPLE PERFORMER COVERAGE Use remote antennas together with the XD-AD8 antenna distribution system to cover multiple performers. The two remote antennas could be located on either side of the stage pointed toward the performers. The above illustrations are simply to offer general recommendations. In all cases it is recommended to walk your intended coverage area and check performance. Small adjustments can yield big improvements. Remember, antenna patterns should be selected with the thought of including or rejecting pickup of a selected area. Antenna Height and Angle Your remote antennas should be placed at least three feet above the floor in order to minimize RF reflections, and ideally the antennas should be raised just over the heads of your audience, but not too high overhead or up near the ceiling. Antennas placed too high up tend to pick up more undesired signals while increasing the distance from the performers you are trying to cover. Proper antenna height will maximize the range of your wireless system. The overall goal is to place the antennas as close to the performers as possible while also being as far away from any interference sources as you can. For example: if there is a WiFi router mounted to a wall or ceiling in the same room as the performance space, point the directional antenna away from the WiFi router and toward the performer. Antenna Distribution System Line 6 also offers the XD-AD8 antenna distribution system. The system allows multiple wireless receivers to share the same pair of antennas, giving greater flexibility in the configuration of multi-wireless installations. With rack-mounted wireless systems, setup is easier and the wiring connections are uncluttered, with the added convenience of powering the receivers from the AD8. L’installation des antennes Que vous organisiez une installation permanente, un événement ou une tournée. Vous devez installer vos antennes correctement pour assurer que systèmes sans fil performent parfaitement. Ce manuel décrit les étapes nécessaires pour recevoir le meilleur résultat des appareils Line 6 possible pour vous et votre client. Antennes à distance Pour avoir une couverture antenne optimale et une meilleure ligne de mire, parfois, c’est nécessaire d’utiliser des antennes à distance. On place des antennes à distance du récepteur. Line 6 offre deux options ici : L’antenne P180 directionnelle et P360 omnidirectionnelle. L’un et l’autre on des amplificateurs intégré qui sont changeable de +3dB, +12dB ou +23dB que correspond à 5m, 20m et 38m de câble LM-195. Si vous avez besoin des plus grandes distances, vous avez besoin du câble faible perte comme LMR-400 (6.8dB par 30m) ou 9913 (7.7dB par 30m). Nous recommandons les antennes directionnelles pour une réception précise d’un seul ou plusieurs émetteurs sur scène. Nous recommandons les antennes omnidirectionnelles pour une réception générale des émetteurs dans un espace plus large. Orientation de l’antenne Pendant la configuration, il est préférable de visser une P180 sur un pied de micro. Oriente l’antenne vers le bas vers l’interprète et la région dans laquelle l’interprète se bouge. Essayez de garder les antennes rapprochés et essayez de chevaucher la couverture des antennes pour assurer la redondance. Les systèmes doivent avoir d'au moins 13cm de distance. Les exemples suivants montrent des déploiements typiques. Couverture d’émetteur Pour un joueur de guitare placez deux antennes à distance au niveau du bord de la scène le plus près de l'artiste possible. Orienté vers le bas et vers le body pack de l’artiste aussi un peut vers l’extérieur pour couvre autres parties de la scène que l'artiste pourrait utiliser. Antennes à distance fixés et orienté vers l’interprète. Et le vue de la scène : Couverture de l’émetteur de microphone : Pour couvre un seul émetteur microphone utilisé par le chanteur, vous pouvez mettre les deux antennes à distance en position par exemple de chaque côté de l’ensemble de batterie. Orienté vers le bas vers le microphone du chanteur et incliné vers l’intérieur pour couvre la position du chanteur mais aussi les autres parties de la scène que l'artiste pourra utiliser. Couverture pour plusieurs artistes : Utilisez des antennes à distance avec le système distribution XD-AD8 pour couvre plusieurs artistes. Les deux antennes peuvent se trouver de chaque côté sur scène orienté vers les artistes. Les illustrations ci-dessus sont des recommandations générales. Dans tous les cas, c’est recommandé de testé tous la région de couverture pour assurer que vous avez un signal partout. Des ajustements mineurs peuvent produire des résultats grands. Sélectez un modèle de couverture des antennes pour les artistes d’être capable de bouger librement. Hauteur et angle de l’antenne : Placez vos antennes à distance au moins 1 mètre au-dessus du sol afin de réduire les réflexions RF. Les antennes doivent être soulevées un peu au-dessus des têtes de l’auditoire mais pas trop élevé près du plafond. Antennes placés trop élevés sont trop loin de l’artiste et ramassent des signaux non désirés. Une hauteur propre maximise la gamme de votre système sans fil. Essayez de placer les antennes aussi proche à l’artiste que possible mais aussi loin que possible des interférences. Par exemple, s'il existe un routeur WiFi monté sur un mur ou au plafond dans la même chambre que l'espace de représentation. Orientez l’antenne directionnelle à partir du routeur WiFi et vers l’artiste. Système de distribution d’antenne: Line 6 offre le système de distribution d’antenne XD-AD8. Le système permet à plusieurs récepteurs sans fil pour partager la même paire d'antennes que vous offre une grande flexibilité pour configurer des installations sans fils multiples. Avec un système sans fil monté en rack, l’installation est facile et les connections de câblages sont épurés. En outre, vous pouvez faire fonctionner les récepteurs à partir de l’AD8. Vorbereitung des Raums: Remote-Antennen Diese Anleitung wird Ihnen Schritt für Schritt zeigen wie Sie den Raum so vorbereiten können, dass Sie eine best-mögliche Leistung aus Ihren digitalen und kabellosen Line 6 Geräten bekommen können. Um den Raum optmal