Are Somebody Use Line6 Stage Source L2T Frfr Speakers With Kpa?

Welcome, please turn off the caps.

The Atomic CLR ist by far the most recommended solution around here.
There are users that have reported positive experiences with the Line 6 L2t as well though.

You can't go wrong with the CLR: they will reproduce exactly what's coming out of the Profiler.
You might still dislike what you hear, but it won't be because of the cab

PS: using capital letters on the Net equals SCREAMING

I've been using an L2T and an L2M for about 6 months and they sound spectacular. I started off with a single L2T and used the built in mixers for both acoustic modelled sound with a JTV variax and electric with a PRS Studio. Both were way beyond my expectations. The rest of my band are diehard tube amp purists and thought this digital stuff was for nerds but have been completely won over hence the L2M arrival and the departure of our old PA. Vocals and other guitarist now also go through the L2 system and we've never sounded better. Everything is as clear as a bell. I now put the PRS out the KPA via the twin main XLR outs into the stereo RCA inputs on the L2T. The second guitar and 2 mikes go through an Allen and Heath mixer into the main XLR input on the L2T. We've used this set up for pub size and outdoor gigs and have never needed to have the volume above 12 o'clock. There is definitely a need for a subwoofer and we plan to get an L3 sub to pull out the low stuff. We're also going to mike up the drums and try and persuade our bass player to go direct into the mixer and put the lot through the system. I know your question was specifically about the KPA into one L2T and that's how I started out but as you can see these things are so good they have won my band over and my sound and that of the whole band has never sounded so good. I can't recommend thse things more highly.

I am using 2 CLR neos (for reference); our other guitarist is using 2 L2M's - both of us have KPA's. The Line 6's are very, very good.

I have tryed almost every FRFR and now I,m using two Line6 L3Ts, because they are sounding exceptionally good with my KPA and sometimes with the whole band including the drums and bass, completed by the Line6 subs and mixer. Definitelly recommended to try it!

I am using one L3t and am totally happy

I bought the L2T a few months ago, although the sound was very good, it had an annoying rattling sound from inside the enclosure. The rattling only happened on certain lower frequencies (seemed like a loose component inside). I opted to take advantage of the 30 day return policy and ended up going with two DXR10's.

A video will tell you very little about how a monitor behaves.

Update on my last post 3 months ago on the KPA with the Line 6 stuff. Have now gone the whole way and added an L3s sub and ditched the (very good) Allen and Heath mixer for the Line 6 Stagescape M20D. Whole band including the other guitarist, bass player and miked up drums going straight through the system and our sound is incredible. I go in through the KPA using monitor out to the line input of the M20D, other guitarist using his tube amp into a load box and then line out into the M20D. Bass player DI to the M20D. Vocals and drums miked up to M20D. So no more backline. The other amazing thing is that we don't need monitors anymore. The PA is now behind us so we hear what the audience hears and the feedback supression is so good we don't get any at all. I'm no expert but the amount of EQing we've been able to achieve with this system has been extraordinary and doesn't matter where we play we can get a live sound that is almost like being in a recording studio. To get back to specifically using the KPA with this system I can't think of a better and easier way of getting the guitar sound you want out there. I used to do my KPA profile EQing at home and get it as close as I could to what I wanted but would find that the sound would change so much in the live situation either because of the venue acoustics or the different volume or mix levels that it was really almost pointless spending the time at home and I would just try and tweak the KPA and make do in a few minutes at sound check (if lucky enough to have a sound check). Now I can use the incredibly intuitive and simple EQing on the M20D to mix my original KPA profiles in real time with the rest of the band at practice sessions in a couple of minutes and then save that EQ on the M20D. It only takes another couple of minutes to sound check a venue and you then save that mix for that venue so that when we go back somewhere you press one button and the whole EQ and more importantly the band mix is loaded up and no sound check is necessary. I can't stress this thing about the overall band mix being so important. Once you find the KPA profile that gives you the tone you want for a particular guitar you feel great and it can be really disappointing when you turn up to play your perfect tone in a band situation and find that it sounds totally crap in the mix. With this system your perfect tone can be brought into the mix much more easily and once found it will stay that way with only minor tweaks between venues. Totally happy and GAS cured.

