https://boseperformer.com/api.php?action=feedcontributions&feedformat=atom&user=Andrew+DouglasBose Portable PA Knowledge - User contributions [en]2026-04-06T00:01:16ZUser contributionsMediaWiki 1.45.1https://boseperformer.com/index.php?title=Electric_Bass&diff=4440Electric Bass2007-06-10T11:06:24Z<p>Andrew Douglas: /* To recap the main points */</p>
<hr />
<div>{{Editorial}}<br />
<font size = "4">'''The Electric Bass and the Bose® {{L1}} system'''</font><br />
<br />
<font size = "4">Configuration options and practical tradeoffs – one user<nowiki>’</nowiki>s perspective</font><br />
<br />
''by Andrew Douglas, Bose {{L1}} Product Specialist''<br />
<br />
<font size = "1">''This document was not produced by Bose Corporation and is the sole opinion of its author.''</font><br />
<br />
Electric bassists, like electric guitarists, are perpetually in search of "great" tone. Like the electric guitar, this tone is only partly the result of the instrument itself; the choice of amplification, additional effects and speaker cabinet play a major role in coloring the overall sound. It is a symbiotic relationship.<br />
<br />
This is not the case for most other instruments. Keyboard synthesizers, for example, rely on internal sound generators to produce their unique voice. Acoustic guitars derive their tone from design, construction and materials. For instruments such as these, the goal is not to color the basic sound of the instrument through external equipment, but rather to reproduce that sound as accurately as possible.<br />
<br />
The Bose {{L1}} excels at delivering transparent, clear amplification, making it well suited for acoustic instruments and voices. But these same attributes, combined with the high purchase price of the system, can be a deterrent to electric bassists looking to replace a good bass rig without losing its distinctive character.<br />
<br />
This paper will explore, from a practical standpoint, the pros and cons of using the {{L1}} system for electric bass amplification. It is based entirely on the personal experience of the author and reflects his views on the matter.<br />
<br />
=== It costs ''how'' much? ===<br />
The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} amplifier is among the most expensive bass rigs one can buy, on a par with the most exclusive of boutique amplifiers. Even the minimum recommended configuration of an {{L1}} and two {{B1}} modules is a lot of money compared to the typical bass rig.<br />
<br />
The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends." The L1 does make a fine bass amp, but those with limited resources are faced with some hard choices. As with all things, there are tradeoffs.<br />
<br />
The primary sonic benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle.<br />
<br />
It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar.<br />
<br />
From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head…and all are relatively compact, which makes transport easy. The dramatically smaller and lighter power stand of the {{Model II}} makes this contrast even more marked.<br />
<br />
If money is a real issue, these benefits alone are not in my opinion sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment.<br />
<br />
A band that goes "all-Bose" can use {{L1}}s to replace all of the back-line amps, plus the PA, plus stage monitors, plus the supporting equipment for small- to medium-sized venues. Since the Bose performance model gives each performer his or her own independent monitor "mix," the extensive additional equipment needed to provide separate monitor mixes with a conventional PA is not needed.<br />
<br />
The total cost of a conventional system that replicates the capabilities of an all-L1 band is comparable to that of the Bose system. Therefore, if the bassist<nowiki>’</nowiki>s {{L1}} is also used to support other sources (such as the bassist<nowiki>’</nowiki>s microphone, for example), then the purchase of the system for use as a bass amp is a logical and cost-effective move.<br />
<br />
This raises the question of system sharing. The more sources each {{L1}} supports, the more cost-effective it is. However, this involves some sonic, signal routing and control compromises, as will be discussed below.<br />
<br />
=== Improving on the conventional bass rig ===<br />
<br />
My own experience with the {{L1}} started when I purchased two single-{{B1}} systems to replace my band<nowiki>’</nowiki>s overly complex PA system. At the time, the {{A1}} had not been introduced, and in any event I was not able to afford all three of the systems we now have at the time.<br />
<br />
My band consists of a bass, one acoustic-electric guitar, a flute and a drum machine. All three band members sing. We faced the same issues that many {{L1}} buyers must contend with, in particular deciding the most effective way to divide up two systems among three performers (and a robot).<br />
<br />
The obvious course was to keep my bass rig (a 1200-watt component rack system driving a 2x12 cabinet, which I was very happy with) and use the two {{L1}}s to support the three microphones, the guitar and the drum machine. This worked quite well and was a vast improvement over our previous setup.<br />
<br />
It didn<nowiki>’</nowiki>t take long to try plugging the line out from the bass rig<nowiki>’</nowiki>s preamp into a vacant channel on one of the {{L1}}s, just to see what would happen. The results were astonishing. The good basic tone of the 2x12 was still there, but the {{L1}} added wonderful clarity and sparkle. It also gave the sound the superior dispersion characteristic of the {{L1}} where it counts most, in the mid and upper frequency ranges. The fact that there was only one {{B1}} was not an issue: keeping the 2x12 cabinet provided plenty of support for the low end. Best of all, it allowed me to keep "my" tone, created by the preamp.<br />
<br />
An alternative arrangement is to reverse this: Plug the bass into channel 1 or 2 of the {{L1}} (assuming they are not occupied) and use the {{L1}}<nowiki>’</nowiki>s line out to feed a conventional bass rig for extra power on-stage. I did not explore this option because I wanted the tone of my preamp to come out of the {{L1}}, and also because channels 1 and 2 on both systems were already in use.<br />
<br />
The drawback to this hybrid solution, of course, was that I still had a fairly large, heavy bass rig to contend with. This led me to take the next step in optimizing the rig.<br />
<br />
<br />
=== Optimizing the hybrid system ===<br />
<br />
On the premise that part of the frequency spectrum produced by the rig<nowiki>’</nowiki>s conventional speaker cabinet was being duplicated by the {{L1}}, I purchased a small, lightweight single-15" speaker cabinet to replace the large 2x12. The overall configuration remained the same: bass plugged into the bass rig (now a 1x15), with a line out going to the {{L1}}. By itself this cabinet did not sound very good, but it didn<nowiki>’</nowiki>t need to…the mid- and high-end were being carried by the {{L1}}. This effectively eliminated the major drawback of the earlier rig – a big, heavy cabinet. I did prefer the tone of the 2x12/L1 hybrid system, but I was willing to compromise to gain compactness and light weight.<br />
<br />
This final iteration of the hybrid system displayed many of the physical/logistical benefits of the {{L1}}, specifically size and weight. The 1x15 cabinet I had selected weighed less than 30 pounds and was about as small as a 1x15 cabinet can get. My four-space amp rack also made use of a very lightweight power amp.<br />
<br />
=== Moving to the {{L1}} ===<br />
<br />
When the {{A1}} was introduced, I decided to give it a try. Curious about how it would sound compared to my satisfactory hybrid setup, I purchased the {{A1 EB}} ({{A1}} and two {{B1}}s). After a month of A/B comparisons, I decided to keep it. The tone was good, the logistics were good, and there was a side benefit: the drum machines were now able to take advantage of the additional power and bass support provided by the {{A1}} and extra {{B1}}s.<br />
<br />
Soon after, I was in a position to buy a third {{L1}}, which I did…basically because Bose had been right about every other claim, so I was willing to purchase it on faith by that time; they said that one system per performer is the way to go, and I had to find out. Needless to say I wound up keeping it.<br />
<br />
So I had ultimately worked my way into owning a $3300 bass amp. Was I insane? Perhaps, but there were good reasons to add the third system. These had at least as much to do with the improved overall sound of the band as it did with the bass tone that the extended-bass {{L1}} gave me. Giving each singer a separate {{L1}} made a significant difference in the monitoring situation – one that surprised us. We would never have guessed how much better having one system per performer sounded had we not tried it for ourselves.<br />
<br />
Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s.<br />
<br />
In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki>’</nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important in terms of the overall mix of the band as experienced by the audience.<br />
<br />
The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and began to use the extended-bass {{L1}} system, driven by a Line6 BassPODxt, as my bass amp. My {{L1}} also supports one channel of the drum machine and my vocal.<br />
<br />
=== Tone options ===<br />
<br />
Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking warmth, even with the full extended-bass package.<br />
<br />
----<br />
<br />
The alternative is to feed the {{L1}} with a signal that has been put through some external device that can color the sound in a manner that is pleasing to the user's ear. This can be accomplished in any one of several ways:<br />
<br />
* A rack-mount preamp<br />
* A tube direct box<br />
* A pedal such as the SansAmp Bass Driver DI<br />
* A modeler such as the Line6 BassPODxt<br />
<br />
I<nowiki>’</nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki>’</nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode and no preset (00), I<nowiki>’</nowiki>ve been able to get a tone that I find very pleasing…quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki>’</nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step.<br />
<br />
The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer.<br />
<br />
There<nowiki>’</nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right.<br />
<br />
Recently, as an experiment I tried using an Ampeg SVT-DI tube direct box combined with a bass preset I like (63, Active Bass 3) instead of the BassPODxt. The results are good, and at present this is my default setup.<br />
<br />
=== Thump ===<br />
<br />
The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki>’</nowiki>t down low…it<nowiki>’</nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience.<br />
<br />
The bassist<nowiki>’</nowiki>s perception is different from that of the audience. The bassist feels the low "thump" more because he/she is standing right in front of the cabinet, or at least in close proximity. Out in the audience, that physical "hit" of air movement, while it may still be present, is lessened.<br />
<br />
Also, because higher frequencies are deflected and absorbed much more readily than low frequencies, the tonal balance tends to shift towards the bass as the listener gets farther from the stage. This is a familiar phenomenon, readily observed at large outdoor events. The bass and drums can be heard from far away...out in the parking lot...but the higher frequencies can't be discerned until one gets much closer to the stage. An overly boomy, bass-heavy sound in the front row will only get worse as one moves away from the stage.<br />
<br />
The real question is, what sounds best out in the audience? Does having a powerful "thump" really serve the music? The important thing is to ''listen'' to the sound and abandon preconceived notions about what "should" sound right on stage. Like many bassists, I used to cut the mids and boost both bass and treble because this "smiley face" EQ curve sounds good soloed. But in the mix, the bass seems to disappear if it<nowiki>’</nowiki>s EQed this way. Now I leave the bass EQ flat and boost the mids…and the overall sound of the band is excellent, with the bass sitting prominently in the mix and no blurriness or muddiness. This EQ curve doesn<nowiki>’</nowiki>t sound quite as pleasing when the bass is being played by itself, however.<br />
<br />
Ultimately this is a matter of personal taste. Some music demands a very heavy-handed bass sound. Several {{L1}} users are using large powered subwoofers as the Mackie 1801 subwoofers to generate that extra air movement. In my experience going that far is not necessary.<br />
<br />
=== Two or four {{B1}}s? ===<br />
<br />
Another misconception is that adding more {{B1}}s will add "more bass". This is not so. What it does do is add more headroom. Bass frequencies require a lot of power, and the more you can throw at them, the better they<nowiki>’'</nowiki>ll sound… at any volume. This is also true of conventional rigs: My old rig had a 1200 watt amplifier driving a 2x12 cabinet and it sounded superb because I was never pushing the amp hard. Unlike electric guitars where a heavily-driven tube power amp can produce improved tone, with electric bass it<nowiki>'’</nowiki>s far better to have plenty of clean power on tap.<br />
<br />
Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki>’</nowiki>s not necessary to drive them as hard.<br />
<br />
Note that the full extended-bass {{L1}} Classic system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig.<br />
<br />
The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations.<br />
<br />
Since originally purchasing the Extended Bass package, I've had an opportunity to use the system differently (with a live drummer) and have concluded that for the music I play, if not supporting a drum machine, that a two {{B1}} system is entirely satisfactory. I speculate that the kick drum from the drum machine is soaking up a great deal of headroom, making the Extended Bass package highly desirable should the system be used to amplify drums.<br />
<br />
=== Summary ===<br />
<br />
My own journey from conventional amplification to an all-Bose system has covered most of the possible configurations, from conventional rig to hybrid to a full-bore extended-bass {{L1}} system. At every stage I<nowiki>’</nowiki>ve been rigorous with my decision to move to the next step, conducting extensive A/B comparisons and choosing the most viable overall option. It says a great deal about the engineering of the {{L1}} that I no longer own a conventional amplifier.<br />
<br />
Overall, my experience with the hybrid conventional rig/L1 arrangement was very positive. For the bassist who simply cannot afford his or her own {{L1}} system, but who has access to one belonging to a bandmate, I believe that a hybrid arrangement is an effective, but not optimal, solution. It is, in my opinion, well worth taking advantage of the 45-day trial period to test the extended-bass {{L1}} system against such a hybrid system. It was only after I had done this that I concluded that the added benefits justified the cost.<br />
<br />
=== To recap the main points ===<br />
<br />
* If money is tight, purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki>’'</nowiki>s used to replace additional equipment as well, it is very cost-competitive. Systems should first be purchased for those who would benefit from them more: vocalists, guitarists and keyboard players.<br />
* If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system.<br />
* An {{L1}} system can and does make a viable replacement for a conventional bass rig and offers the following benefits:<br />
* -Multiple use as a vocal monitor/PA replacement<br />
* -Reduced weight and bulk<br />
* -Improved sonic characteristics<br />
* {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers.<br />
* The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air.<br />
* The extra presence and punch provided by additional {{B1}}s and the {{A1}} is well worth the cost if the system is also used to amplify drums or if the music calls for it.<br />
<br />
----<br />
<br />
'''''About the author'''''<br />
<br />
Andrew Douglas is a professional writer and an amateur bassist ("I<nowiki>’'</nowiki>m good enough to get asked back, and nobody<nowiki>’'</nowiki>s thrown a rotten tomato at me yet - …but there<nowiki>’'</nowiki>s always a first time.") who lives in Bridgeport, Connecticut. He has been playing off-and-on with the same two close friends for over 20 years, and the three of them have been performing as a band for over 10 years. He is also a Bose {{L1}} Product Specialist.<br />
<br />
'''''About the equipment'''''<br />
<br />
'''Original rig:'''<br />
<br />
* Pre-Fender SWR Grand Prix tube preamp<br />
* PreSonus Blue Max Compressor<br />
* Stewart World 1.2 1200-watt power amp<br />
* Avatar 2x12 w/horn, later replaced by a Flite Sound 1x15, no horn<br />
<br />
'''Current Bose rig:'''<br />
<br />
* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s)<br />
* Line6 BassPODxt w/Shortboard, running into Ch.2, preset 00<br />
* Studio Tone amp model (SWR)<br />
* Studio Tone 4x10, Silvercone 4x10 or Green 25 4x12 cabinet models, depending on venue<br />
* Tube mic, close, 20-30% room setting<br />
<br />
or<br />
<br />
* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s)<br />
* Damage Control Womanizer tube distortion pedal<br />
* Ampeg SVT-DI tube direct box<br />
<br />
'''Basses:'''<br />
<br />
* Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp<br />
* Current basses, MusicMan Bongo 5 HH w/piezo, fretless MusicMan Bongo 5H w/piezo<br />
<br />
----<br />
<br />
<references/><br />
<br />
[[Category:Editorial]]</div>Andrew Douglashttps://boseperformer.com/index.php?title=Electric_Bass&diff=4439Electric Bass2007-06-10T11:02:12Z<p>Andrew Douglas: /* Two or four {{B1}}s? */</p>
<hr />
<div>{{Editorial}}<br />
<font size = "4">'''The Electric Bass and the Bose® {{L1}} system'''</font><br />
<br />
<font size = "4">Configuration options and practical tradeoffs – one user<nowiki>’</nowiki>s perspective</font><br />
<br />
''by Andrew Douglas, Bose {{L1}} Product Specialist''<br />
<br />
<font size = "1">''This document was not produced by Bose Corporation and is the sole opinion of its author.''</font><br />
<br />
Electric bassists, like electric guitarists, are perpetually in search of "great" tone. Like the electric guitar, this tone is only partly the result of the instrument itself; the choice of amplification, additional effects and speaker cabinet play a major role in coloring the overall sound. It is a symbiotic relationship.<br />
<br />
This is not the case for most other instruments. Keyboard synthesizers, for example, rely on internal sound generators to produce their unique voice. Acoustic guitars derive their tone from design, construction and materials. For instruments such as these, the goal is not to color the basic sound of the instrument through external equipment, but rather to reproduce that sound as accurately as possible.<br />
<br />
The Bose {{L1}} excels at delivering transparent, clear amplification, making it well suited for acoustic instruments and voices. But these same attributes, combined with the high purchase price of the system, can be a deterrent to electric bassists looking to replace a good bass rig without losing its distinctive character.<br />
<br />
This paper will explore, from a practical standpoint, the pros and cons of using the {{L1}} system for electric bass amplification. It is based entirely on the personal experience of the author and reflects his views on the matter.<br />
<br />
=== It costs ''how'' much? ===<br />
The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} amplifier is among the most expensive bass rigs one can buy, on a par with the most exclusive of boutique amplifiers. Even the minimum recommended configuration of an {{L1}} and two {{B1}} modules is a lot of money compared to the typical bass rig.<br />
<br />
The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends." The L1 does make a fine bass amp, but those with limited resources are faced with some hard choices. As with all things, there are tradeoffs.<br />
<br />
The primary sonic benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle.<br />
<br />
It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar.<br />
<br />
From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head…and all are relatively compact, which makes transport easy. The dramatically smaller and lighter power stand of the {{Model II}} makes this contrast even more marked.<br />
<br />
If money is a real issue, these benefits alone are not in my opinion sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment.<br />
<br />
A band that goes "all-Bose" can use {{L1}}s to replace all of the back-line amps, plus the PA, plus stage monitors, plus the supporting equipment for small- to medium-sized venues. Since the Bose performance model gives each performer his or her own independent monitor "mix," the extensive additional equipment needed to provide separate monitor mixes with a conventional PA is not needed.<br />
<br />
The total cost of a conventional system that replicates the capabilities of an all-L1 band is comparable to that of the Bose system. Therefore, if the bassist<nowiki>’</nowiki>s {{L1}} is also used to support other sources (such as the bassist<nowiki>’</nowiki>s microphone, for example), then the purchase of the system for use as a bass amp is a logical and cost-effective move.<br />
<br />
This raises the question of system sharing. The more sources each {{L1}} supports, the more cost-effective it is. However, this involves some sonic, signal routing and control compromises, as will be discussed below.<br />
<br />
=== Improving on the conventional bass rig ===<br />
<br />
My own experience with the {{L1}} started when I purchased two single-{{B1}} systems to replace my band<nowiki>’</nowiki>s overly complex PA system. At the time, the {{A1}} had not been introduced, and in any event I was not able to afford all three of the systems we now have at the time.<br />
<br />
My band consists of a bass, one acoustic-electric guitar, a flute and a drum machine. All three band members sing. We faced the same issues that many {{L1}} buyers must contend with, in particular deciding the most effective way to divide up two systems among three performers (and a robot).<br />
<br />
The obvious course was to keep my bass rig (a 1200-watt component rack system driving a 2x12 cabinet, which I was very happy with) and use the two {{L1}}s to support the three microphones, the guitar and the drum machine. This worked quite well and was a vast improvement over our previous setup.<br />
<br />
It didn<nowiki>’</nowiki>t take long to try plugging the line out from the bass rig<nowiki>’</nowiki>s preamp into a vacant channel on one of the {{L1}}s, just to see what would happen. The results were astonishing. The good basic tone of the 2x12 was still there, but the {{L1}} added wonderful clarity and sparkle. It also gave the sound the superior dispersion characteristic of the {{L1}} where it counts most, in the mid and upper frequency ranges. The fact that there was only one {{B1}} was not an issue: keeping the 2x12 cabinet provided plenty of support for the low end. Best of all, it allowed me to keep "my" tone, created by the preamp.<br />
<br />
An alternative arrangement is to reverse this: Plug the bass into channel 1 or 2 of the {{L1}} (assuming they are not occupied) and use the {{L1}}<nowiki>’</nowiki>s line out to feed a conventional bass rig for extra power on-stage. I did not explore this option because I wanted the tone of my preamp to come out of the {{L1}}, and also because channels 1 and 2 on both systems were already in use.<br />
<br />
The drawback to this hybrid solution, of course, was that I still had a fairly large, heavy bass rig to contend with. This led me to take the next step in optimizing the rig.<br />
<br />
<br />
=== Optimizing the hybrid system ===<br />
<br />
On the premise that part of the frequency spectrum produced by the rig<nowiki>’</nowiki>s conventional speaker cabinet was being duplicated by the {{L1}}, I purchased a small, lightweight single-15" speaker cabinet to replace the large 2x12. The overall configuration remained the same: bass plugged into the bass rig (now a 1x15), with a line out going to the {{L1}}. By itself this cabinet did not sound very good, but it didn<nowiki>’</nowiki>t need to…the mid- and high-end were being carried by the {{L1}}. This effectively eliminated the major drawback of the earlier rig – a big, heavy cabinet. I did prefer the tone of the 2x12/L1 hybrid system, but I was willing to compromise to gain compactness and light weight.<br />
<br />
This final iteration of the hybrid system displayed many of the physical/logistical benefits of the {{L1}}, specifically size and weight. The 1x15 cabinet I had selected weighed less than 30 pounds and was about as small as a 1x15 cabinet can get. My four-space amp rack also made use of a very lightweight power amp.<br />
<br />
=== Moving to the {{L1}} ===<br />
<br />
When the {{A1}} was introduced, I decided to give it a try. Curious about how it would sound compared to my satisfactory hybrid setup, I purchased the {{A1 EB}} ({{A1}} and two {{B1}}s). After a month of A/B comparisons, I decided to keep it. The tone was good, the logistics were good, and there was a side benefit: the drum machines were now able to take advantage of the additional power and bass support provided by the {{A1}} and extra {{B1}}s.<br />
<br />
Soon after, I was in a position to buy a third {{L1}}, which I did…basically because Bose had been right about every other claim, so I was willing to purchase it on faith by that time; they said that one system per performer is the way to go, and I had to find out. Needless to say I wound up keeping it.<br />
<br />
So I had ultimately worked my way into owning a $3300 bass amp. Was I insane? Perhaps, but there were good reasons to add the third system. These had at least as much to do with the improved overall sound of the band as it did with the bass tone that the extended-bass {{L1}} gave me. Giving each singer a separate {{L1}} made a significant difference in the monitoring situation – one that surprised us. We would never have guessed how much better having one system per performer sounded had we not tried it for ourselves.<br />
<br />
Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s.<br />
<br />
In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki>’</nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important in terms of the overall mix of the band as experienced by the audience.<br />
<br />
The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and began to use the extended-bass {{L1}} system, driven by a Line6 BassPODxt, as my bass amp. My {{L1}} also supports one channel of the drum machine and my vocal.<br />
<br />
=== Tone options ===<br />
<br />
Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking warmth, even with the full extended-bass package.<br />
<br />
----<br />
<br />
The alternative is to feed the {{L1}} with a signal that has been put through some external device that can color the sound in a manner that is pleasing to the user's ear. This can be accomplished in any one of several ways:<br />
<br />
* A rack-mount preamp<br />
* A tube direct box<br />
* A pedal such as the SansAmp Bass Driver DI<br />
* A modeler such as the Line6 BassPODxt<br />
<br />
I<nowiki>’</nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki>’</nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode and no preset (00), I<nowiki>’</nowiki>ve been able to get a tone that I find very pleasing…quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki>’</nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step.<br />
<br />
The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer.<br />
<br />
There<nowiki>’</nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right.<br />
<br />
Recently, as an experiment I tried using an Ampeg SVT-DI tube direct box combined with a bass preset I like (63, Active Bass 3) instead of the BassPODxt. The results are good, and at present this is my default setup.<br />
<br />
=== Thump ===<br />
<br />
The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki>’</nowiki>t down low…it<nowiki>’</nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience.<br />
<br />
The bassist<nowiki>’</nowiki>s perception is different from that of the audience. The bassist feels the low "thump" more because he/she is standing right in front of the cabinet, or at least in close proximity. Out in the audience, that physical "hit" of air movement, while it may still be present, is lessened.<br />
<br />
Also, because higher frequencies are deflected and absorbed much more readily than low frequencies, the tonal balance tends to shift towards the bass as the listener gets farther from the stage. This is a familiar phenomenon, readily observed at large outdoor events. The bass and drums can be heard from far away...out in the parking lot...but the higher frequencies can't be discerned until one gets much closer to the stage. An overly boomy, bass-heavy sound in the front row will only get worse as one moves away from the stage.<br />
<br />
The real question is, what sounds best out in the audience? Does having a powerful "thump" really serve the music? The important thing is to ''listen'' to the sound and abandon preconceived notions about what "should" sound right on stage. Like many bassists, I used to cut the mids and boost both bass and treble because this "smiley face" EQ curve sounds good soloed. But in the mix, the bass seems to disappear if it<nowiki>’</nowiki>s EQed this way. Now I leave the bass EQ flat and boost the mids…and the overall sound of the band is excellent, with the bass sitting prominently in the mix and no blurriness or muddiness. This EQ curve doesn<nowiki>’</nowiki>t sound quite as pleasing when the bass is being played by itself, however.<br />
<br />
Ultimately this is a matter of personal taste. Some music demands a very heavy-handed bass sound. Several {{L1}} users are using large powered subwoofers as the Mackie 1801 subwoofers to generate that extra air movement. In my experience going that far is not necessary.<br />
<br />
=== Two or four {{B1}}s? ===<br />
<br />
Another misconception is that adding more {{B1}}s will add "more bass". This is not so. What it does do is add more headroom. Bass frequencies require a lot of power, and the more you can throw at them, the better they<nowiki>’'</nowiki>ll sound… at any volume. This is also true of conventional rigs: My old rig had a 1200 watt amplifier driving a 2x12 cabinet and it sounded superb because I was never pushing the amp hard. Unlike electric guitars where a heavily-driven tube power amp can produce improved tone, with electric bass it<nowiki>'’</nowiki>s far better to have plenty of clean power on tap.<br />
<br />
Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki>’</nowiki>s not necessary to drive them as hard.<br />
<br />
Note that the full extended-bass {{L1}} Classic system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig.<br />
<br />
The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations.<br />
<br />
Since originally purchasing the Extended Bass package, I've had an opportunity to use the system differently (with a live drummer) and have concluded that for the music I play, if not supporting a drum machine, that a two {{B1}} system is entirely satisfactory. I speculate that the kick drum from the drum machine is soaking up a great deal of headroom, making the Extended Bass package highly desirable should the system be used to amplify drums.<br />
<br />
=== Summary ===<br />
<br />
My own journey from conventional amplification to an all-Bose system has covered most of the possible configurations, from conventional rig to hybrid to a full-bore extended-bass {{L1}} system. At every stage I<nowiki>’</nowiki>ve been rigorous with my decision to move to the next step, conducting extensive A/B comparisons and choosing the most viable overall option. It says a great deal about the engineering of the {{L1}} that I no longer own a conventional amplifier.<br />
<br />
Overall, my experience with the hybrid conventional rig/L1 arrangement was very positive. For the bassist who simply cannot afford his or her own {{L1}} system, but who has access to one belonging to a bandmate, I believe that a hybrid arrangement is an effective, but not optimal, solution. It is, in my opinion, well worth taking advantage of the 45-day trial period to test the extended-bass {{L1}} system against such a hybrid system. It was only after I had done this that I concluded that the added benefits justified the cost.<br />
<br />
=== To recap the main points ===<br />
<br />
* If money is tight, purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki>’'</nowiki>s used to replace additional equipment as well, it is very cost-competitive. Systems should first be purchased for those who would benefit from them more: vocalists, guitarists and keyboard players.<br />
* If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system.<br />
* A full extended-bass {{L1}} system can and does make a viable replacement for a conventional bass rig and offers the following benefits:<br />
* -Multiple use as a vocal monitor/PA replacement<br />
* -Reduced weight and bulk<br />
* -Improved sonic characteristics<br />
* {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers.<br />
* The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air.<br />
* The extra presence and punch provided by additional {{B1}}s and the {{A1}} is well worth the cost in this application.<br />
<br />
----<br />
<br />
'''''About the author'''''<br />
<br />
Andrew Douglas is a professional writer and an amateur bassist ("I<nowiki>’'</nowiki>m good enough to get asked back, and nobody<nowiki>’'</nowiki>s thrown a rotten tomato at me yet - …but there<nowiki>’'</nowiki>s always a first time.") who lives in Bridgeport, Connecticut. He has been playing off-and-on with the same two close friends for over 20 years, and the three of them have been performing as a band for over 10 years. He is also a Bose {{L1}} Product Specialist.<br />
<br />
'''''About the equipment'''''<br />
<br />
'''Original rig:'''<br />
<br />
* Pre-Fender SWR Grand Prix tube preamp<br />
* PreSonus Blue Max Compressor<br />
* Stewart World 1.2 1200-watt power amp<br />
* Avatar 2x12 w/horn, later replaced by a Flite Sound 1x15, no horn<br />
<br />
'''Current Bose rig:'''<br />
<br />
* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s)<br />
* Line6 BassPODxt w/Shortboard, running into Ch.2, preset 00<br />