abzudecken und eine Sichtlinie zwischen Antenne und Transmitter zu haben müssen oftmals Antennen an anderen Position aufgestellt werden als die des Empfängers. Line 6 bietet hier zwei verschiedene Antennen, die P180 gerichtete Antenne und die P360 Rundstrahlantenne. Sowohl die P180 als auch die P360 haben eingebaute Signalverstärker welche auf +3dB, +12dB und +23dB eingestellt werden können. Diese entsprechen einer zusätzlichen Kabellänge von 5m, 20m und 38m LM-195 Kabel. Für größere Kabeldistanzen brauchen Sie Spezialkabel mit geringem Verlust wie das LMR-400 (6.8dB auf 30m) oder das 9913 (7.7dB auf 30m). Ausgerichtete Antennen empfehlen wir für einen präzisen Empfang für einen oder mehr Transmitter. Rundstrahlantennen empfehlen wir für allegemeinen Empfang auf größerem Raum wie z.B. Publikumsmikrofone. Die Antennenausrichtung: Während der Aufstellung ist es oft am Besten die P180 ausgerichteten Antennen auf Mikrofonstative mit Galgen aufzusetzen und die Antennen dann nach unten in Richtung Künstler zu winkeln. Versuchen Sie außerdem die Antennen relativ nah nebeneinander stehen zu haben damit die Abdeckungen sch überschneiden. Die Antennen sollten jedoch mindestens 13cm voneinander entfernt sein. Die folgenden Kapitel schildern typische Einsatzbeispiele: Instrument Transmitter Abdeckung: Um einen eizelnen Transmitter, der von einem Gitarrenspieler verwendet wird abzudecken sollten beide Remote-Antennen an der Kante der Bühne aufgestellt werden, so nah wie möglich am Gitarrenspieler. Die Antennen sollten in Richtung des Bodypacks gerichtet und leicht nach außen gedreht sein damit die Antennen auch Teile der Bühne abdecken, in den der Spieler bewegen könnte. Oberhalb befindet sich eine Seitenansicht der Remote-Antennen und unterhalb eine Bühne auf der man die Orientierung der Remote-Antennen erkennen kann. Mikrofon Transmitter Abdeckung: Um einen einzelnen Mikrofon-Transmitter eines Sängers abzudecken können sich die beiden Antennen auf einer Seite des Schlagzeuges befinden. Die Antennen müssen dann nach unten in Richtung des Mikrofons und leicht nach innen gerichtet werden um so den Bereich abzudecken in dem sich der Sänger bewegt. Antennenabdeckung für mehrere Künstler: Nutzen Sie dazu die Remote-Antennen sowie das XD-AD8 System. Beiden Antennen könnten sich in diesem Falle jeweils links und rechts an der Kante der Bühne befinden und in Richtung Künstler gedreht sein. Die obrigen Illustrationen sind Vorschläge. In allen Fällen ist es wichtig die Bühne abzulaufen und zu überprüfen ob die Künstler überall Empfang haben. Kleine Änderungen können hier großes bewirken. Die Abdeckung der Antennen können Sie hier anhand der Ausrichtung selbst bestimmen. Antennenhöhe und –Winkel Ihre Remote-Antennen sollten Sie mindestens einen Meter über dem Boden positionieren um RF Reflektionen zu minmieren und idealerweise sollten die Antennen über den Köpfen des Publikums plaziert werden jedoch nicht zu hoch oder nah an der Decke. Antennen, die zu hoch plaziert sind nehmen oftmals mehr unerwünschte Signale auf. Die korrekto Höhe der Antenne wird die Reichweite Ihres kabellosen Systems maximieren. Das Hauptziel ist es die Antennen so nah wie möglich beim Künstler und gleichzeitig weit weg von Interferenzen aufzustellen. So kann zum Beispiel ein WLAN Router, der an der Decke des Raumes installiert ist das Signal stören. Richten Sie in diesem Fall die Antenne auf den Künstler und nicht in die Richtung des Routers. Antennenverteilersystem Line 6 bietet außerdem das XD-AD8 Antennenverteilersystem an. Das System es mehreren Empfängern das selbe Paar Antennen zu benutzen, welches Ihnen mehr Flexibilität für Ihre Aufstellungen mit mehreren Empfängern bietet. Mit Rack-Wireless Systemen ist die Einrichtung einfach und nicht überladen. Zusätzlich können Sie die Empfänger vom AD8 aus betreiben.
  4. USB 3.0 computer cables and peripherals, including hard drives, are known to emit radio frequency interference throughout the 2.4GHz band, which results in reduced range and/or performance for any 2.4GHz device in its proximity (including wireless keyboard or mouse, WiFi, etc.). We recommend placing any digital wireless receivers at least two meters away from the USB 3.0 device and its cabling. Below is a link to an study by Intel regarding this interference. http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Interferenzen zwischen USB 3.0 und 2.4GHz-Geräten USB 3.0 Computerkabel und –geräte sind dafür bekannt Interferenzen bei Radio Frequenzen im 2,4GHz Bereich zu erzeugen was zu verringerter Reichweite und Performance für alle 2.4GHz Geräte (inklusive kabellose Tastatur oder Maus sowie WiFi und viele andere) in der Nähe führen kann. Wir empfehlen alle digitalen Kabellosempfänger mindestens 2m von den USB 3.0 Geräten und deren Verkablung weit weg zu plazieren. Nachstehend können Sie einen Link zur Untersuchung von Intel über Interferenzen mit USB 3.0 finden: http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Interférences entre USB 3.0 et appareils 2.4GHz Les câbles et périphériques USB 3.0 sont connus pour émettre des interférences de fréquence radio dans la bande 2,4 GHz, que cause une gamme et/ou performance des appareils 2.4 GHz réduite dans la proximité. (Y inclus sont les claviers ou souris sans fil, WiFi, etc.) Nous recommandons de placer le récepteur sans fil numérique au moins 2 mètres loin des appareils USB 3.0 et ses câbles. Voici un lien vers une étude réalisée par Intel au sujet de cette interférence: http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html
