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angelomartinez1

Driverack w/ Stagescape Speakers M20

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The Stagescape and Stagesource setup is a complete environment when used with L6Link. There is no need for driverack type management.

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How is the L6 link a couple l complete environment? The only you get extra is the 32 band width, which you have to manually set. Where as the driverack will set the frequency levels using a reference microphone based on the room you're in. When using the M20 I would raise the gain until I get a feedback freq then cut that out via 32 band width. However, sometimes that's too time consuming. Is there a better way?

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8 hours ago, angelomartinez1 said:

How is the L6 link a couple l complete environment? The only you get extra is the 32 band width, which you have to manually set. Where as the driverack will set the frequency levels using a reference microphone based on the room you're in. When using the M20 I would raise the gain until I get a feedback freq then cut that out via 32 band width. However, sometimes that's too time consuming. Is there a better way?

 

It is a complete digital system. Each speaker tells the M20d what it is (ie model) and what it is being used for (based upon orientation).

Crossover points are then set by the environment with simple/easy switch of purposing via the manage L6Link screen.

 

Use autotrim to set input gains on each channel (assuming your performers understand what you need them to do). Let feedback suppression on individual channels take care of the rest.

 

If you place a driverack type system in play, you lose all the benefits of digital interconnect because you can not run L6Link.

 

I've used my rig in a multitude of places, including some challenging rooms, and almost never had a problem. Problems tend to arise with a) singers with poor mic technique, b) performers who fiddle with their on stage volume when cabs are mic'd up. c) drummers who refuse to use dampers but have ridiculously loud kits meaning everyone else needs ridiculously high on stage volumes. d) over-rigging (too big a rig) or under-rigging (too small a rig) a room. Most feedback I've encountered has always been monitor first.

 

IMHO cutting out a feedback frequency across all performers is just ruining your overall sound. Why cut a particular frequency from drums when its not the drums creating feedback on that frequency?

 

 

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