* Studio Tone amp model (SWR)<br />
* Studio Tone 4x10, Silvercone 4x10 or Green 25 4x12 cabinet models, depending on venue<br />
* Tube mic, close, 20-30% room setting<br />
<br />
'''Basses:'''<br />
<br />
* Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp<br />
* Current bass, MusicMan Bongo 5 HH w/piezo<br />
<br />
----<br />
<br />
<references/><br />
<br />
[[Category:Editorial]]</div>Andrew Douglashttps://boseperformer.com/index.php?title=Electric_Bass&diff=4438Electric Bass2007-06-10T10:57:58Z<p>Andrew Douglas: /* Two or four {{B1}}s? */</p>
<hr />
<div>{{Editorial}}<br />
<font size = "4">'''The Electric Bass and the Bose® {{L1}} system'''</font><br />
<br />
<font size = "4">Configuration options and practical tradeoffs – one user<nowiki>’</nowiki>s perspective</font><br />
<br />
''by Andrew Douglas, Bose {{L1}} Product Specialist''<br />
<br />
<font size = "1">''This document was not produced by Bose Corporation and is the sole opinion of its author.''</font><br />
<br />
Electric bassists, like electric guitarists, are perpetually in search of "great" tone. Like the electric guitar, this tone is only partly the result of the instrument itself; the choice of amplification, additional effects and speaker cabinet play a major role in coloring the overall sound. It is a symbiotic relationship.<br />
<br />
This is not the case for most other instruments. Keyboard synthesizers, for example, rely on internal sound generators to produce their unique voice. Acoustic guitars derive their tone from design, construction and materials. For instruments such as these, the goal is not to color the basic sound of the instrument through external equipment, but rather to reproduce that sound as accurately as possible.<br />
<br />
The Bose {{L1}} excels at delivering transparent, clear amplification, making it well suited for acoustic instruments and voices. But these same attributes, combined with the high purchase price of the system, can be a deterrent to electric bassists looking to replace a good bass rig without losing its distinctive character.<br />
<br />
This paper will explore, from a practical standpoint, the pros and cons of using the {{L1}} system for electric bass amplification. It is based entirely on the personal experience of the author and reflects his views on the matter.<br />
<br />
=== It costs ''how'' much? ===<br />
The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} amplifier is among the most expensive bass rigs one can buy, on a par with the most exclusive of boutique amplifiers. Even the minimum recommended configuration of an {{L1}} and two {{B1}} modules is a lot of money compared to the typical bass rig.<br />
<br />
The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends." The L1 does make a fine bass amp, but those with limited resources are faced with some hard choices. As with all things, there are tradeoffs.<br />
<br />
The primary sonic benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle.<br />
<br />
It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar.<br />
<br />
From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head…and all are relatively compact, which makes transport easy. The dramatically smaller and lighter power stand of the {{Model II}} makes this contrast even more marked.<br />
<br />
If money is a real issue, these benefits alone are not in my opinion sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment.<br />
<br />
A band that goes "all-Bose" can use {{L1}}s to replace all of the back-line amps, plus the PA, plus stage monitors, plus the supporting equipment for small- to medium-sized venues. Since the Bose performance model gives each performer his or her own independent monitor "mix," the extensive additional equipment needed to provide separate monitor mixes with a conventional PA is not needed.<br />
<br />
The total cost of a conventional system that replicates the capabilities of an all-L1 band is comparable to that of the Bose system. Therefore, if the bassist<nowiki>’</nowiki>s {{L1}} is also used to support other sources (such as the bassist<nowiki>’</nowiki>s microphone, for example), then the purchase of the system for use as a bass amp is a logical and cost-effective move.<br />
<br />
This raises the question of system sharing. The more sources each {{L1}} supports, the more cost-effective it is. However, this involves some sonic, signal routing and control compromises, as will be discussed below.<br />
<br />
=== Improving on the conventional bass rig ===<br />
<br />
My own experience with the {{L1}} started when I purchased two single-{{B1}} systems to replace my band<nowiki>’</nowiki>s overly complex PA system. At the time, the {{A1}} had not been introduced, and in any event I was not able to afford all three of the systems we now have at the time.<br />
<br />
My band consists of a bass, one acoustic-electric guitar, a flute and a drum machine. All three band members sing. We faced the same issues that many {{L1}} buyers must contend with, in particular deciding the most effective way to divide up two systems among three performers (and a robot).<br />
<br />
The obvious course was to keep my bass rig (a 1200-watt component rack system driving a 2x12 cabinet, which I was very happy with) and use the two {{L1}}s to support the three microphones, the guitar and the drum machine. This worked quite well and was a vast improvement over our previous setup.<br />
<br />
It didn<nowiki>’</nowiki>t take long to try plugging the line out from the bass rig<nowiki>’</nowiki>s preamp into a vacant channel on one of the {{L1}}s, just to see what would happen. The results were astonishing. The good basic tone of the 2x12 was still there, but the {{L1}} added wonderful clarity and sparkle. It also gave the sound the superior dispersion characteristic of the {{L1}} where it counts most, in the mid and upper frequency ranges. The fact that there was only one {{B1}} was not an issue: keeping the 2x12 cabinet provided plenty of support for the low end. Best of all, it allowed me to keep "my" tone, created by the preamp.<br />
<br />
An alternative arrangement is to reverse this: Plug the bass into channel 1 or 2 of the {{L1}} (assuming they are not occupied) and use the {{L1}}<nowiki>’</nowiki>s line out to feed a conventional bass rig for extra power on-stage. I did not explore this option because I wanted the tone of my preamp to come out of the {{L1}}, and also because channels 1 and 2 on both systems were already in use.<br />
<br />
The drawback to this hybrid solution, of course, was that I still had a fairly large, heavy bass rig to contend with. This led me to take the next step in optimizing the rig.<br />
<br />
<br />
=== Optimizing the hybrid system ===<br />
<br />
On the premise that part of the frequency spectrum produced by the rig<nowiki>’</nowiki>s conventional speaker cabinet was being duplicated by the {{L1}}, I purchased a small, lightweight single-15" speaker cabinet to replace the large 2x12. The overall configuration remained the same: bass plugged into the bass rig (now a 1x15), with a line out going to the {{L1}}. By itself this cabinet did not sound very good, but it didn<nowiki>’</nowiki>t need to…the mid- and high-end were being carried by the {{L1}}. This effectively eliminated the major drawback of the earlier rig – a big, heavy cabinet. I did prefer the tone of the 2x12/L1 hybrid system, but I was willing to compromise to gain compactness and light weight.<br />
<br />
This final iteration of the hybrid system displayed many of the physical/logistical benefits of the {{L1}}, specifically size and weight. The 1x15 cabinet I had selected weighed less than 30 pounds and was about as small as a 1x15 cabinet can get. My four-space amp rack also made use of a very lightweight power amp.<br />
<br />
=== Moving to the {{L1}} ===<br />
<br />
When the {{A1}} was introduced, I decided to give it a try. Curious about how it would sound compared to my satisfactory hybrid setup, I purchased the {{A1 EB}} ({{A1}} and two {{B1}}s). After a month of A/B comparisons, I decided to keep it. The tone was good, the logistics were good, and there was a side benefit: the drum machines were now able to take advantage of the additional power and bass support provided by the {{A1}} and extra {{B1}}s.<br />
<br />
Soon after, I was in a position to buy a third {{L1}}, which I did…basically because Bose had been right about every other claim, so I was willing to purchase it on faith by that time; they said that one system per performer is the way to go, and I had to find out. Needless to say I wound up keeping it.<br />
<br />
So I had ultimately worked my way into owning a $3300 bass amp. Was I insane? Perhaps, but there were good reasons to add the third system. These had at least as much to do with the improved overall sound of the band as it did with the bass tone that the extended-bass {{L1}} gave me. Giving each singer a separate {{L1}} made a significant difference in the monitoring situation – one that surprised us. We would never have guessed how much better having one system per performer sounded had we not tried it for ourselves.<br />
<br />
Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s.<br />
<br />
In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki>’</nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important in terms of the overall mix of the band as experienced by the audience.<br />
<br />
The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and began to use the extended-bass {{L1}} system, driven by a Line6 BassPODxt, as my bass amp. My {{L1}} also supports one channel of the drum machine and my vocal.<br />
<br />
=== Tone options ===<br />
<br />
Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking warmth, even with the full extended-bass package.<br />
<br />
----<br />
<br />
The alternative is to feed the {{L1}} with a signal that has been put through some external device that can color the sound in a manner that is pleasing to the user's ear. This can be accomplished in any one of several ways:<br />
<br />
* A rack-mount preamp<br />
* A tube direct box<br />
* A pedal such as the SansAmp Bass Driver DI<br />
* A modeler such as the Line6 BassPODxt<br />
<br />
I<nowiki>’</nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki>’</nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode and no preset (00), I<nowiki>’</nowiki>ve been able to get a tone that I find very pleasing…quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki>’</nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step.<br />
<br />
The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer.<br />
<br />
There<nowiki>’</nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right.<br />
<br />
Recently, as an experiment I tried using an Ampeg SVT-DI tube direct box combined with a bass preset I like (63, Active Bass 3) instead of the BassPODxt. The results are good, and at present this is my default setup.<br />
<br />
=== Thump ===<br />
<br />
The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki>’</nowiki>t down low…it<nowiki>’</nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience.<br />
<br />
The bassist<nowiki>’</nowiki>s perception is different from that of the audience. The bassist feels the low "thump" more because he/she is standing right in front of the cabinet, or at least in close proximity. Out in the audience, that physical "hit" of air movement, while it may still be present, is lessened.<br />
<br />
Also, because higher frequencies are deflected and absorbed much more readily than low frequencies, the tonal balance tends to shift towards the bass as the listener gets farther from the stage. This is a familiar phenomenon, readily observed at large outdoor events. The bass and drums can be heard from far away...out in the parking lot...but the higher frequencies can't be discerned until one gets much closer to the stage. An overly boomy, bass-heavy sound in the front row will only get worse as one moves away from the stage.<br />
<br />
The real question is, what sounds best out in the audience? Does having a powerful "thump" really serve the music? The important thing is to ''listen'' to the sound and abandon preconceived notions about what "should" sound right on stage. Like many bassists, I used to cut the mids and boost both bass and treble because this "smiley face" EQ curve sounds good soloed. But in the mix, the bass seems to disappear if it<nowiki>’</nowiki>s EQed this way. Now I leave the bass EQ flat and boost the mids…and the overall sound of the band is excellent, with the bass sitting prominently in the mix and no blurriness or muddiness. This EQ curve doesn<nowiki>’</nowiki>t sound quite as pleasing when the bass is being played by itself, however.<br />
<br />
Ultimately this is a matter of personal taste. Some music demands a very heavy-handed bass sound. Several {{L1}} users are using large powered subwoofers as the Mackie 1801 subwoofers to generate that extra air movement. In my experience going that far is not necessary.<br />
<br />
=== Two or four {{B1}}s? ===<br />
<br />
Another misconception is that adding more {{B1}}s will add "more bass". This is not so. What it does do is add more headroom. Bass frequencies require a lot of power, and the more you can throw at them, the better they<nowiki>’'</nowiki>ll sound… at any volume. This is also true of conventional rigs: My old rig had a 1200 watt amplifier driving a 2x12 cabinet and it sounded superb because I was never pushing the amp hard. Unlike electric guitars where a heavily-driven tube power amp can produce improved tone, with electric bass it<nowiki>'’</nowiki>s far better to have plenty of clean power on tap.<br />
<br />
Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki>’</nowiki>s not necessary to drive them as hard.<br />
<br />
Note that the full extended-bass {{L1 Classic}} system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig.<br />
<br />
The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations.<br />
<br />
=== Summary ===<br />
<br />
My own journey from conventional amplification to an all-Bose system has covered most of the possible configurations, from conventional rig to hybrid to a full-bore extended-bass {{L1}} system. At every stage I<nowiki>’</nowiki>ve been rigorous with my decision to move to the next step, conducting extensive A/B comparisons and choosing the most viable overall option. It says a great deal about the engineering of the {{L1}} that I no longer own a conventional amplifier.<br />
<br />
Overall, my experience with the hybrid conventional rig/L1 arrangement was very positive. For the bassist who simply cannot afford his or her own {{L1}} system, but who has access to one belonging to a bandmate, I believe that a hybrid arrangement is an effective, but not optimal, solution. It is, in my opinion, well worth taking advantage of the 45-day trial period to test the extended-bass {{L1}} system against such a hybrid system. It was only after I had done this that I concluded that the added benefits justified the cost.<br />
<br />
=== To recap the main points ===<br />
<br />
* If money is tight, purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki>’'</nowiki>s used to replace additional equipment as well, it is very cost-competitive. Systems should first be purchased for those who would benefit from them more: vocalists, guitarists and keyboard players.<br />
* If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system.<br />
* A full extended-bass {{L1}} system can and does make a viable replacement for a conventional bass rig and offers the following benefits:<br />
* -Multiple use as a vocal monitor/PA replacement<br />
* -Reduced weight and bulk<br />
* -Improved sonic characteristics<br />
* {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers.<br />
* The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air.<br />
* The extra presence and punch provided by additional {{B1}}s and the {{A1}} is well worth the cost in this application.<br />
<br />
----<br />
<br />
'''''About the author'''''<br />
<br />
Andrew Douglas is a professional writer and an amateur bassist ("I<nowiki>’'</nowiki>m good enough to get asked back, and nobody<nowiki>’'</nowiki>s thrown a rotten tomato at me yet - …but there<nowiki>’'</nowiki>s always a first time.") who lives in Bridgeport, Connecticut. He has been playing off-and-on with the same two close friends for over 20 years, and the three of them have been performing as a band for over 10 years. He is also a Bose {{L1}} Product Specialist.<br />
<br />
'''''About the equipment'''''<br />
<br />
'''Original rig:'''<br />
<br />
* Pre-Fender SWR Grand Prix tube preamp<br />
* PreSonus Blue Max Compressor<br />
* Stewart World 1.2 1200-watt power amp<br />
* Avatar 2x12 w/horn, later replaced by a Flite Sound 1x15, no horn<br />
<br />
'''Current Bose rig:'''<br />
<br />
* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s)<br />
* Line6 BassPODxt w/Shortboard, running into Ch.2, preset 00<br />
* Studio Tone amp model (SWR)<br />
* Studio Tone 4x10, Silvercone 4x10 or Green 25 4x12 cabinet models, depending on venue<br />
* Tube mic, close, 20-30% room setting<br />
<br />
'''Basses:'''<br />
<br />
* Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp<br />
* Current bass, MusicMan Bongo 5 HH w/piezo<br />
<br />
----<br />
<br />
<references/><br />
<br />
[[Category:Editorial]]</div>Andrew Douglashttps://boseperformer.com/index.php?title=Electric_Bass&diff=4437Electric Bass2007-06-10T10:56:21Z<p>Andrew Douglas: /* Tone options */</p>