  5. V2.0 Firmware provides improved performance as well as upgraded features and/or compatibility to existing Line 6 XD-V70 systems and separates: XD-V70 Transmitters RF2 mode in addition to the original RF1 mode 14 channel capability in RF2 mode or 12 channel in RF1 mode. XD-V70 Receivers Ability to lock to RF1 or RF2 mode transmitters 14 channel capability in RF2 mode A new RF Scan capability which identifies RF1, RF2 transmitters as well as possible interference sources on Line 6 channels. Switching between RF1 and RF2 Mode The XD-V70 V2.0 Firmware utilizes our latest digital wireless transmission method, and is fully channel compatible with the XD-V75 running RF2 mode. Multiple units of either of these models can be used together within the same location, as long as each unit is on a unique channel and no more than 14 units are used simultaneously. The XD-V70 receivers running V2.0 Firmware can automatically receive transmissions from previous generation of Line 6 wireless products, including the XD-V30, XD-V70, and Relayâ„¢ G30, Relayâ„¢ G50, and Relayâ„¢ G90 models with pre Version 2.0 Firmware, now referred to as RF1 mode. However, it is recommended to NOT mix usage of the RF1 and RF2 modes within the same location due to the channel frequencies in each system not being compatible. Depending on the situation, it may be desirable to switch transmitters from RF2 back to RF1 mode. To set THH12 or TBP12 transmitters running V2.0 firmware into RF1 mode, enter Setup mode to display the current channel, then while holding down the SELECT button, press and release the ON/MUTE button on the THH12 or VALUE button on the TBP12. The display will briefly show [XD-V7x RF1] or [XD-V7x RF2] to indicate whether it is operating in the old or new mode, respectively. This setting is retained when powering off, so as a reminder the display will also show this indication [RF1 or RF2] each time power is turned on. The XD-V7x receiver will display a [To] on the far right of the display to indicate while communicating with a RF1 software transmitter. RF Scan Mode Channel Scanning Procedure V2.0 firmware adds a sophisticated scanning capability that can determine the existence of interfering wireless devices that may compromise the performance range of operation on certain channels, and can also help assure selected wireless mic channels do not interfere with other wireless devices. Use the following procedure to minimize interference: if you are adding new wireless units to a previous installation with Line 6 systems, first turn on the existing transmitters so their frequencies can be detected. Press the SETUP button on the receiver. The [sELECT FUNCTION] screen will appear; scroll with the ROTARY ENCODER to [CHANNEL SCAN], and press the ROTARY ENCODER to begin the scanning process. After approximately 6 seconds, the display will show channel numbers 1 through 14 on the bottom line, with a status indicator above each channel. The indicators and their applications are: Note: No audio will function while the receiver is on this channel-scanning page; you must select a channel by pressing the ROTARY ENCODER or press the EXIT button and leave the page to resume audio. Turn the ROTARY ENCODER to scroll through the list of channels; a flashing underline will follow the channel number as you scroll. Once you have highlighted a blank, unused channel, press the ROTARY ENCODER to select it. The receiver display will return to the main page with the new channel number shown. Note: Any of the channels can be selected, regardless of the RF conditions displayed for the channel. Selecting a channel showing significant RF interference can result in lessened range for the associated transmitter.
  6. Line6Tony

    XD-V75 FAQ

    XD-V Digital Wireless Systems Comparison Page Receiver Output Level Adjust (Digital Gain Control): default is set to Unity Gain (0 dB), but now the XD-V75 Receiver provides users with the ability to adjust output "digital" gain by -18dB up to +12dB to provide more flexibility, especially when using third party microphones. Note: +12dB gain is NOT equivalent to "line-level" signal; this is still a "mic-level" signal. 14 Channels: up from the 12 Channels on our previous XD-V70 system. 10 Microphone models (for Hand-Held System) L6 (Line 6): Line 6 Custom 58 (Shure): SM58 B58 (Shure): Beta 58 57 (Shure): SM57 835 (Sennheiser): e835 935 (Sennheiser): e935 41 (Audio-Technica): AE4100 767 (Electro-Voice): N/D767A O5 (Audix): OM5 D5 (AKG): D5 *All product names above are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6's sound model development. SHURE and SM58 are registered trademarks of Shure Incorporated. Sennheiser is a registered trademark of Sennheiser Electronic Corp. Audix is a registered trademark of Audix Corporation. Audio-Technica is a registered trademark Audio-Technica Corporation. Electro-Voice is a registered trademark of Telex Communications, Inc. AKG is a trademark of AKG Acoustics GmbH. 9 Custom EQ Filter models (for Lavalier/Headset/Transmitter Systems) SF1 (Speech Filter 1): Gentle High-Pass SF2 (Speech Filter 2): Gentle High-Pass and High-Cut SF3 (Speech Filter 3): Moderate High-Pass and High-Cut SF4 (Speech Filter 4): Gentle High-Pass, Mid-Cut and High-Cut SF5 (Speech Filter 5): Moderate High-Pass, Mid-Cut and High-Cut SF6 (Speech Filter 6): Aggressive High-Pass, Mid-Cut and High-Cut IF1 (Instrument Filter 1): Guitar Cable High-Frequency Roll-Off IF2 (Instrument Filter 2): Woodwind Instrument Enhancement IF3 (Instrument Filter 3): Brass Instrument Enhancement Audio Metering (LED 5) Red *Clip*: only lights up when audio signal is clipping (LED 4) -06dB: any peak signal -6dB or above (LED 3) -18dB: any peak signal -18dB or above (LED 2) -30dB: any peak signal -30dB or above (LED 1) -60dB: any peak signal -60dB or above Battery Metering (LED 5) Green: 5 or more hours left (LED 4) Green: 4-5 hours left (LED 3) Green: 3-4 hours left (LED 2) Green: 2-3 hours left (LED 1) Green: 1-2 hours left (LED 1) Red: 1 hour left (LED 1) Red *Flashing*: less than 40 minutes left Improved Dynamic Filter: minimizes unwanted handling or incidental background noise. OFF: No Filtering NORM: Filter for Singing TALK: Filter for Speaking RF Channel Scan: provides a visual map of the 2.4 GHz space in the System Setup of the Receiver Unit, enabling system technicians and performers to "map out" the 2.4 GHz spectrum when other wireless devices in proximity are active as well. It also provides visual indication of the RF1 and RF2 mode devices being operated in the range of the receiver. In short, allows the user to select channels that have lower background interference and to better avoid WiFi interference. Crypto Mode: a digital cipher scheme allowing secure open-channel communication in critical situations. Better