Quote from ricky50

Update on my last post 3 months ago on the KPA with the Line 6 stuff. Have now gone the whole way and added an L3s sub and ditched the (very good) Allen and Heath mixer for the Line 6 Stagescape M20D. Whole band including the other guitarist, bass player and miked up drums going straight through the system and our sound is incredible. I go in through the KPA using monitor out to the line input of the M20D, other guitarist using his tube amp into a load box and then line out into the M20D. Bass player DI to the M20D. Vocals and drums miked up to M20D. So no more backline. The other amazing thing is that we don't need monitors anymore. The PA is now behind us so we hear what the audience hears and the feedback supression is so good we don't get any at all. I'm no expert but the amount of EQing we've been able to achieve with this system has been extraordinary and doesn't matter where we play we can get a live sound that is almost like being in a recording studio. To get back to specifically using the KPA with this system I can't think of a better and easier way of getting the guitar sound you want out there. I used to do my KPA profile EQing at home and get it as close as I could to what I wanted but would find that the sound would change so much in the live situation either because of the venue acoustics or the different volume or mix levels that it was really almost pointless spending the time at home and I would just try and tweak the KPA and make do in a few minutes at sound check (if lucky enough to have a sound check). Now I can use the incredibly intuitive and simple EQing on the M20D to mix my original KPA profiles in real time with the rest of the band at practice sessions in a couple of minutes and then save that EQ on the M20D. It only takes another couple of minutes to sound check a venue and you then save that mix for that venue so that when we go back somewhere you press one button and the whole EQ and more importantly the band mix is loaded up and no sound check is necessary. I can't stress this thing about the overall band mix being so important. Once you find the KPA profile that gives you the tone you want for a particular guitar you feel great and it can be really disappointing when you turn up to play your perfect tone in a band situation and find that it sounds totally crap in the mix. With this system your perfect tone can be brought into the mix much more easily and once found it will stay that way with only minor tweaks between venues. Totally happy and GAS cured.

Thank you for your inspiring and thorough review!

Quote from ricky50

Update on my last post 3 months ago on the KPA with the Line 6 stuff. Have now gone the whole way and added an L3s sub and ditched the (very good) Allen and Heath mixer for the Line 6 Stagescape M20D. Whole band including the other guitarist, bass player and miked up drums going straight through the system and our sound is incredible. I go in through the KPA using monitor out to the line input of the M20D, other guitarist using his tube amp into a load box and then line out into the M20D. Bass player DI to the M20D. Vocals and drums miked up to M20D. So no more backline. The other amazing thing is that we don't need monitors anymore. The PA is now behind us so we hear what the audience hears and the feedback supression is so good we don't get any at all. I'm no expert but the amount of EQing we've been able to achieve with this system has been extraordinary and doesn't matter where we play we can get a live sound that is almost like being in a recording studio. To get back to specifically using the KPA with this system I can't think of a better and easier way of getting the guitar sound you want out there. I used to do my KPA profile EQing at home and get it as close as I could to what I wanted but would find that the sound would change so much in the live situation either because of the venue acoustics or the different volume or mix levels that it was really almost pointless spending the time at home and I would just try and tweak the KPA and make do in a few minutes at sound check (if lucky enough to have a sound check). Now I can use the incredibly intuitive and simple EQing on the M20D to mix my original KPA profiles in real time with the rest of the band at practice sessions in a couple of minutes and then save that EQ on the M20D. It only takes another couple of minutes to sound check a venue and you then save that mix for that venue so that when we go back somewhere you press one button and the whole EQ and more importantly the band mix is loaded up and no sound check is necessary. I can't stress this thing about the overall band mix being so important. Once you find the KPA profile that gives you the tone you want for a particular guitar you feel great and it can be really disappointing when you turn up to play your perfect tone in a band situation and find that it sounds totally crap in the mix. With this system your perfect tone can be brought into the mix much more easily and once found it will stay that way with only minor tweaks between venues. Totally happy and GAS cured.

Thanks for the heads up!
I think the Soundsource system is a great choice because even if you do not need the speakers for the amp as a monitor, you can add it to the whole front of the house system. Line 6 has a great line with this. I am amazed that you can be in front of the FoH sound and not have feedback! Are there vocal mics? Over all it sounds like you have a pretty killer system now with the L3s's too!

Cheers!