<hr />
<div>{{Editorial}}<br />
<font size = "4">'''The Electric Bass and the Bose® {{L1}} system'''</font><br />
<br />
<font size = "4">Configuration options and practical tradeoffs – one user<nowiki>’</nowiki>s perspective</font><br />
<br />
''by Andrew Douglas, Bose {{L1}} Product Specialist''<br />
<br />
<font size = "1">''This document was not produced by Bose Corporation and is the sole opinion of its author.''</font><br />
<br />
Electric bassists, like electric guitarists, are perpetually in search of "great" tone. Like the electric guitar, this tone is only partly the result of the instrument itself; the choice of amplification, additional effects and speaker cabinet play a major role in coloring the overall sound. It is a symbiotic relationship.<br />
<br />
This is not the case for most other instruments. Keyboard synthesizers, for example, rely on internal sound generators to produce their unique voice. Acoustic guitars derive their tone from design, construction and materials. For instruments such as these, the goal is not to color the basic sound of the instrument through external equipment, but rather to reproduce that sound as accurately as possible.<br />
<br />
The Bose {{L1}} excels at delivering transparent, clear amplification, making it well suited for acoustic instruments and voices. But these same attributes, combined with the high purchase price of the system, can be a deterrent to electric bassists looking to replace a good bass rig without losing its distinctive character.<br />
<br />
This paper will explore, from a practical standpoint, the pros and cons of using the {{L1}} system for electric bass amplification. It is based entirely on the personal experience of the author and reflects his views on the matter.<br />
<br />
=== It costs ''how'' much? ===<br />
The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} amplifier is among the most expensive bass rigs one can buy, on a par with the most exclusive of boutique amplifiers. Even the minimum recommended configuration of an {{L1}} and two {{B1}} modules is a lot of money compared to the typical bass rig.<br />
<br />
The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends." The L1 does make a fine bass amp, but those with limited resources are faced with some hard choices. As with all things, there are tradeoffs.<br />
<br />
The primary sonic benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle.<br />
<br />
It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar.<br />
<br />
From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head…and all are relatively compact, which makes transport easy. The dramatically smaller and lighter power stand of the {{Model II}} makes this contrast even more marked.<br />
<br />
If money is a real issue, these benefits alone are not in my opinion sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment.<br />
<br />
A band that goes "all-Bose" can use {{L1}}s to replace all of the back-line amps, plus the PA, plus stage monitors, plus the supporting equipment for small- to medium-sized venues. Since the Bose performance model gives each performer his or her own independent monitor "mix," the extensive additional equipment needed to provide separate monitor mixes with a conventional PA is not needed.<br />
<br />
The total cost of a conventional system that replicates the capabilities of an all-L1 band is comparable to that of the Bose system. Therefore, if the bassist<nowiki>’</nowiki>s {{L1}} is also used to support other sources (such as the bassist<nowiki>’</nowiki>s microphone, for example), then the purchase of the system for use as a bass amp is a logical and cost-effective move.<br />
<br />
This raises the question of system sharing. The more sources each {{L1}} supports, the more cost-effective it is. However, this involves some sonic, signal routing and control compromises, as will be discussed below.<br />
<br />
=== Improving on the conventional bass rig ===<br />
<br />
My own experience with the {{L1}} started when I purchased two single-{{B1}} systems to replace my band<nowiki>’</nowiki>s overly complex PA system. At the time, the {{A1}} had not been introduced, and in any event I was not able to afford all three of the systems we now have at the time.<br />
<br />
My band consists of a bass, one acoustic-electric guitar, a flute and a drum machine. All three band members sing. We faced the same issues that many {{L1}} buyers must contend with, in particular deciding the most effective way to divide up two systems among three performers (and a robot).<br />
<br />
The obvious course was to keep my bass rig (a 1200-watt component rack system driving a 2x12 cabinet, which I was very happy with) and use the two {{L1}}s to support the three microphones, the guitar and the drum machine. This worked quite well and was a vast improvement over our previous setup.<br />
<br />
It didn<nowiki>’</nowiki>t take long to try plugging the line out from the bass rig<nowiki>’</nowiki>s preamp into a vacant channel on one of the {{L1}}s, just to see what would happen. The results were astonishing. The good basic tone of the 2x12 was still there, but the {{L1}} added wonderful clarity and sparkle. It also gave the sound the superior dispersion characteristic of the {{L1}} where it counts most, in the mid and upper frequency ranges. The fact that there was only one {{B1}} was not an issue: keeping the 2x12 cabinet provided plenty of support for the low end. Best of all, it allowed me to keep "my" tone, created by the preamp.<br />
<br />
An alternative arrangement is to reverse this: Plug the bass into channel 1 or 2 of the {{L1}} (assuming they are not occupied) and use the {{L1}}<nowiki>’</nowiki>s line out to feed a conventional bass rig for extra power on-stage. I did not explore this option because I wanted the tone of my preamp to come out of the {{L1}}, and also because channels 1 and 2 on both systems were already in use.<br />
<br />
The drawback to this hybrid solution, of course, was that I still had a fairly large, heavy bass rig to contend with. This led me to take the next step in optimizing the rig.<br />
<br />
<br />
=== Optimizing the hybrid system ===<br />
<br />
On the premise that part of the frequency spectrum produced by the rig<nowiki>’</nowiki>s conventional speaker cabinet was being duplicated by the {{L1}}, I purchased a small, lightweight single-15" speaker cabinet to replace the large 2x12. The overall configuration remained the same: bass plugged into the bass rig (now a 1x15), with a line out going to the {{L1}}. By itself this cabinet did not sound very good, but it didn<nowiki>’</nowiki>t need to…the mid- and high-end were being carried by the {{L1}}. This effectively eliminated the major drawback of the earlier rig – a big, heavy cabinet. I did prefer the tone of the 2x12/L1 hybrid system, but I was willing to compromise to gain compactness and light weight.<br />
<br />
This final iteration of the hybrid system displayed many of the physical/logistical benefits of the {{L1}}, specifically size and weight. The 1x15 cabinet I had selected weighed less than 30 pounds and was about as small as a 1x15 cabinet can get. My four-space amp rack also made use of a very lightweight power amp.<br />
<br />
=== Moving to the {{L1}} ===<br />
<br />
When the {{A1}} was introduced, I decided to give it a try. Curious about how it would sound compared to my satisfactory hybrid setup, I purchased the {{A1 EB}} ({{A1}} and two {{B1}}s). After a month of A/B comparisons, I decided to keep it. The tone was good, the logistics were good, and there was a side benefit: the drum machines were now able to take advantage of the additional power and bass support provided by the {{A1}} and extra {{B1}}s.<br />
<br />
Soon after, I was in a position to buy a third {{L1}}, which I did…basically because Bose had been right about every other claim, so I was willing to purchase it on faith by that time; they said that one system per performer is the way to go, and I had to find out. Needless to say I wound up keeping it.<br />
<br />
So I had ultimately worked my way into owning a $3300 bass amp. Was I insane? Perhaps, but there were good reasons to add the third system. These had at least as much to do with the improved overall sound of the band as it did with the bass tone that the extended-bass {{L1}} gave me. Giving each singer a separate {{L1}} made a significant difference in the monitoring situation – one that surprised us. We would never have guessed how much better having one system per performer sounded had we not tried it for ourselves.<br />
<br />
Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s.<br />
<br />
In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki>’</nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important in terms of the overall mix of the band as experienced by the audience.<br />
<br />
The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and began to use the extended-bass {{L1}} system, driven by a Line6 BassPODxt, as my bass amp. My {{L1}} also supports one channel of the drum machine and my vocal.<br />
<br />
=== Tone options ===<br />
<br />
Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking warmth, even with the full extended-bass package.<br />
<br />
----<br />
<br />
The alternative is to feed the {{L1}} with a signal that has been put through some external device that can color the sound in a manner that is pleasing to the user's ear. This can be accomplished in any one of several ways:<br />
<br />
* A rack-mount preamp<br />
* A tube direct box<br />
* A pedal such as the SansAmp Bass Driver DI<br />
* A modeler such as the Line6 BassPODxt<br />
<br />
I<nowiki>’</nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki>’</nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode and no preset (00), I<nowiki>’</nowiki>ve been able to get a tone that I find very pleasing…quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki>’</nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step.<br />
<br />
The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer.<br />
<br />
There<nowiki>’</nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right.<br />
<br />
Recently, as an experiment I tried using an Ampeg SVT-DI tube direct box combined with a bass preset I like (63, Active Bass 3) instead of the BassPODxt. The results are good, and at present this is my default setup.<br />
<br />
=== Thump ===<br />
<br />
The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki>’</nowiki>t down low…it<nowiki>’</nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience.<br />
<br />
The bassist<nowiki>’</nowiki>s perception is different from that of the audience. The bassist feels the low "thump" more because he/she is standing right in front of the cabinet, or at least in close proximity. Out in the audience, that physical "hit" of air movement, while it may still be present, is lessened.<br />
<br />
Also, because higher frequencies are deflected and absorbed much more readily than low frequencies, the tonal balance tends to shift towards the bass as the listener gets farther from the stage. This is a familiar phenomenon, readily observed at large outdoor events. The bass and drums can be heard from far away...out in the parking lot...but the higher frequencies can't be discerned until one gets much closer to the stage. An overly boomy, bass-heavy sound in the front row will only get worse as one moves away from the stage.<br />
<br />
The real question is, what sounds best out in the audience? Does having a powerful "thump" really serve the music? The important thing is to ''listen'' to the sound and abandon preconceived notions about what "should" sound right on stage. Like many bassists, I used to cut the mids and boost both bass and treble because this "smiley face" EQ curve sounds good soloed. But in the mix, the bass seems to disappear if it<nowiki>’</nowiki>s EQed this way. Now I leave the bass EQ flat and boost the mids…and the overall sound of the band is excellent, with the bass sitting prominently in the mix and no blurriness or muddiness. This EQ curve doesn<nowiki>’</nowiki>t sound quite as pleasing when the bass is being played by itself, however.<br />
<br />
Ultimately this is a matter of personal taste. Some music demands a very heavy-handed bass sound. Several {{L1}} users are using large powered subwoofers as the Mackie 1801 subwoofers to generate that extra air movement. In my experience going that far is not necessary.<br />
<br />
=== Two or four {{B1}}s? ===<br />
<br />
Another misconception is that adding more {{B1}}s will add "more bass". This is not so. What it does do is add more headroom. Bass frequencies require a lot of power, and the more you can throw at them, the better they<nowiki>’'</nowiki>ll sound… at any volume. This is also true of conventional rigs: My old rig had a 1200 watt amplifier driving a 2x12 cabinet and it sounded superb because I was never pushing the amp hard. Unlike electric guitars where a heavily-driven tube power amp can produce improved tone, with electric bass it<nowiki>'’</nowiki>s far better to have plenty of clean power on tap.<br />
<br />
Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki>’</nowiki>s not necessary to drive them as hard.<br />
<br />
Note that the full extended-bass {{L1}} system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig.<br />
<br />
The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations.<br />
<br />
=== Summary ===<br />
<br />
My own journey from conventional amplification to an all-Bose system has covered most of the possible configurations, from conventional rig to hybrid to a full-bore extended-bass {{L1}} system. At every stage I<nowiki>’</nowiki>ve been rigorous with my decision to move to the next step, conducting extensive A/B comparisons and choosing the most viable overall option. It says a great deal about the engineering of the {{L1}} that I no longer own a conventional amplifier.<br />
<br />
Overall, my experience with the hybrid conventional rig/L1 arrangement was very positive. For the bassist who simply cannot afford his or her own {{L1}} system, but who has access to one belonging to a bandmate, I believe that a hybrid arrangement is an effective, but not optimal, solution. It is, in my opinion, well worth taking advantage of the 45-day trial period to test the extended-bass {{L1}} system against such a hybrid system. It was only after I had done this that I concluded that the added benefits justified the cost.<br />
<br />
=== To recap the main points ===<br />
<br />
* If money is tight, purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki>’'</nowiki>s used to replace additional equipment as well, it is very cost-competitive. Systems should first be purchased for those who would benefit from them more: vocalists, guitarists and keyboard players.<br />
* If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system.<br />
* A full extended-bass {{L1}} system can and does make a viable replacement for a conventional bass rig and offers the following benefits:<br />
* -Multiple use as a vocal monitor/PA replacement<br />
* -Reduced weight and bulk<br />
* -Improved sonic characteristics<br />
* {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers.<br />
* The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air.<br />
* The extra presence and punch provided by additional {{B1}}s and the {{A1}} is well worth the cost in this application.<br />
<br />
----<br />
<br />
'''''About the author'''''<br />
<br />
Andrew Douglas is a professional writer and an amateur bassist ("I<nowiki>’'</nowiki>m good enough to get asked back, and nobody<nowiki>’'</nowiki>s thrown a rotten tomato at me yet - …but there<nowiki>’'</nowiki>s always a first time.") who lives in Bridgeport, Connecticut. He has been playing off-and-on with the same two close friends for over 20 years, and the three of them have been performing as a band for over 10 years. He is also a Bose {{L1}} Product Specialist.<br />
<br />
'''''About the equipment'''''<br />
<br />
'''Original rig:'''<br />
<br />
* Pre-Fender SWR Grand Prix tube preamp<br />
* PreSonus Blue Max Compressor<br />
* Stewart World 1.2 1200-watt power amp<br />
* Avatar 2x12 w/horn, later replaced by a Flite Sound 1x15, no horn<br />
<br />
'''Current Bose rig:'''<br />
<br />
* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s)<br />
* Line6 BassPODxt w/Shortboard, running into Ch.2, preset 00<br />
* Studio Tone amp model (SWR)<br />
* Studio Tone 4x10, Silvercone 4x10 or Green 25 4x12 cabinet models, depending on venue<br />
* Tube mic, close, 20-30% room setting<br />
<br />
'''Basses:'''<br />
<br />
* Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp<br />
* Current bass, MusicMan Bongo 5 HH w/piezo<br />
<br />
----<br />
<br />
<references/><br />
<br />
[[Category:Editorial]]</div>Andrew Douglashttps://boseperformer.com/index.php?title=Electric_Bass&diff=4436Electric Bass2007-06-10T10:49:33Z<p>Andrew Douglas: /* Moving to the {{L1}} */</p>
<hr />
<div>{{Editorial}}<br />
<font size = "4">'''The Electric Bass and the Bose® {{L1}} system'''</font><br />
<br />
<font size = "4">Configuration options and practical tradeoffs – one user<nowiki>’</nowiki>s perspective</font><br />
<br />
''by Andrew Douglas, Bose {{L1}} Product Specialist''<br />
<br />
<font size = "1">''This document was not produced by Bose Corporation and is the sole opinion of its author.''</font><br />