known as encryption and allows to lock a transmitter to a receiver so that no other receiver (that doesn't have the code keyed in) to receive the transmission from that particular transmitter. This provides security for those who wish to keep their program material from being intercepted by unauthorized individuals. It is typically used in courtrooms, hospitals and board meeting rooms. Improved RF Out-Of-Band Isolation: improved radio front end providing better isolation from RF interference outside of the 2.4 GHz band. Normally RF signals that are not close to the tuned frequency of a receiver are ignored by that receiver, however when they are very close or very strong they may interfere with a receiver. We added an extra layer of protection and filtering to block signals from transmitters outside of the 2.4 GHz band. Mini-USB Port: for any future Firmware updates when new versions are release via Line 6 Monkey. It is now possible to update existing Relay and XD-V products via 1/4" TRS (stereo) cable or radio transmission from the XD-V75 antenna outputs with the XD-V75 Receiver. Dimensions XD-V75 Receiver: Standard 1 unit space height (1/2 width) rackmount Does USB 3.0 create interference in the 2.4GHz frequency range? USB 3.0 computer cables and peripherals, including hard drives, are known to emit radio frequency interference throughout the 2.4GHz band, which results in reduced range and/or performance for any 2.4GHz device in its proximity (including wireless keyboard or mouse, WiFi, etc.). We recommend placing any digital wireless receivers at least two meters away from the USB 3.0 device and its cabling. Below is a link to a study by Intel regarding this interference. http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Additional Links: XD-V75 Manual XD-V Digital Wireless Microphones FAQ Digital Wireless Troubleshooting USB Firmware Updating USB Firmware Updating (Device Positioning)
  7. Français. Deutsch. What instruments and pickups can I plug into my Relay transmitter? Relay digital wireless systems basically just replace your instrument cable so basically you can plug anything into the transmitter that you could have plugged into your amp (as long as you don't exceed an input level of 6V p-p at the input). Examples: Instrument with piezo pickup - If you are currently happy with the sound you get from plugging from your instrument into your amp, then your rig will work just fine substituting Relay for your cable. The input of the Relay transmitter has a very high input impedance (1.3 Mohm) so as not to load down your instrument. This is equal to or even higher than most preamps specifically intended for piezo pickups. Stereo pickups with Y-Cord - Could also be standard pickups combined with a bridge saddle pickup. Again, if you are happy with the sound you get using this configuration then Relay will not get in the way of your sound. Or you could run each pickup to it's own individual Relay system which could then be split into stereo. Active instruments w/ preamps - If your instrument has an active preamp and is powered with a single 9v battery you will have no problems using Relay. If you have a double 9v preamp it is theoritically possible to clip the input of the transmitter but unlikely in the real world. Should this actually happen you can remedy it by backing off a bit on the master volume control, adding a pad to the cable or removing one of the batteries. The extra headroom offered by these systems is only a benefit if it fits in with the system gain structure (unless you are using it to purposly clip the input of your amp). Remember, unused headroom is wasted. Where should I plug Relay into my chain? Relay replaces the cable from your instrument to wherever the other end of that cable was plugged into. Plug your instrument into the transmitter and plug the output from the receiver into wherever that cable was before. Generally speaking, you are un-tethering yourself from the first piece in your chain. You don't have to worry about gain or level matching as Relay is a "unity" device. That means you get the same level (voltage) at the output jack of the receiver as you are getting from the output of your instrument. Nothing changes ... Relay's output level is neither louder nor softer than the original. The output from the "tuner" out is exactly the same as the main output in level and impedance. Only difference is the pressing the "mute" button on a G50/90 transmitter shuts off the main out but leaves the tuner output active. The XLR and 1/4" outputs on the G90 are also identical and are provided to give the user more versitility in connecting to other gear. What IS different? Depending on how you've set the cable modeling, you could be sending a lot more "highs" into your system than ever before. This could result in more apparent noise or hiss. It would be the same as if you had connected your instrument into your system with a 1-foot cable (which is pretty difficult to do unless you are a contortionist guitarist!). Adjusting to the proper cable model should remedy this situation. On the other hand, if you are using an acoustic guitar leaving the model off will sound like the freshest set of strings you've ever played. Relay: Digital Wireless: Was schließe ich an und wie? Welche Instrumente und Pickups kann ich an den Relay Transmitter anschließen? Relay Digital Wireless ersetzt einfach nur das Instrumentkabel, Sie können also fast alles in Ihren Transmitter stecken, was Sie auch in Ihren Verstärker gestöpselt hätten. (Solange Sie die Eingangsspannung von 6V pp nicht überschreiten.) Beispiele: Instrumente mit Piezo Pickup: Wenn Sie zur Zeit schon froh sind mit dem Soun den Sie bekommen, wenn Sie Ihr Instrument normal in den Verstärker stecken, dann wird das auch mit Relay als Kabelersatz genau so gut funktionieren. Der Eingang des Relay Transmitters hat eine extrem hohe Impedanz (1,3 Mohm), damit Ihr Instrument nicht belastet wird. Diese Impedanz ist gleich oder höher der meisten Vorverstärker speziell für Piezo Pickups. Stereo Pickups mit Y-Kabel: (oder standart Pickups kombiniert mit "bridge saddle" Pickup). Wenn Sie zur Zeit schon froh sind mit dem Soun den Sie bekommen, wenn Sie Ihr Instrument normal in den Verstärker stecken, dann wird das auch mit Relay als Kabelersatz genau so gut funktionieren. Sie könnten aber auch die einzelnen Pickups separat an verschiedene Relay Systeme anschließen um das Stereosignal aufzuspalten. Aktive Instrumente mit Vorverstärkern: Wenn Ihr Instrument einen aktiven Vorverstärker hat und durch eine einzelne 9V Batterie angetrieben wird, werden Sie keinerlei Probleme mit Relay haben. Wen nSie aber einen Vorverstärker mit doppelter 9V Batterie haben, ist es theoretisch möglich den Eingang des Transmitters zu übersteuern. Sollte dies passieren können Sie das Problem lösen indem Sie das Master Volume ein wenig herunterdrehen, dem Ausgang ein Padding geben oder eine der Batterien entfernen. Die zusätzliche Freiheit bei hohen Frequenzen bei solchen Systemen ist nur dann von Vorteil, wenn es mit dem Gain des Sytems zusammenpasst. (Außer natürlich, Sie verwenden es um absichtlich das Singal zu übersteuern.) Denken Sie daran, dass nicht benutze Freiheit bei hohen Frequenzen verschwendet ist. Wo soll ich mein Relay in die Kette schalten? Relay ersetzt einfach nur das Kabel vom Instrument zum Gerät, welches Sie mit dem Instrument verbinden wollen. Stecken Sie das Instrument in den Transmitter und dann den Ausgang des Empfängers worin auch immer das Instrument vorher steckte. Sie müssen sich nicht mehr um Gain- oder Levelabstimmung kümmern, da Relay ein "Unity" Gerät ist. Das bedeutet, dass Sie immer die gleiche Spannung im Ausgang des Empfängers haben, wie Sie aus dem Ausgang des Instrumentes bekommen. Nicht ändert... Der Ausgangspegel ist nicht höher odre tiefer als das Original. Der Ausgang des "Tuners" hat denselben Ausgangspegel und –impedanz, wie der Main-Ausgang. Der einzige Unterschied ist, dass durch drücken des "Mute" Knopfes auf dem G50/90 Transmitter nur die Main-Ausgänge und nicht der Tunerausgang abgeschaltet wird. Die XLR und 6.35mm Ausgänge des G90 sind identisch und sind vorhanden um dem Benutzer mehr Flexibilität für die Verbindung seiner Ausrüstung zu verleihen. Was ist anders? Jenachdem, wie Sie das Kabel-Modeling eingestellt haben kann es sein, dass Sie weit aus mehr "Höhen" in Ihr System senden, als vorher. Dies könnte zu deutlicherem Rauschen und Zischen führen. Das wäre dann dasselbe, als wenn Sie Ihr Instrument mit einem 30cm Kabel an das System angeschlossen hätten. (Was eventuell schwer zu machen ist.) Das Anpassen auf das korrekte Kabelmodell sollte dieses Problem lösen. Andererseits, wenn Sie eine akustische Gitarre benutzen können Sie das Modell abschalten und Wird das ganze sich anhören, wie der frischeste Satz Saiten, den Sie je gespielt haben. Relay: Signal sans fil digital: Qu'est-ce que je branche et comment? Quels instruments et micros est-ce que je peux brancher dans le transmetteur Relay? Les systèmes numériques sans fil Relay simplement remplacent les câbles instruments, donc vous pouvez brancher tous les instruments que vous pouvez brancher dans l'ampli. (Tant que vous ne dépassez pas un niveau d'entrée de 6V pp à l'entrée). Exemples: Instruments avec micro piezo: Si vous êtes actuellement satisfait du son que vous obtenez de brancher votre instrument à votre ampli, votre rig fonctionnera très bien avec Relay comme remplacement pour le câble. L'entrée du transmetteur Relay a une impédance très haute 1,3 (MOhm) pour ne pas surcharger votre instrument. C'est égal ou même supérieur à la plupart des préamplis spécifiquement destinés aux micros piezo. Micros stéréo avec câble Y: (ou micros standard combiné avec un micro bridge saddle). Vous êtes actuellement satisfait du son que vous obtenez de brancher votre instrument à votre ampli, votre rig fonctionnera très bien avec Relay comme remplacement pour le câble. Ou, vous pouvez connecter chanque micro avec un système Relay individuel pour le diviser en stéréo. Instruments actives avec préamplis: Si votre instrument a un préampli actif et est allumé avec une seule batterie 9V, vous n'aurez aucun problème avec Relay. Si vous avez un préampli double 9V, c'est théoriquement possible de brancher l'entrée du transmetteur mais c'est peu probable en réalité. Si cet événement se produit, vous pouvez reculer un peu sur le Master Volume, ajouter un pad sur le câble ou enlever une des deux batteries. La marge supplémentaire offerte par ces systèmes est seulement un avantage si elle s'inscrit dans la structure de gain du système (sauf si vous l'utilisez pour couper intentionnellement l'entrée de votre ampli). Rappelez-vous, marge non utilisée est perdue. Où est-ce que je dois brancher Relay dans la chaine? Relay remplace le câble de votre instrument à n'importe quel appareil vous voulez connecter votre instrument. Branchez votre instrument dans le transmetteur et la sortie du récepteur dans n'importe où ce câble était avant. Vous n'avez pas à vous soucier de gain ou de niveau correspondant parce que Relay est un appareil d '«unité». Ca veut dire que vous recevez le même niveau de tension au jack de sortie que vous recevez de la sortie de l'instrument. Rien ne change… Le niveau de sortie de relais n'est ni plus fort ni plus douce que l'original. La sortie du "Tuner" est exactement le même que la sortie Main (principale) en niveau et impédance. La seule différence est que pousser le bouton "Mute" sur un G50/G90 éteints la sortie Main mais laisse la sortie du tuner actif. Les orties XLR et 6.35mm sur le G90 sont identiques et sont fournis pour donner plus versatilité à l'utilisateur pour se connecter à autres appareils. Quelle est la différence? Selon la façon dont vous avez configuré la modélisation de câbles, vous pourriez envoyer beaucoup plus d'«hauts» dans votre système que jamais auparavant. Cela pourrait entraîner du bruit ou sifflement plus apparente. Ce serait le même que si vous aviez connecté votre appareil dans votre système avec un câble de 30cm. (ce qui est plutôt difficile à faire) Ajustement au modèle de câble approprié doit remédier à cette situation. D'autre part, si vous utilisez une guitare acoustique laissant le modèle off retentit comme l'ensemble le plus nouveau de cordes que vous n'avez jamais joué.