<br />
Electric bassists, like electric guitarists, are perpetually in search of "great" tone. Like the electric guitar, this tone is only partly the result of the instrument itself; the choice of amplification, additional effects and speaker cabinet play a major role in coloring the overall sound. It is a symbiotic relationship.<br />
<br />
This is not the case for most other instruments. Keyboard synthesizers, for example, rely on internal sound generators to produce their unique voice. Acoustic guitars derive their tone from design, construction and materials. For instruments such as these, the goal is not to color the basic sound of the instrument through external equipment, but rather to reproduce that sound as accurately as possible.<br />
<br />
The Bose {{L1}} excels at delivering transparent, clear amplification, making it well suited for acoustic instruments and voices. But these same attributes, combined with the high purchase price of the system, can be a deterrent to electric bassists looking to replace a good bass rig without losing its distinctive character.<br />
<br />
This paper will explore, from a practical standpoint, the pros and cons of using the {{L1}} system for electric bass amplification. It is based entirely on the personal experience of the author and reflects his views on the matter.<br />
<br />
=== It costs ''how'' much? ===<br />
The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} amplifier is among the most expensive bass rigs one can buy, on a par with the most exclusive of boutique amplifiers. Even the minimum recommended configuration of an {{L1}} and two {{B1}} modules is a lot of money compared to the typical bass rig.<br />
<br />
The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends." The L1 does make a fine bass amp, but those with limited resources are faced with some hard choices. As with all things, there are tradeoffs.<br />
<br />
The primary sonic benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle.<br />
<br />
It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar.<br />
<br />
From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head…and all are relatively compact, which makes transport easy. The dramatically smaller and lighter power stand of the {{Model II}} makes this contrast even more marked.<br />
<br />
If money is a real issue, these benefits alone are not in my opinion sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment.<br />
<br />
A band that goes "all-Bose" can use {{L1}}s to replace all of the back-line amps, plus the PA, plus stage monitors, plus the supporting equipment for small- to medium-sized venues. Since the Bose performance model gives each performer his or her own independent monitor "mix," the extensive additional equipment needed to provide separate monitor mixes with a conventional PA is not needed.<br />
<br />
The total cost of a conventional system that replicates the capabilities of an all-L1 band is comparable to that of the Bose system. Therefore, if the bassist<nowiki>’</nowiki>s {{L1}} is also used to support other sources (such as the bassist<nowiki>’</nowiki>s microphone, for example), then the purchase of the system for use as a bass amp is a logical and cost-effective move.<br />
<br />
This raises the question of system sharing. The more sources each {{L1}} supports, the more cost-effective it is. However, this involves some sonic, signal routing and control compromises, as will be discussed below.<br />
<br />
=== Improving on the conventional bass rig ===<br />
<br />
My own experience with the {{L1}} started when I purchased two single-{{B1}} systems to replace my band<nowiki>’</nowiki>s overly complex PA system. At the time, the {{A1}} had not been introduced, and in any event I was not able to afford all three of the systems we now have at the time.<br />
<br />
My band consists of a bass, one acoustic-electric guitar, a flute and a drum machine. All three band members sing. We faced the same issues that many {{L1}} buyers must contend with, in particular deciding the most effective way to divide up two systems among three performers (and a robot).<br />
<br />
The obvious course was to keep my bass rig (a 1200-watt component rack system driving a 2x12 cabinet, which I was very happy with) and use the two {{L1}}s to support the three microphones, the guitar and the drum machine. This worked quite well and was a vast improvement over our previous setup.<br />
<br />
It didn<nowiki>’</nowiki>t take long to try plugging the line out from the bass rig<nowiki>’</nowiki>s preamp into a vacant channel on one of the {{L1}}s, just to see what would happen. The results were astonishing. The good basic tone of the 2x12 was still there, but the {{L1}} added wonderful clarity and sparkle. It also gave the sound the superior dispersion characteristic of the {{L1}} where it counts most, in the mid and upper frequency ranges. The fact that there was only one {{B1}} was not an issue: keeping the 2x12 cabinet provided plenty of support for the low end. Best of all, it allowed me to keep "my" tone, created by the preamp.<br />
<br />
An alternative arrangement is to reverse this: Plug the bass into channel 1 or 2 of the {{L1}} (assuming they are not occupied) and use the {{L1}}<nowiki>’</nowiki>s line out to feed a conventional bass rig for extra power on-stage. I did not explore this option because I wanted the tone of my preamp to come out of the {{L1}}, and also because channels 1 and 2 on both systems were already in use.<br />
<br />
The drawback to this hybrid solution, of course, was that I still had a fairly large, heavy bass rig to contend with. This led me to take the next step in optimizing the rig.<br />
<br />
<br />
=== Optimizing the hybrid system ===<br />
<br />
On the premise that part of the frequency spectrum produced by the rig<nowiki>’</nowiki>s conventional speaker cabinet was being duplicated by the {{L1}}, I purchased a small, lightweight single-15" speaker cabinet to replace the large 2x12. The overall configuration remained the same: bass plugged into the bass rig (now a 1x15), with a line out going to the {{L1}}. By itself this cabinet did not sound very good, but it didn<nowiki>’</nowiki>t need to…the mid- and high-end were being carried by the {{L1}}. This effectively eliminated the major drawback of the earlier rig – a big, heavy cabinet. I did prefer the tone of the 2x12/L1 hybrid system, but I was willing to compromise to gain compactness and light weight.<br />
<br />
This final iteration of the hybrid system displayed many of the physical/logistical benefits of the {{L1}}, specifically size and weight. The 1x15 cabinet I had selected weighed less than 30 pounds and was about as small as a 1x15 cabinet can get. My four-space amp rack also made use of a very lightweight power amp.<br />
<br />
=== Moving to the {{L1}} ===<br />
<br />
When the {{A1}} was introduced, I decided to give it a try. Curious about how it would sound compared to my satisfactory hybrid setup, I purchased the {{A1 EB}} ({{A1}} and two {{B1}}s). After a month of A/B comparisons, I decided to keep it. The tone was good, the logistics were good, and there was a side benefit: the drum machines were now able to take advantage of the additional power and bass support provided by the {{A1}} and extra {{B1}}s.<br />
<br />
Soon after, I was in a position to buy a third {{L1}}, which I did…basically because Bose had been right about every other claim, so I was willing to purchase it on faith by that time; they said that one system per performer is the way to go, and I had to find out. Needless to say I wound up keeping it.<br />
<br />
So I had ultimately worked my way into owning a $3300 bass amp. Was I insane? Perhaps, but there were good reasons to add the third system. These had at least as much to do with the improved overall sound of the band as it did with the bass tone that the extended-bass {{L1}} gave me. Giving each singer a separate {{L1}} made a significant difference in the monitoring situation – one that surprised us. We would never have guessed how much better having one system per performer sounded had we not tried it for ourselves.<br />
<br />
Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s.<br />
<br />
In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki>’</nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important in terms of the overall mix of the band as experienced by the audience.<br />
<br />
The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and began to use the extended-bass {{L1}} system, driven by a Line6 BassPODxt, as my bass amp. My {{L1}} also supports one channel of the drum machine and my vocal.<br />
<br />
=== Tone options ===<br />
<br />
Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking color, even with the full extended-bass package.<br />
<br />
----<br />
<br />
The alternative is to feed the {{L1}} with a signal that has been put through a preamp of some sort. This can be accomplished in any one of several ways:<br />
<br />
* A rack-mount preamp<br />
* A pedal such as the SansAmp Bass Driver DI<br />
* A modeler such as the Line6 BassPODxt<br />
<br />
I<nowiki>’</nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki>’</nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode, I<nowiki>’</nowiki>ve been able to get a tone that I find very pleasing…quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki>’</nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step.<br />
<br />
The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer.<br />
<br />
There<nowiki>’</nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right.<br />
<br />
=== Thump ===<br />
<br />
The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki>’</nowiki>t down low…it<nowiki>’</nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience.<br />
<br />
The bassist<nowiki>’</nowiki>s perception is different from that of the audience. The bassist feels the low "thump" more because he/she is standing right in front of the cabinet, or at least in close proximity. Out in the audience, that physical "hit" of air movement, while it may still be present, is lessened.<br />
<br />
Also, because higher frequencies are deflected and absorbed much more readily than low frequencies, the tonal balance tends to shift towards the bass as the listener gets farther from the stage. This is a familiar phenomenon, readily observed at large outdoor events. The bass and drums can be heard from far away...out in the parking lot...but the higher frequencies can't be discerned until one gets much closer to the stage. An overly boomy, bass-heavy sound in the front row will only get worse as one moves away from the stage.<br />
<br />
The real question is, what sounds best out in the audience? Does having a powerful "thump" really serve the music? The important thing is to ''listen'' to the sound and abandon preconceived notions about what "should" sound right on stage. Like many bassists, I used to cut the mids and boost both bass and treble because this "smiley face" EQ curve sounds good soloed. But in the mix, the bass seems to disappear if it<nowiki>’</nowiki>s EQed this way. Now I leave the bass EQ flat and boost the mids…and the overall sound of the band is excellent, with the bass sitting prominently in the mix and no blurriness or muddiness. This EQ curve doesn<nowiki>’</nowiki>t sound quite as pleasing when the bass is being played by itself, however.<br />
<br />
Ultimately this is a matter of personal taste. Some music demands a very heavy-handed bass sound. Several {{L1}} users are using large powered subwoofers as the Mackie 1801 subwoofers to generate that extra air movement. In my experience going that far is not necessary.<br />
<br />
=== Two or four {{B1}}s? ===<br />
<br />
Another misconception is that adding more {{B1}}s will add "more bass". This is not so. What it does do is add more headroom. Bass frequencies require a lot of power, and the more you can throw at them, the better they<nowiki>’'</nowiki>ll sound… at any volume. This is also true of conventional rigs: My old rig had a 1200 watt amplifier driving a 2x12 cabinet and it sounded superb because I was never pushing the amp hard. Unlike electric guitars where a heavily-driven tube power amp can produce improved tone, with electric bass it<nowiki>'’</nowiki>s far better to have plenty of clean power on tap.<br />
<br />
Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki>’</nowiki>s not necessary to drive them as hard.<br />
<br />
Note that the full extended-bass {{L1}} system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig.<br />
<br />
The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations.<br />
<br />
=== Summary ===<br />
<br />
My own journey from conventional amplification to an all-Bose system has covered most of the possible configurations, from conventional rig to hybrid to a full-bore extended-bass {{L1}} system. At every stage I<nowiki>’</nowiki>ve been rigorous with my decision to move to the next step, conducting extensive A/B comparisons and choosing the most viable overall option. It says a great deal about the engineering of the {{L1}} that I no longer own a conventional amplifier.<br />
<br />
Overall, my experience with the hybrid conventional rig/L1 arrangement was very positive. For the bassist who simply cannot afford his or her own {{L1}} system, but who has access to one belonging to a bandmate, I believe that a hybrid arrangement is an effective, but not optimal, solution. It is, in my opinion, well worth taking advantage of the 45-day trial period to test the extended-bass {{L1}} system against such a hybrid system. It was only after I had done this that I concluded that the added benefits justified the cost.<br />
<br />
=== To recap the main points ===<br />
<br />
* If money is tight, purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki>’'</nowiki>s used to replace additional equipment as well, it is very cost-competitive. Systems should first be purchased for those who would benefit from them more: vocalists, guitarists and keyboard players.<br />
* If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system.<br />
* A full extended-bass {{L1}} system can and does make a viable replacement for a conventional bass rig and offers the following benefits:<br />
* -Multiple use as a vocal monitor/PA replacement<br />
* -Reduced weight and bulk<br />
* -Improved sonic characteristics<br />
* {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers.<br />
* The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air.<br />
* The extra presence and punch provided by additional {{B1}}s and the {{A1}} is well worth the cost in this application.<br />
<br />
----<br />
<br />
'''''About the author'''''<br />
<br />
Andrew Douglas is a professional writer and an amateur bassist ("I<nowiki>’'</nowiki>m good enough to get asked back, and nobody<nowiki>’'</nowiki>s thrown a rotten tomato at me yet - …but there<nowiki>’'</nowiki>s always a first time.") who lives in Bridgeport, Connecticut. He has been playing off-and-on with the same two close friends for over 20 years, and the three of them have been performing as a band for over 10 years. He is also a Bose {{L1}} Product Specialist.<br />
<br />
'''''About the equipment'''''<br />
<br />
'''Original rig:'''<br />
<br />
* Pre-Fender SWR Grand Prix tube preamp<br />
* PreSonus Blue Max Compressor<br />
* Stewart World 1.2 1200-watt power amp<br />
* Avatar 2x12 w/horn, later replaced by a Flite Sound 1x15, no horn<br />
<br />
'''Current Bose rig:'''<br />
<br />
* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s)<br />
* Line6 BassPODxt w/Shortboard, running into Ch.2, preset 00<br />
* Studio Tone amp model (SWR)<br />
* Studio Tone 4x10, Silvercone 4x10 or Green 25 4x12 cabinet models, depending on venue<br />
* Tube mic, close, 20-30% room setting<br />
<br />
'''Basses:'''<br />
<br />
* Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp<br />
* Current bass, MusicMan Bongo 5 HH w/piezo<br />
<br />
----<br />
<br />
<references/><br />
<br />
[[Category:Editorial]]</div>Andrew Douglashttps://boseperformer.com/index.php?title=Electric_Bass&diff=4435Electric Bass2007-06-10T10:45:24Z<p>Andrew Douglas: /* It costs ''how'' much? */</p>
<hr />
<div>{{Editorial}}<br />
<font size = "4">'''The Electric Bass and the Bose® {{L1}} system'''</font><br />
<br />
<font size = "4">Configuration options and practical tradeoffs – one user<nowiki>’</nowiki>s perspective</font><br />
<br />
''by Andrew Douglas, Bose {{L1}} Product Specialist''<br />
<br />
<font size = "1">''This document was not produced by Bose Corporation and is the sole opinion of its author.''</font><br />
<br />
Electric bassists, like electric guitarists, are perpetually in search of "great" tone. Like the electric guitar, this tone is only partly the result of the instrument itself; the choice of amplification, additional effects and speaker cabinet play a major role in coloring the overall sound. It is a symbiotic relationship.<br />
<br />
This is not the case for most other instruments. Keyboard synthesizers, for example, rely on internal sound generators to produce their unique voice. Acoustic guitars derive their tone from design, construction and materials. For instruments such as these, the goal is not to color the basic sound of the instrument through external equipment, but rather to reproduce that sound as accurately as possible.<br />
<br />