  8. ****If you recently purchased a Relay V75-SC Super Cardioid Microphone and that capsule does not have microphone models when placed on another XDV-75 handheld microphone body, then you will need to update the firmware on that handheld microphone to version 2.10. Instructions for updating Line 6 wireless systems can be found in other Knowledge Base articles.**** Range XD-V 70/75 systems are rated at 300 feet under ideal conditions and the XD-V30 systems are rated at a 100 foot range. This “Open Air Wireless Range” also known as “Line of Sight”, meaning the transmitter’s antenna must have a clear path to the receiver’s antenna and be reasonably free of interference. For best performance “Line of Sight” should be maintained between the receiver’s antennas and the transmitter’s antennas. Radio waves travel in straight lines and do not go around corners. Barriers such as walls can impede the path of radio waves depending on the thickness and the type of construction. RF will not transmit efficiently through metal barriers. If you have aluminum siding or a metal roof, it is unlikely the RF signal will transmit through this barrier with much efficiency. When using wireless systems indoors you could experience a moderate reduction in range compared to outdoors depending on conditions. RF will not transmit through the earth so if the receiver is placed in the basement, and the earth or ground is obstructing the line of sight transmission, it will not receive the direct signal. Human bodies also absorb RF energy and can affect maximum range so remember to place your antennas accordingly. Avoid cupping the bottom of the handheld mic as it will block the antenna resulting in a loss of range. Another significant reduction of range can be expected if the receiver antennas for the XD-V systems are very close to other intentional radiators in the same frequency band such as Wi-Fi wireless access points. Using the XD-V70 with remote paddle antennas and separating the antennas by several feet can be an effective way to mitigate this condition. Interference Q: What is the difference between Analog and Digital wireless systems handling of interference? A: Since the XD-V wireless system is digital, it is able to “intelligently” ignore all signals that are not specifically intended for it. As a result, no audible interference can be generated due to other RF signals occurring simultaneously with the XD-V RF signals. Additionally, the XD-V system utilizes a frequency diversity system in which four different RF frequencies are transmitted for each single audio channel. Only if there are errors or loss of signal on all four RF frequencies within a single transmission packet will an XD-V system mute. Loss of RF signal can be the result of trying to function at too great a distance, having unintentional transmitters too close to a receiver (near/far), or a significant amount of close-by RF signals within the same 2.4GHz range (Wi-Fi, microwave ovens, etc.). In all cases, the symptoms will be the same: reduction of RF LEDs on the front panel that indicate usable RF signal strength, followed by the audio signal muting. Once good enough RF signal is received again, the signal will unmute. Put simply, all forms of potential interference for the XD-V system will have the net effect of reducing the total usable distance for the system. If your application does not require maximum range, then typically little concern about other radio signals is required. If you intend to use your system at a distance, it is recommended that you “walk test” your system in advance of an event to verify that sufficient RF signal is available to avoid mutes from occurring over the entire desired range. Output Level Q: Why does the level change when I swap an XD-V digital wireless with my old wireless system? A: XD-V digital wireless are designed to be the same as a wired mic and are "unity" at the receiver's output relative to input to the transmitter. Most other wireless systems have gain stages that amplify the signal above the mic level itself. This means there is no relationship between the input level to the transmitter and the output level of the receiver. If the gain has been turned up on your old system then you will likely notice a drop in level when you hot-swap with an XD-V. This is a simple “gain-structure” issue and is not a measure of sound quality. So if you hot-swap an XD-V wireless with the same mic as the model you have selected you will not need to make any changes to your gain structure. If you are replacing an older wireless unit that has gain added, you will need to balance the trim (gain) controls on your mixer inputs to accommodate the “unity mic level” of the XD-V. This is why mixer inputs have gain adjustments … so you can properly match mic preamp gain to the input source. Remember, XD-V digital wireless is mic level output only and must be plugged into a mic level input and not a line level input. If the trim controls are calibrated on your input strips a gain of 25-30 dB will probably be in the ballpark with an average vocalist. Frequency/Channels Q: What is different about the XD-V systems compared to the XDR-955? A: The XD-V30/XD-V70 systems use a higher frequency (2.4 GHz) and operate on 6 or 12 channels respectively, rather than 5. The XD-V channels numbers do not correspond to 802.11 Wi-Fi channels however. Q: Can the XDR-955 microphone be used with the XD-V systems? A: Both systems run in completely different frequency ranges so they are not inter-compatible, but X2 and XD-V units can be used on the same stage (along with any other analog wireless systems) with no problems. Q: Are the Relay G-series components compatible with the XD-V series components (or vice versa)? A: Because they both operate in the same 2.4 GHz frequency range, they are compatible. Q: Do the XD-V digital wireless systems share channels with the Relay systems? A: Both XD-V systems share their first 6 channels with the Relay G30. The XD-V70 shares all 12 of its channels with the Relay G50 and G90 models. A total of up to 14 systems can potentially be combined if the V70 firmware has been updated. Batteries and Power Supplies Q: Can I use rechargeable batteries? A: Yes, but the hours and minutes are calibrated to alkaline batteries. Different battery chemistries discharge at different rates, therefore the battery meter reading may be inaccurate when alkaline batteries are not used. The run time will be directly related to the current capability of the batteries. Some experimentation will be necessary to determine how they perform for you. Carbon Zinc batteries should not be used with XD-V wireless systems. Q: Why is the battery meter higher when I restart than when I shut off the transmitter? A: Line 6 2.4G wireless transmitters have a circuit that measures the actual real-time voltage of the installed batteries and transmits that data to the battery meters in the receivers. The battery meters are very accurate when they have been running continuously since new batteries were installed in the transmitter and the transmitter power has not been cycled on and off. However due to the chemical nature of Alkaline batteries, when they have been shut off, the voltage begins to “rebound “ and the voltage actually increases compared to its value at shutoff. Unfortunately it does not last long and it reverts to true self over twenty minutes or so. For this reason when you first turn on a Transmitter that has been run but allowed to rest the meter will give a high reading that quickly falls over the first few minutes and continues to fall quickly for the first few minutes. This is normal behavior for Alkaline