The Bose {{L1}} excels at delivering transparent, clear amplification, making it well suited for acoustic instruments and voices. But these same attributes, combined with the high purchase price of the system, can be a deterrent to electric bassists looking to replace a good bass rig without losing its distinctive character.<br />
<br />
This paper will explore, from a practical standpoint, the pros and cons of using the {{L1}} system for electric bass amplification. It is based entirely on the personal experience of the author and reflects his views on the matter.<br />
<br />
=== It costs ''how'' much? ===<br />
The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} amplifier is among the most expensive bass rigs one can buy, on a par with the most exclusive of boutique amplifiers. Even the minimum recommended configuration of an {{L1}} and two {{B1}} modules is a lot of money compared to the typical bass rig.<br />
<br />
The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends." The L1 does make a fine bass amp, but those with limited resources are faced with some hard choices. As with all things, there are tradeoffs.<br />
<br />
The primary sonic benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle.<br />
<br />
It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar.<br />
<br />
From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head…and all are relatively compact, which makes transport easy. The dramatically smaller and lighter power stand of the {{Model II}} makes this contrast even more marked.<br />
<br />
If money is a real issue, these benefits alone are not in my opinion sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment.<br />
<br />
A band that goes "all-Bose" can use {{L1}}s to replace all of the back-line amps, plus the PA, plus stage monitors, plus the supporting equipment for small- to medium-sized venues. Since the Bose performance model gives each performer his or her own independent monitor "mix," the extensive additional equipment needed to provide separate monitor mixes with a conventional PA is not needed.<br />
<br />
The total cost of a conventional system that replicates the capabilities of an all-L1 band is comparable to that of the Bose system. Therefore, if the bassist<nowiki>’</nowiki>s {{L1}} is also used to support other sources (such as the bassist<nowiki>’</nowiki>s microphone, for example), then the purchase of the system for use as a bass amp is a logical and cost-effective move.<br />
<br />
This raises the question of system sharing. The more sources each {{L1}} supports, the more cost-effective it is. However, this involves some sonic, signal routing and control compromises, as will be discussed below.<br />
<br />
=== Improving on the conventional bass rig ===<br />
<br />
My own experience with the {{L1}} started when I purchased two single-{{B1}} systems to replace my band<nowiki>’</nowiki>s overly complex PA system. At the time, the {{A1}} had not been introduced, and in any event I was not able to afford all three of the systems we now have at the time.<br />
<br />
My band consists of a bass, one acoustic-electric guitar, a flute and a drum machine. All three band members sing. We faced the same issues that many {{L1}} buyers must contend with, in particular deciding the most effective way to divide up two systems among three performers (and a robot).<br />
<br />
The obvious course was to keep my bass rig (a 1200-watt component rack system driving a 2x12 cabinet, which I was very happy with) and use the two {{L1}}s to support the three microphones, the guitar and the drum machine. This worked quite well and was a vast improvement over our previous setup.<br />
<br />
It didn<nowiki>’</nowiki>t take long to try plugging the line out from the bass rig<nowiki>’</nowiki>s preamp into a vacant channel on one of the {{L1}}s, just to see what would happen. The results were astonishing. The good basic tone of the 2x12 was still there, but the {{L1}} added wonderful clarity and sparkle. It also gave the sound the superior dispersion characteristic of the {{L1}} where it counts most, in the mid and upper frequency ranges. The fact that there was only one {{B1}} was not an issue: keeping the 2x12 cabinet provided plenty of support for the low end. Best of all, it allowed me to keep "my" tone, created by the preamp.<br />
<br />
An alternative arrangement is to reverse this: Plug the bass into channel 1 or 2 of the {{L1}} (assuming they are not occupied) and use the {{L1}}<nowiki>’</nowiki>s line out to feed a conventional bass rig for extra power on-stage. I did not explore this option because I wanted the tone of my preamp to come out of the {{L1}}, and also because channels 1 and 2 on both systems were already in use.<br />
<br />
The drawback to this hybrid solution, of course, was that I still had a fairly large, heavy bass rig to contend with. This led me to take the next step in optimizing the rig.<br />
<br />
<br />
=== Optimizing the hybrid system ===<br />
<br />
On the premise that part of the frequency spectrum produced by the rig<nowiki>’</nowiki>s conventional speaker cabinet was being duplicated by the {{L1}}, I purchased a small, lightweight single-15" speaker cabinet to replace the large 2x12. The overall configuration remained the same: bass plugged into the bass rig (now a 1x15), with a line out going to the {{L1}}. By itself this cabinet did not sound very good, but it didn<nowiki>’</nowiki>t need to…the mid- and high-end were being carried by the {{L1}}. This effectively eliminated the major drawback of the earlier rig – a big, heavy cabinet. I did prefer the tone of the 2x12/L1 hybrid system, but I was willing to compromise to gain compactness and light weight.<br />
<br />
This final iteration of the hybrid system displayed many of the physical/logistical benefits of the {{L1}}, specifically size and weight. The 1x15 cabinet I had selected weighed less than 30 pounds and was about as small as a 1x15 cabinet can get. My four-space amp rack also made use of a very lightweight power amp.<br />
<br />
=== Moving to the {{L1}} ===<br />
<br />
When the {{A1}} was introduced, I decided to give it a try. Curious about how it would sound compared to my satisfactory hybrid setup, I purchased the {{A1 EB}} ({{A1}} and two {{B1}}s). After a month of A/B comparisons, I decided to keep it. The tone was good, the logistics were good, and there was a side benefit: the drum machines were now able to take advantage of the additional power and bass support provided by the {{A1}} and extra {{B1}}s.<br />
<br />
Soon after, I was in a position to buy a third {{L1}}, which I did…basically because Bose had been right about every other claim, so I was willing to purchase it on faith by that time; they said that one system per performer is the way to go, and I had to find out. Needless to say I wound up keeping it.<br />
<br />
So I had ultimately worked my way into owning a $3300 bass amp. Was I insane? Perhaps, but there were good reasons to add the third system. These had at least as much to do with the improved overall sound of the band as it did with the bass tone that the extended-bass {{L1}} gave me. Giving each singer a separate {{L1}} made a significant difference in the monitoring situation – one that surprised us. We would never have guessed how much better having one system per performer sounded had we not tried it for ourselves.<br />
<br />
Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s.<br />
<br />
In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki>’</nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important.<br />
<br />
The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and now use the extended-bass {{L1}} system, driven by a Line6 BassPODxt, as my bass amp. My {{L1}} also supports one channel of the drum machine and my vocal.<br />
<br />
=== Tone options ===<br />
<br />
Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking color, even with the full extended-bass package.<br />
<br />
----<br />
<br />
The alternative is to feed the {{L1}} with a signal that has been put through a preamp of some sort. This can be accomplished in any one of several ways:<br />
<br />
* A rack-mount preamp<br />
* A pedal such as the SansAmp Bass Driver DI<br />
* A modeler such as the Line6 BassPODxt<br />
<br />
I<nowiki>’</nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki>’</nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode, I<nowiki>’</nowiki>ve been able to get a tone that I find very pleasing…quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki>’</nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step.<br />
<br />
The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer.<br />
<br />
There<nowiki>’</nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right.<br />
<br />
=== Thump ===<br />
<br />
The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki>’</nowiki>t down low…it<nowiki>’</nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience.<br />
<br />
The bassist<nowiki>’</nowiki>s perception is different from that of the audience. The bassist feels the low "thump" more because he/she is standing right in front of the cabinet, or at least in close proximity. Out in the audience, that physical "hit" of air movement, while it may still be present, is lessened.<br />
<br />
Also, because higher frequencies are deflected and absorbed much more readily than low frequencies, the tonal balance tends to shift towards the bass as the listener gets farther from the stage. This is a familiar phenomenon, readily observed at large outdoor events. The bass and drums can be heard from far away...out in the parking lot...but the higher frequencies can't be discerned until one gets much closer to the stage. An overly boomy, bass-heavy sound in the front row will only get worse as one moves away from the stage.<br />
<br />
The real question is, what sounds best out in the audience? Does having a powerful "thump" really serve the music? The important thing is to ''listen'' to the sound and abandon preconceived notions about what "should" sound right on stage. Like many bassists, I used to cut the mids and boost both bass and treble because this "smiley face" EQ curve sounds good soloed. But in the mix, the bass seems to disappear if it<nowiki>’</nowiki>s EQed this way. Now I leave the bass EQ flat and boost the mids…and the overall sound of the band is excellent, with the bass sitting prominently in the mix and no blurriness or muddiness. This EQ curve doesn<nowiki>’</nowiki>t sound quite as pleasing when the bass is being played by itself, however.<br />
<br />
Ultimately this is a matter of personal taste. Some music demands a very heavy-handed bass sound. Several {{L1}} users are using large powered subwoofers as the Mackie 1801 subwoofers to generate that extra air movement. In my experience going that far is not necessary.<br />
<br />
=== Two or four {{B1}}s? ===<br />
<br />
Another misconception is that adding more {{B1}}s will add "more bass". This is not so. What it does do is add more headroom. Bass frequencies require a lot of power, and the more you can throw at them, the better they<nowiki>’'</nowiki>ll sound… at any volume. This is also true of conventional rigs: My old rig had a 1200 watt amplifier driving a 2x12 cabinet and it sounded superb because I was never pushing the amp hard. Unlike electric guitars where a heavily-driven tube power amp can produce improved tone, with electric bass it<nowiki>'’</nowiki>s far better to have plenty of clean power on tap.<br />
<br />
Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki>’</nowiki>s not necessary to drive them as hard.<br />
<br />
Note that the full extended-bass {{L1}} system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig.<br />
<br />
The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations.<br />
<br />
=== Summary ===<br />
<br />
My own journey from conventional amplification to an all-Bose system has covered most of the possible configurations, from conventional rig to hybrid to a full-bore extended-bass {{L1}} system. At every stage I<nowiki>’</nowiki>ve been rigorous with my decision to move to the next step, conducting extensive A/B comparisons and choosing the most viable overall option. It says a great deal about the engineering of the {{L1}} that I no longer own a conventional amplifier.<br />
<br />
Overall, my experience with the hybrid conventional rig/L1 arrangement was very positive. For the bassist who simply cannot afford his or her own {{L1}} system, but who has access to one belonging to a bandmate, I believe that a hybrid arrangement is an effective, but not optimal, solution. It is, in my opinion, well worth taking advantage of the 45-day trial period to test the extended-bass {{L1}} system against such a hybrid system. It was only after I had done this that I concluded that the added benefits justified the cost.<br />
<br />
=== To recap the main points ===<br />
<br />
* If money is tight, purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki>’'</nowiki>s used to replace additional equipment as well, it is very cost-competitive. Systems should first be purchased for those who would benefit from them more: vocalists, guitarists and keyboard players.<br />
* If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system.<br />
* A full extended-bass {{L1}} system can and does make a viable replacement for a conventional bass rig and offers the following benefits:<br />
* -Multiple use as a vocal monitor/PA replacement<br />
* -Reduced weight and bulk<br />
* -Improved sonic characteristics<br />
* {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers.<br />
* The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air.<br />
* The extra presence and punch provided by additional {{B1}}s and the {{A1}} is well worth the cost in this application.<br />
<br />
----<br />
<br />
'''''About the author'''''<br />
<br />
Andrew Douglas is a professional writer and an amateur bassist ("I<nowiki>’'</nowiki>m good enough to get asked back, and nobody<nowiki>’'</nowiki>s thrown a rotten tomato at me yet - …but there<nowiki>’'</nowiki>s always a first time.") who lives in Bridgeport, Connecticut. He has been playing off-and-on with the same two close friends for over 20 years, and the three of them have been performing as a band for over 10 years. He is also a Bose {{L1}} Product Specialist.<br />
<br />
'''''About the equipment'''''<br />
<br />
'''Original rig:'''<br />
<br />
* Pre-Fender SWR Grand Prix tube preamp<br />
* PreSonus Blue Max Compressor<br />
* Stewart World 1.2 1200-watt power amp<br />
* Avatar 2x12 w/horn, later replaced by a Flite Sound 1x15, no horn<br />
<br />
'''Current Bose rig:'''<br />
<br />
* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s)<br />
* Line6 BassPODxt w/Shortboard, running into Ch.2, preset 00<br />
* Studio Tone amp model (SWR)<br />
* Studio Tone 4x10, Silvercone 4x10 or Green 25 4x12 cabinet models, depending on venue<br />
* Tube mic, close, 20-30% room setting<br />
<br />
'''Basses:'''<br />
<br />
* Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp<br />
* Current bass, MusicMan Bongo 5 HH w/piezo<br />
<br />
----<br />
<br />
<references/><br />
<br />
[[Category:Editorial]]</div>Andrew Douglashttps://boseperformer.com/index.php?title=Electric_Bass&diff=2739Electric Bass2006-11-04T15:52:24Z<p>Andrew Douglas: /* Thump */</p>
<hr />
<div><font size = "4">'''The Electric Bass and the Bose® {{L1}} system'''</font><br />
<br />
<font size = "4">Configuration options and practical tradeoffs – one user<nowiki>’</nowiki>s perspective</font><br />
<br />
''by Andrew Douglas, Bose {{L1}} Product Specialist''<br />
<br />
<font size = "1">''This document was not produced by Bose Corporation and is the sole opinion of its author.''</font><br />
<br />
Electric bassists, like electric guitarists, are perpetually in search of "great" tone. Like the electric guitar, this tone is only partly the result of the instrument itself; the choice of amplification, additional effects and speaker cabinet play a major role in coloring the overall sound. It is a symbiotic relationship.<br />
<br />
This is not the case for most other instruments. Keyboard synthesizers, for example, rely on internal sound generators to produce their unique voice. Acoustic guitars derive their tone from design, construction and materials. For instruments such as these, the goal is not to color the basic sound of the instrument through external equipment, but rather to reproduce that sound as accurately as possible.<br />
<br />
The Bose {{L1}} excels at delivering transparent, clear amplification, making it well suited for acoustic instruments and voices. But these same attributes, combined with the high purchase price of the system, can be a deterrent to electric bassists looking to replace a good bass rig without losing its distinctive character.<br />
<br />
This paper will explore, from a practical standpoint, the pros and cons of using the {{L1}} system for electric bass amplification. It is based entirely on the personal experience of the author and reflects his views on the matter.<br />
<br />
=== It costs ''how'' much? ===<br />
The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} amplifier is among the most expensive bass rigs one can buy, on a par with the most exclusive of boutique amplifiers.<br />
<br />
The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends." The L1 does make a fine bass amp, but those with limited resources are faced with some hard choices. As with all things, there are tradeoffs.<br />