batteries. Q: What's the battery life of XD-V digital wireless systems? A: Battery life depends on the current capacity of the batteries used. Typically AA alkaline batteries can provide about 2400 mAh and will provide about 8 hours of continuous use from two AA alkaline batteries when run on "high" power. Typically you will get 10 hours on the "low" power setting. Be aware of "alkaline rebound" when turning off the unit and turning it back on, as it may look like it has more power than it really has. Antenna Distro Q: Can the RX212 Receiver antennas be linked together? A: Up to 6 receivers can be daisy-chained together using the built-in antenna distro system. LMR-195 antenna cable is required for linking up multiple XD-V receivers. The last unit in the chain should be "terminated" (using the supplied term plugs) when linking receivers together. (Please see the Advanced User Guide). External Antennas Q: What type of antennas work with the XD-V70 receiver (RX212)? A: Line 6 offers both "omni"(P360) and "patch" (P180) directional paddle style antennas as options. http://store.line6.com/. These antennas have built-in line amps to accommodate long cable runs (up to 100' or more) depending on cable type. Antennas connect to Line 6 receivers with BNC connectors. LMR-195 cable (or better) should be used and the gain switch should be set to match the approximate loss of the cable. There are many specialty antennas made by third parties that may also be used. They must be specifically tuned for the 2.4GHz band. You must remember to take into account line loss when using passive antennas Mic Capsules for XD-V Handheld Transmitters Q: What mic capsules can be used with the XD-V handheld transmitters? A: XD-V Handheld transmitters have been designed to allow for the use of interchangeable capsules from 3rd party manufacturers such as Earthworks, Telefunken, Shure and others. However since there is no actual standard for compatibility there is some risk of unintended signal or mechanical issues. Users are advised to test specific combinations prior to purchase. Before replacing a capsule the power should be shut off. Simply screw on the desired capsule, then turn on the power. Mic modeling is bypassed (and not available) when using 3rd party capsules. Depending on the level of the capsule and the loudness of the person singing/speaking into it, the Environment filter may need to be switched “off” if a gating sound occurs. Using Third Party Mics w/ Beltpacks Q: What is the pin-out for wiring to a TA4F connector? A: Pin 1 - Gnd Pin 2 - V+ Pin 3 - Signal Pin 4 - Z (leave open for instrument)(short to pin 3 for mic) For a normal, everyday, run-of-the-mill, Tip/Sleeve (TS) connector for a 1/4" instrument cable end,... the signal goes from 1/4" Tip to TA4F pin-3 (Signal), and 1/4" Sleeve goes to TA4F pin-1 (Gnd). Don’t worry about pins 2 and 4, those are used for Lavaliere Mic connections. Q: What mics work with the XD-V70 Beltpack Transmitter A: Questions often come up as to what mics are compatible with the system and how to adjust the gain to match other wireless systems. Line 6 XD-V70 beltpacks (TBP12) are essentially unity level devices meaning the output voltage of receiver essentially matches the input voltage of the transmitter. So it raises the question… “match the level to what?”. Traditional systems are essentially a mic coupled with a preamp, not just a microphone alone. This may require thinking about your system in a new way. With traditional wireless systems that have limited dynamic range, gain and level control are essential if one hopes to have reasonable hiss free operation without excessive distortion. No gain or level matching is required when using XD-V wireless systems because of the XD-V’s wide dynamic range and compander free operation. So the system gain requirement is to have the speech or vocal input to the microphone present an appropriate level into the mic preamp so that the preamp can raise the voltage to be optimum into the next stage of the mixer. Gain is likely needed somewhere in this chain, but as long as the mic preamp has enough gain available there is no problem re-adjusting the input trim to do this. Just turn it up as much as needed. Just remember to plug the output of the XD-V into a “mic level” input on the mixer as it is not intended to be used into a “line level” input. In order to be able to certify a mic and being compatible one would have to know the distance from the user’s mouth and the level of their singing/speech. The sensitivity of both the Line 6 HS70 and the LM4-T lav mic is -46 dB, so using a mic that is approximately the same in sensitivity will result in a similar output voltage to the factory supplied mic. If a lower sensitivity mic were used with any traditional wireless system you would need to turn up the gain in the transmitter, receiver and/or the mixer. If the levels of these three controls are not in perfect sync with each other the result will be extra distortion or extra noise/hiss. With Line 6 XD-V is greatly simplified. Simply make adjustments at the mixer (in the same way as you work with a mic with a cable). Much less complicated (although it may be different than what a user is used to) it insures maximum headroom and far less chance to get it wrong. Just turn up the mixer, that’s why the knobs move. Remember, the relative position of a knob means almost nothing. The correct place is the correct place… no matter where it occurs on the rotation. Examples: Shure® WL-185™ lav is -45.5 dB WL-184™ lav is -44.5 dB… so these mics would be almost identical to The Line 6 LM4. WH30TQ™ headset is -55 dB so it will need a 10 dB boost of the mic trim control on the mixer as compared to the LM4-T to have the same level. Countryman® E6 headsets come with different sensitivities and are specified per application. The E6ow5™ is for general speaking and is the closest to our LM4 levels The E6ow6™ is for strong speaking and singing The E6ow7™ is for “powerful vocals” and will seem very quiet if used for “normal speech” as compared to our LM4-T. This would likely be a poor choice for general speech but could be the proper mic for a screaming singer. Countryman also provides caps to cover and further modify the mic element which can provide additional gain. Audio Technica® AT831™ lav is -46 dB AT898™ lav is -46 dB * Please double-check that the Audio Technica mic is a model equipped with the TA4F connector. You may need to special order a unit with the correct connection type or refit your existing cable end with the TA4F plug. DPA® 4066™ omni headset is -44 dB 4061™ omni lav is -44 dB 4060™ high output omni lav is – 35 dB good with very quiet talkers or if the mic is some distance from the performer. Microphone sensitivity does affect the performance of the Environment Filter. If the sensitivity of the mic used is too low there may be audible artifacts. Depending on the situation it may be advisable to switch the filter to “off”. Racking V70/75 Receivers Q: How do I connect multiple receivers for rack mounting? A: The XD-V 70/75 half rack sized receivers can be locked together to become a single rack width using the supplied "dovetail key". When mounting a pair of receivers side by side, start with the dovetail inserted approximately half way in the side groove. Then start the second unit, from the front towards the rear and slide until they are closely aligned. A small tap with a mallet and block will align and secure the key in place and level the front faces. Use the short rack ear supplied with each receiver to complete the pair. Multiple rack pairs can be linked together by using dovetail keys in the top