<br />
The primary benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle.<br />
<br />
It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar.<br />
<br />
From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head…and all are relatively compact, which makes transport easy.<br />
<br />
If money is a real issue, these benefits alone are not in my opinion sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment.<br />
<br />
A band that goes "all-Bose" can use {{L1}}s to replace all of the back-line amps, plus the PA, plus stage monitors, plus the supporting equipment for small- to medium-sized venues. Since the Bose performance model gives each performer his or her own independent monitor "mix," the extensive additional equipment needed to provide separate monitor mixes with a conventional PA is not needed.<br />
<br />
The total cost of a conventional system that replicates the capabilities of an all-L1 band is comparable to that of the Bose system. Therefore, if the bassist<nowiki>’</nowiki>s {{L1}} is also used to support other sources (such as the bassist<nowiki>’</nowiki>s microphone, for example), then the purchase of the system for use as a bass amp is a logical and cost-effective move.<br />
<br />
This raises the question of system sharing. The more sources each {{L1}} supports, the more cost-effective it is. However, this involves some sonic, signal routing and control compromises, as will be discussed below.<br />
<br />
=== Improving on the conventional bass rig ===<br />
<br />
My own experience with the {{L1}} started when I purchased two single-{{B1}} systems to replace my band<nowiki>’</nowiki>s overly complex PA system. At the time, the {{A1}} had not been introduced, and in any event I was not able to afford all three of the systems we now have at the time.<br />
<br />
My band consists of a bass, one acoustic-electric guitar, a flute and a drum machine. All three band members sing. We faced the same issues that many {{L1}} buyers must contend with, in particular deciding the most effective way to divide up two systems among three performers (and a robot).<br />
<br />
The obvious course was to keep my bass rig (a 1200-watt component rack system driving a 2x12 cabinet, which I was very happy with) and use the two {{L1}}s to support the three microphones, the guitar and the drum machine. This worked quite well and was a vast improvement over our previous setup.<br />
<br />
It didn<nowiki>’</nowiki>t take long to try plugging the line out from the bass rig<nowiki>’</nowiki>s preamp into a vacant channel on one of the {{L1}}s, just to see what would happen. The results were astonishing. The good basic tone of the 2x12 was still there, but the {{L1}} added wonderful clarity and sparkle. It also gave the sound the superior dispersion characteristic of the {{L1}} where it counts most, in the mid and upper frequency ranges. The fact that there was only one {{B1}} was not an issue: keeping the 2x12 cabinet provided plenty of support for the low end. Best of all, it allowed me to keep "my" tone, created by the preamp.<br />
<br />
An alternative arrangement is to reverse this: Plug the bass into channel 1 or 2 of the {{L1}} (assuming they are not occupied) and use the {{L1}}<nowiki>’</nowiki>s line out to feed a conventional bass rig for extra power on-stage. I did not explore this option because I wanted the tone of my preamp to come out of the {{L1}}, and also because channels 1 and 2 on both systems were already in use.<br />
<br />
The drawback to this hybrid solution, of course, was that I still had a fairly large, heavy bass rig to contend with. This led me to take the next step in optimizing the rig.<br />
<br />
<br />
=== Optimizing the hybrid system ===<br />
<br />
On the premise that part of the frequency spectrum produced by the rig<nowiki>’</nowiki>s conventional speaker cabinet was being duplicated by the {{L1}}, I purchased a small, lightweight single-15" speaker cabinet to replace the large 2x12. The overall configuration remained the same: bass plugged into the bass rig (now a 1x15), with a line out going to the {{L1}}. By itself this cabinet did not sound very good, but it didn<nowiki>’</nowiki>t need to…the mid- and high-end were being carried by the {{L1}}. This effectively eliminated the major drawback of the earlier rig – a big, heavy cabinet. I did prefer the tone of the 2x12/L1 hybrid system, but I was willing to compromise to gain compactness and light weight.<br />
<br />
This final iteration of the hybrid system displayed many of the physical/logistical benefits of the {{L1}}, specifically size and weight. The 1x15 cabinet I had selected weighed less than 30 pounds and was about as small as a 1x15 cabinet can get. My four-space amp rack also made use of a very lightweight power amp.<br />
<br />
=== Moving to the {{L1}} ===<br />
<br />
When the {{A1}} was introduced, I decided to give it a try. Curious about how it would sound compared to my satisfactory hybrid setup, I purchased the {{A1 EB}} ({{A1}} and two {{B1}}s). After a month of A/B comparisons, I decided to keep it. The tone was good, the logistics were good, and there was a side benefit: the drum machines were now able to take advantage of the additional power and bass support provided by the {{A1}} and extra {{B1}}s.<br />
<br />
Soon after, I was in a position to buy a third {{L1}}, which I did…basically because Bose had been right about every other claim, so I was willing to purchase it on faith by that time; they said that one system per performer is the way to go, and I had to find out. Needless to say I wound up keeping it.<br />
<br />
So I had ultimately worked my way into owning a $3300 bass amp. Was I insane? Perhaps, but there were good reasons to add the third system. These had at least as much to do with the improved overall sound of the band as it did with the bass tone that the extended-bass {{L1}} gave me. Giving each singer a separate {{L1}} made a significant difference in the monitoring situation – one that surprised us. We would never have guessed how much better having one system per performer sounded had we not tried it for ourselves.<br />
<br />
Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s.<br />
<br />
In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki>’</nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important.<br />
<br />
The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and now use the extended-bass {{L1}} system, driven by a Line6 BassPODxt, as my bass amp. My {{L1}} also supports one channel of the drum machine and my vocal.<br />
<br />
=== Tone options ===<br />
<br />
Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking color, even with the full extended-bass package.<br />
<br />
----<br />
<br />
The alternative is to feed the {{L1}} with a signal that has been put through a preamp of some sort. This can be accomplished in any one of several ways:<br />
<br />
* A rack-mount preamp<br />
* A pedal such as the SansAmp Bass Driver DI<br />
* A modeler such as the Line6 BassPODxt<br />
<br />
I<nowiki>’</nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki>’</nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode, I<nowiki>’</nowiki>ve been able to get a tone that I find very pleasing…quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki>’</nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step.<br />
<br />
The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer.<br />
<br />
There<nowiki>’</nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right.<br />
<br />
=== Thump ===<br />
<br />
The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki>’</nowiki>t down low…it<nowiki>’</nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience.<br />
<br />
The bassist<nowiki>’</nowiki>s perception is different from that of the audience. The bassist feels the low "thump" more because he/she is standing right in front of the cabinet, or at least in close proximity. Out in the audience, that physical "hit" of air movement, while it may still be present, is lessened.<br />
<br />
Also, because higher frequencies are deflected and absorbed much more readily than low frequencies, the tonal balance tends to shift towards the bass as the listener gets farther from the stage. This is a familiar phenomenon, readily observed at large outdoor events. The bass and drums can be heard from far away...out in the parking lot...but the higher frequencies can't be discerned until one gets much closer to the stage. An overly boomy, bass-heavy sound in the front row will only get worse as one moves away from the stage.<br />
<br />
The real question is, what sounds best out in the audience? Does having a powerful "thump" really serve the music? The important thing is to ''listen'' to the sound and abandon preconceived notions about what "should" sound right on stage. Like many bassists, I used to cut the mids and boost both bass and treble because this "smiley face" EQ curve sounds good soloed. But in the mix, the bass seems to disappear if it<nowiki>’</nowiki>s EQed this way. Now I leave the bass EQ flat and boost the mids…and the overall sound of the band is excellent, with the bass sitting prominently in the mix and no blurriness or muddiness. This EQ curve doesn<nowiki>’</nowiki>t sound quite as pleasing when the bass is being played by itself, however.<br />
<br />
Ultimately this is a matter of personal taste. Some music demands a very heavy-handed bass sound. Several {{L1}} users are using large powered subwoofers as the Mackie 1801 subwoofers to generate that extra air movement. In my experience going that far is not necessary.<br />
<br />
=== Two or four {{B1}}s? ===<br />
<br />
Another misconception is that adding more {{B1}}s will add "more bass". This is not so. What it does do is add more headroom. Bass frequencies require a lot of power, and the more you can throw at them, the better they<nowiki>’'</nowiki>ll sound… at any volume. This is also true of conventional rigs: My old rig had a 1200 watt amplifier driving a 2x12 cabinet and it sounded superb because I was never pushing the amp hard. Unlike electric guitars where a heavily-driven tube power amp can produce improved tone, with electric bass it<nowiki>'’</nowiki>s far better to have plenty of clean power on tap.<br />
<br />
Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki>’</nowiki>s not necessary to drive them as hard.<br />
<br />
Note that the full extended-bass {{L1}} system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig.<br />
<br />
The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations.<br />
<br />
=== Summary ===<br />
<br />
My own journey from conventional amplification to an all-Bose system has covered most of the possible configurations, from conventional rig to hybrid to a full-bore extended-bass {{L1}} system. At every stage I<nowiki>’</nowiki>ve been rigorous with my decision to move to the next step, conducting extensive A/B comparisons and choosing the most viable overall option. It says a great deal about the engineering of the {{L1}} that I no longer own a conventional amplifier.<br />
<br />
Overall, my experience with the hybrid conventional rig/L1 arrangement was very positive. For the bassist who simply cannot afford his or her own {{L1}} system, but who has access to one belonging to a bandmate, I believe that a hybrid arrangement is an effective, but not optimal, solution. It is, in my opinion, well worth taking advantage of the 45-day trial period to test the extended-bass {{L1}} system against such a hybrid system. It was only after I had done this that I concluded that the added benefits justified the cost.<br />
<br />
=== To recap the main points ===<br />
<br />
* If money is tight, purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki>’'</nowiki>s used to replace additional equipment as well, it is very cost-competitive. Systems should first be purchased for those who would benefit from them more: vocalists, guitarists and keyboard players.<br />
* If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system.<br />
* A full extended-bass {{L1}} system can and does make a viable replacement for a conventional bass rig and offers the following benefits:<br />
* -Multiple use as a vocal monitor/PA replacement<br />
* -Reduced weight and bulk<br />
* -Improved sonic characteristics<br />
* {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers.<br />
* The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air.<br />
* The extra presence and punch provided by additional {{B1}}s and the {{A1}} is well worth the cost in this application.<br />
<br />
----<br />
<br />
'''''About the author'''''<br />
<br />
Andrew Douglas is a professional writer and an amateur bassist ("I<nowiki>’'</nowiki>m good enough to get asked back, and nobody<nowiki>’'</nowiki>s thrown a rotten tomato at me yet - …but there<nowiki>’'</nowiki>s always a first time.") who lives in Bridgeport, Connecticut. He has been playing off-and-on with the same two close friends for over 20 years, and the three of them have been performing as a band for over 10 years. He is also a Bose {{L1}} Product Specialist.<br />
<br />
'''''About the equipment'''''<br />
<br />
'''Original rig:'''<br />
<br />
* Pre-Fender SWR Grand Prix tube preamp<br />
* PreSonus Blue Max Compressor<br />
* Stewart World 1.2 1200-watt power amp<br />
* Avatar 2x12 w/horn, later replaced by a Flite Sound 1x15, no horn<br />
<br />
'''Current Bose rig:'''<br />
<br />
* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s)<br />
* Line6 BassPODxt w/Shortboard, running into Ch.2, preset 00<br />
* Studio Tone amp model (SWR)<br />
* Studio Tone 4x10, Silvercone 4x10 or Green 25 4x12 cabinet models, depending on venue<br />
* Tube mic, close, 20-30% room setting<br />
<br />
'''Basses:'''<br />
<br />
* Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp<br />
* Current bass, MusicMan Bongo 5 HH w/piezo<br />
<br />
----<br />
<br />
<references/></div>Andrew Douglashttps://boseperformer.com/index.php?title=Electric_Bass&diff=2738Electric Bass2006-11-04T15:51:28Z<p>Andrew Douglas: </p>
<hr />
<div><font size = "4">'''The Electric Bass and the Bose® {{L1}} system'''</font><br />
<br />
<font size = "4">Configuration options and practical tradeoffs – one user<nowiki>’</nowiki>s perspective</font><br />
<br />
''by Andrew Douglas, Bose {{L1}} Product Specialist''<br />
<br />
<font size = "1">''This document was not produced by Bose Corporation and is the sole opinion of its author.''</font><br />
<br />
Electric bassists, like electric guitarists, are perpetually in search of "great" tone. Like the electric guitar, this tone is only partly the result of the instrument itself; the choice of amplification, additional effects and speaker cabinet play a major role in coloring the overall sound. It is a symbiotic relationship.<br />
<br />
This is not the case for most other instruments. Keyboard synthesizers, for example, rely on internal sound generators to produce their unique voice. Acoustic guitars derive their tone from design, construction and materials. For instruments such as these, the goal is not to color the basic sound of the instrument through external equipment, but rather to reproduce that sound as accurately as possible.<br />
<br />
The Bose {{L1}} excels at delivering transparent, clear amplification, making it well suited for acoustic instruments and voices. But these same attributes, combined with the high purchase price of the system, can be a deterrent to electric bassists looking to replace a good bass rig without losing its distinctive character.<br />
<br />
This paper will explore, from a practical standpoint, the pros and cons of using the {{L1}} system for electric bass amplification. It is based entirely on the personal experience of the author and reflects his views on the matter.<br />
<br />
=== It costs ''how'' much? ===<br />
The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} amplifier is among the most expensive bass rigs one can buy, on a par with the most exclusive of boutique amplifiers.<br />
<br />
The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends." The L1 does make a fine bass amp, but those with limited resources are faced with some hard choices. As with all things, there are tradeoffs.<br />
<br />
The primary benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle.<br />
<br />
It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar.<br />
<br />
From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head…and all are relatively compact, which makes transport easy.<br />
<br />
If money is a real issue, these benefits alone are not in my opinion sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment.<br />
<br />
A band that goes "all-Bose" can use {{L1}}s to replace all of the back-line amps, plus the PA, plus stage monitors, plus the supporting equipment for small- to medium-sized venues. Since the Bose performance model gives each performer his or her own independent monitor "mix," the extensive additional equipment needed to provide separate monitor mixes with a conventional PA is not needed.<br />
<br />
The total cost of a conventional system that replicates the capabilities of an all-L1 band is comparable to that of the Bose system. Therefore, if the bassist<nowiki>’</nowiki>s {{L1}} is also used to support other sources (such as the bassist<nowiki>’</nowiki>s microphone, for example), then the purchase of the system for use as a bass amp is a logical and cost-effective move.<br />