and bottom slots of a rack pair. When assembling more than a single pair it is recommended that the left “half” and the right “half” be assembled first and then the “halves” joined together into the 19” assembly. Wi-Fi Interference Q: Why does my Wi-Fi slow down when I get my transmitter near my computer? A: Because Wi-Fi and Line 6 2.4GHz wireless products share the same frequency band-space. Some users may experience a slowing down or even interruption of their Wi-Fi capabilities when using microphone or instrument transmitters in close proximity to their computers or routers. This is an example of a near/far interference problem and it may be intensified because consumer grade Wi-Fi typically has limited RF dynamic range. Using more XD-V channels operating at the same time will create more competition to Wi-Fi than a single channel would. If your Line 6 transmitter gets within 6 feet of your laptop you may witness this situation especially if your Wi-Fi access point is some distance away. Typically, simply moving your Line 6 transmitter farther away from your computer will remedy the situation. Users of Line 6 twelve channel systems can switch their transmitters to the “low power” setting as this will mitigate the problem as well. If you are using the system outside the USA you can likely switch your Wi-Fi channels to 12, 13 or 14 depending on your location. The frequencies for these channels are outside the Line 6 2.4GHz frequencies. Likewise, switching Wi-Fi to 802.11n in the 5GHz band will avoid Line 6 wireless frequencies and double your potential Wi-Fi throughput. Suggested channels settings to avoid interfering with Wi-Fi. If your wifi network utilizes the channel listed, use the channel # listed under the Line 6 wireless channel column. Troubleshooting Q: Why am I getting dropouts? A: Assuming no hardware issues, dropouts generally occur because of local conditions. Do I have clear line of sight? The transmitter antenna should be able to “see” the receiver’s antennas. Is your audience blocking the line of sight? Raising antennas to 6-8 feet high will often fix this problem. Make sure you are not being blocked by obstacles such as metal posts, walls, etc. Are your antennas connected firmly and splayed at 90 degrees? If they are straight up and down you could fall victim to a dead zone. Are other XD-Vs operating on the same channel? Each system needs its own unique channel to operate on. Do you have the receiver’s antennas near any intentional transmitters such as walkie-talkies, In-Ear Monitors, etc? They will need to be separated. The distance will depend on the strength of the transmitter and the gain of the transmitting antenna. Are you using the factory power supply? If you are using a substitute supply you must make certain it can supply the required 9vdc at 350 ma. Q: Why is the signal so weak compared to other wireless systems? A: XD-V digital wireless systems have "mic level" outputs (both XLR and 1/4" jacks) and need to be connected in the same manner as wired microphones are and with similar gain/trim settings. Plugging into a "line level" input or a channel with pads engaged will result in a weak and likely noise signal. The preferred connection is with the XLR output on the receiver to an XLR input on the mixer. The 1/4" output is unbalanced and is included as a convenience for users plugging into instrument amplifiers. It is important to NOT use TRS plugs into this jack as the "ring" is used for system upgrades and carries digital information that could be "noisy" if it were connected to an audio input. Q: Why is the sound so "thin"? A: This may be caused by the "Environment Filter" is the signal is too weak, especially when using lav mics. Try turning the filter to the "off" position. Q: What does the Near/Far spec mean? A: The Near/Far interference problem is common to all radio systems and happens when a strong RF signal in the same band uses a large portion of the available gain in a receiver making it difficult or impossible for the receiver to decode the weaker signal. Imagine having a conversation in a quiet room with a person 20 feet away from you. It is likely that you can carry on a conversation with normal voice levels. Now if you move to a noisy environment, with lots of other voices right around your ears, it may be very difficult for the conversation to continue with your long distance friend without the both of you shouting. A similar circumstance occurs with radios, and since the long distance transmitter is incapable of increasing its power output, it is very likely a very near transmitter may interrupt it. In the real world, this is rarely an unmanageable problem. You should avoid having a transmitter closer than 3 feet to a receiver that is not on your channel if the intended transmitter is more than 50 feet from this receiver. If this is a regular requirement you should install remote paddle antennas (G90, XD-V70 series). The near/far spec for XD-V70 is 50’/3’ which means if another transmitter (even though it is on a different channel) gets within 3 feet of your channels antennas at the same time you get 50 feet away the system could be affected in a negative manner.. By increasing the distance between antennas (using the paddle antennas) or simply raising the units up higher, it will become far less a possibility. LED Codes Q: What do the different LED colors mean on the XD-V system components? XD-V70 System THH12 Handheld Transmitter: No LEDs (see owner’s manual for LCD screen info) TBP12 Beltpack Transmitter LED states: Blue LED = power/>1hr battery life Solid red LED = Low Flashing red LED = Very Low/Change batteries Audio LED = Green LED (indicates audio signal) RX212 Receiver: Audio Green LEDs = audio signal present Battery Green LEDs = full battery life Red LED = less than two hours remaining Flashing red = Very Low / Change batteries RF Transmitter on same channel as receiver: Green to indicate signal strength/quality: from 5 Green = Data excellent, interference low to 1 Green meaning Data minimal, may have significant interference. When transmitter is off, or set to different channel than receiver these LEDs show as follows: No LED = No data, no interference 1 Red = No data, some potential interference up to 5 Red = No data, high potential interference. XD-V30 System THH06 Handheld Transmitter LED states: Channel LEDs - Illuminates blue to show the current active channel THH06 is transmitting on. Channel 6 LED will illuminate red when battery life is low and blink red when very low (change batteries). TBP06 Beltpack Transmitter LED states: Audio Green LED = Audio Signal Orange = On power/channel change Battery Blue LED = power/>1hr battery life Solid Red LED = Low Charge Flashing Red LED = Very Low Charge Purple: On channel change RXT06 Receiver LED states 3 Green = Data excellent 2 Green = Data OK, may have some interference 1 Green = Data minimal, may have significant interference No LED = No data, no interference 1 Red = No data, some interference 2 Red = No data, more interference 3 Red = No data, high interference Q: Does USB 3.0 create interference in the 2.4GHz frequency range? A: USB 3.0 computer cables and peripherals, including hard drives, are known to emit radio frequency interference throughout the 2.4GHz band, which results in reduced range and/or performance for any 2.4GHz device in its proximity (including wireless keyboard or mouse, WiFi, etc.). We recommend placing any digital wireless receivers at least two meters away from the USB 3.0 device and its cabling. Below is a link to a study by Intel regarding this interference. http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html