<br />
This raises the question of system sharing. The more sources each {{L1}} supports, the more cost-effective it is. However, this involves some sonic, signal routing and control compromises, as will be discussed below.<br />
<br />
=== Improving on the conventional bass rig ===<br />
<br />
My own experience with the {{L1}} started when I purchased two single-{{B1}} systems to replace my band<nowiki>’</nowiki>s overly complex PA system. At the time, the {{A1}} had not been introduced, and in any event I was not able to afford all three of the systems we now have at the time.<br />
<br />
My band consists of a bass, one acoustic-electric guitar, a flute and a drum machine. All three band members sing. We faced the same issues that many {{L1}} buyers must contend with, in particular deciding the most effective way to divide up two systems among three performers (and a robot).<br />
<br />
The obvious course was to keep my bass rig (a 1200-watt component rack system driving a 2x12 cabinet, which I was very happy with) and use the two {{L1}}s to support the three microphones, the guitar and the drum machine. This worked quite well and was a vast improvement over our previous setup.<br />
<br />
It didn<nowiki>’</nowiki>t take long to try plugging the line out from the bass rig<nowiki>’</nowiki>s preamp into a vacant channel on one of the {{L1}}s, just to see what would happen. The results were astonishing. The good basic tone of the 2x12 was still there, but the {{L1}} added wonderful clarity and sparkle. It also gave the sound the superior dispersion characteristic of the {{L1}} where it counts most, in the mid and upper frequency ranges. The fact that there was only one {{B1}} was not an issue: keeping the 2x12 cabinet provided plenty of support for the low end. Best of all, it allowed me to keep "my" tone, created by the preamp.<br />
<br />
An alternative arrangement is to reverse this: Plug the bass into channel 1 or 2 of the {{L1}} (assuming they are not occupied) and use the {{L1}}<nowiki>’</nowiki>s line out to feed a conventional bass rig for extra power on-stage. I did not explore this option because I wanted the tone of my preamp to come out of the {{L1}}, and also because channels 1 and 2 on both systems were already in use.<br />
<br />
The drawback to this hybrid solution, of course, was that I still had a fairly large, heavy bass rig to contend with. This led me to take the next step in optimizing the rig.<br />
<br />
<br />
=== Optimizing the hybrid system ===<br />
<br />
On the premise that part of the frequency spectrum produced by the rig<nowiki>’</nowiki>s conventional speaker cabinet was being duplicated by the {{L1}}, I purchased a small, lightweight single-15" speaker cabinet to replace the large 2x12. The overall configuration remained the same: bass plugged into the bass rig (now a 1x15), with a line out going to the {{L1}}. By itself this cabinet did not sound very good, but it didn<nowiki>’</nowiki>t need to…the mid- and high-end were being carried by the {{L1}}. This effectively eliminated the major drawback of the earlier rig – a big, heavy cabinet. I did prefer the tone of the 2x12/L1 hybrid system, but I was willing to compromise to gain compactness and light weight.<br />
<br />
This final iteration of the hybrid system displayed many of the physical/logistical benefits of the {{L1}}, specifically size and weight. The 1x15 cabinet I had selected weighed less than 30 pounds and was about as small as a 1x15 cabinet can get. My four-space amp rack also made use of a very lightweight power amp.<br />
<br />
=== Moving to the {{L1}} ===<br />
<br />
When the {{A1}} was introduced, I decided to give it a try. Curious about how it would sound compared to my satisfactory hybrid setup, I purchased the {{A1 EB}} ({{A1}} and two {{B1}}s). After a month of A/B comparisons, I decided to keep it. The tone was good, the logistics were good, and there was a side benefit: the drum machines were now able to take advantage of the additional power and bass support provided by the {{A1}} and extra {{B1}}s.<br />
<br />
Soon after, I was in a position to buy a third {{L1}}, which I did…basically because Bose had been right about every other claim, so I was willing to purchase it on faith by that time; they said that one system per performer is the way to go, and I had to find out. Needless to say I wound up keeping it.<br />
<br />
So I had ultimately worked my way into owning a $3300 bass amp. Was I insane? Perhaps, but there were good reasons to add the third system. These had at least as much to do with the improved overall sound of the band as it did with the bass tone that the extended-bass {{L1}} gave me. Giving each singer a separate {{L1}} made a significant difference in the monitoring situation – one that surprised us. We would never have guessed how much better having one system per performer sounded had we not tried it for ourselves.<br />
<br />
Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s.<br />
<br />
In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki>’</nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important.<br />
<br />
The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and now use the extended-bass {{L1}} system, driven by a Line6 BassPODxt, as my bass amp. My {{L1}} also supports one channel of the drum machine and my vocal.<br />
<br />
=== Tone options ===<br />
<br />
Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking color, even with the full extended-bass package.<br />
<br />
----<br />
<br />
The alternative is to feed the {{L1}} with a signal that has been put through a preamp of some sort. This can be accomplished in any one of several ways:<br />
<br />
* A rack-mount preamp<br />
* A pedal such as the SansAmp Bass Driver DI<br />
* A modeler such as the Line6 BassPODxt<br />
<br />
I<nowiki>’</nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki>’</nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode, I<nowiki>’</nowiki>ve been able to get a tone that I find very pleasing…quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki>’</nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step.<br />
<br />
The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer.<br />
<br />
There<nowiki>’</nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right.<br />
<br />
=== Thump ===<br />
<br />
The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki>’</nowiki>t down low…it<nowiki>’</nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience.<br />
<br />
Also, the bassist<nowiki>’</nowiki>s perception is different from that of the audience. The bassist feels the low "thump" more because he/she is standing right in front of the cabinet, or at least in close proximity. Out in the audience, that physical "hit" of air movement, while it may still be present, is lessened.<br />
<br />
Also, because higher frequencies are deflected and absorbed much more readily than low frequencies, the tonal balance tends to shift towards the bass as the listener gets farther from the stage. This is a familiar phenomenon, readily observed at large outdoor events. The bass and drums can be heard from far away...out in the parking lot...but the higher frequencies can't be discerned until one gets much closer to the stage. An overly boomy, bass-heavy sound in the front row will only get worse as one moves away from the stage.<br />
<br />
The real question is, what sounds best out in the audience? Does having a powerful "thump" really serve the music? The important thing is to ''listen'' to the sound and abandon preconceived notions about what "should" sound right on stage. Like many bassists, I used to cut the mids and boost both bass and treble because this "smiley face" EQ curve sounds good soloed. But in the mix, the bass seems to disappear if it<nowiki>’</nowiki>s EQed this way. Now I leave the bass EQ flat and boost the mids…and the overall sound of the band is excellent, with the bass sitting prominently in the mix and no blurriness or muddiness. This EQ curve doesn<nowiki>’</nowiki>t sound quite as pleasing when the bass is being played by itself, however.<br />
<br />
Ultimately this is a matter of personal taste. Some music demands a very heavy-handed bass sound. Several {{L1}} users are using large powered subwoofers as the Mackie 1801 subwoofers to generate that extra air movement. In my experience going that far is not necessary.<br />
<br />
=== Two or four {{B1}}s? ===<br />
<br />
Another misconception is that adding more {{B1}}s will add "more bass". This is not so. What it does do is add more headroom. Bass frequencies require a lot of power, and the more you can throw at them, the better they<nowiki>’'</nowiki>ll sound… at any volume. This is also true of conventional rigs: My old rig had a 1200 watt amplifier driving a 2x12 cabinet and it sounded superb because I was never pushing the amp hard. Unlike electric guitars where a heavily-driven tube power amp can produce improved tone, with electric bass it<nowiki>'’</nowiki>s far better to have plenty of clean power on tap.<br />
<br />
Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki>’</nowiki>s not necessary to drive them as hard.<br />
<br />
Note that the full extended-bass {{L1}} system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig.<br />
<br />
The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations.<br />
<br />
=== Summary ===<br />
<br />
My own journey from conventional amplification to an all-Bose system has covered most of the possible configurations, from conventional rig to hybrid to a full-bore extended-bass {{L1}} system. At every stage I<nowiki>’</nowiki>ve been rigorous with my decision to move to the next step, conducting extensive A/B comparisons and choosing the most viable overall option. It says a great deal about the engineering of the {{L1}} that I no longer own a conventional amplifier.<br />
<br />
Overall, my experience with the hybrid conventional rig/L1 arrangement was very positive. For the bassist who simply cannot afford his or her own {{L1}} system, but who has access to one belonging to a bandmate, I believe that a hybrid arrangement is an effective, but not optimal, solution. It is, in my opinion, well worth taking advantage of the 45-day trial period to test the extended-bass {{L1}} system against such a hybrid system. It was only after I had done this that I concluded that the added benefits justified the cost.<br />
<br />
=== To recap the main points ===<br />
<br />
* If money is tight, purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki>’'</nowiki>s used to replace additional equipment as well, it is very cost-competitive. Systems should first be purchased for those who would benefit from them more: vocalists, guitarists and keyboard players.<br />
* If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system.<br />
* A full extended-bass {{L1}} system can and does make a viable replacement for a conventional bass rig and offers the following benefits:<br />
* -Multiple use as a vocal monitor/PA replacement<br />
* -Reduced weight and bulk<br />
* -Improved sonic characteristics<br />
* {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers.<br />
* The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air.<br />
* The extra presence and punch provided by additional {{B1}}s and the {{A1}} is well worth the cost in this application.<br />
<br />
----<br />
<br />
'''''About the author'''''<br />
<br />
Andrew Douglas is a professional writer and an amateur bassist ("I<nowiki>’'</nowiki>m good enough to get asked back, and nobody<nowiki>’'</nowiki>s thrown a rotten tomato at me yet - …but there<nowiki>’'</nowiki>s always a first time.") who lives in Bridgeport, Connecticut. He has been playing off-and-on with the same two close friends for over 20 years, and the three of them have been performing as a band for over 10 years. He is also a Bose {{L1}} Product Specialist.<br />
<br />
'''''About the equipment'''''<br />
<br />
'''Original rig:'''<br />
<br />
* Pre-Fender SWR Grand Prix tube preamp<br />
* PreSonus Blue Max Compressor<br />
* Stewart World 1.2 1200-watt power amp<br />
* Avatar 2x12 w/horn, later replaced by a Flite Sound 1x15, no horn<br />
<br />
'''Current Bose rig:'''<br />
<br />
* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s)<br />
* Line6 BassPODxt w/Shortboard, running into Ch.2, preset 00<br />
* Studio Tone amp model (SWR)<br />
* Studio Tone 4x10, Silvercone 4x10 or Green 25 4x12 cabinet models, depending on venue<br />
* Tube mic, close, 20-30% room setting<br />
<br />
'''Basses:'''<br />
<br />
* Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp<br />
* Current bass, MusicMan Bongo 5 HH w/piezo<br />
<br />
----<br />
<br />
<references/></div>Andrew Douglashttps://boseperformer.com/index.php?title=Electric_Bass&diff=2725Electric Bass2006-11-03T12:16:54Z<p>Andrew Douglas: first edition</p>
<hr />
<div><font size = "4">'''The Electric Bass and the Bose® {{L1}} system'''</font><br />
<br />
<font size = "4">Configuration options and practical tradeoffs one user<nowiki></nowiki>s perspective</font><br />
<br />
''by Andrew Douglas, Bose {{L1}} Product Specialist''<br />
<br />
<font size = "1">''This document was not produced by Bose Corporation and is the sole opinion of its author.''</font><br />
<br />
Electric bassists, like electric guitarists, are perpetually in search of "great" tone. Like the electric guitar, this tone is only partly the result of the instrument itself; the choice of amplification, additional effects and speaker cabinet play a major role in coloring the overall sound. It is a symbiotic relationship.<br />
<br />
This is not the case for most other instruments. Keyboard synthesizers, for example, rely on internal sound generators to produce their unique voice. Acoustic guitars derive their tone from design, construction and materials. For instruments such as these, the goal is not to color the basic sound of the instrument through external equipment, but rather to reproduce that sound as accurately as possible.<br />
<br />
The Bose {{L1}} excels at delivering transparent, clear amplification, making it well suited for acoustic instruments and voices. But these same attributes, combined with the high purchase price of the system, can be a deterrent to electric bassists looking to replace a good bass rig without losing its distinctive character.<br />
<br />
This paper will explore, from a practical standpoint, the pros and cons of using the {{L1}} system for electric bass amplification. It is based entirely on the personal experience of the author and reflects his views on the matter.<br />
<br />
'''It costs ''how'' much?'''<br />
<br />
The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} amplifier is among the most expensive bass rigs one can buy, on a par with the most exclusive of boutique amplifiers.<br />
<br />
The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends."<br />
<br />
The primary benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle.<br />
<br />
It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar.<br />
<br />
From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head and all are relatively compact, which makes transport easy.<br />
<br />
But this alone in my opinion is not sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment.<br />
<br />
A band that goes "all-Bose" can use {{L1}}s to replace all of the back-line amps, plus the PA, plus stage monitors, plus the supporting equipment for small- to medium-sized venues. Since the Bose performance model gives each performer his or her own independent monitor "mix," the extensive additional equipment needed to provide separate monitor mixes with a conventional PA is not needed.<br />
<br />
The total cost of a conventional system that replicates the capabilities of an all-L1 band is comparable to that of the Bose system. Therefore, if the bassist<nowiki></nowiki>s {{L1}} is also used to support other sources (such as the bassist<nowiki></nowiki>s microphone, for example), then the purchase of the system for use as a bass amp is a logical and cost-effective move.<br />
<br />
This raises the question of system sharing. The more sources each {{L1}} supports, the more cost-effective it is. However, this involves some sonic, signal routing and control compromises, as will be discussed below.<br />
<br />
'''Improving on the conventional bass rig'''<br />
<br />
My own experience with the {{L1}} started when I purchased two single-{{B1}} systems to replace my band<nowiki></nowiki>s overly complex PA system. At the time, the {{A1}} had not been introduced, and in any event I was not able to afford all three of the systems we now have at the time.<br />
<br />
My band consists of a bass, one acoustic-electric guitar, a flute and a drum machine. All three band members sing. We faced the same issues that many {{L1}} buyers must contend with, in particular deciding the most effective way to divide up two systems among three performers (and a robot).<br />
<br />
The obvious course was to keep my bass rig (a 1200-watt component rack system driving a 2x12 cabinet, which I was very happy with) and use the two {{L1}}s to support the three microphones, the guitar and the drum machine. This worked quite well and was a vast improvement over our previous setup.<br />
<br />
It didn<nowiki></nowiki>t take long to try plugging the line out from the bass rig<nowiki></nowiki>s preamp into a vacant channel on one of the {{L1}}s, just to see what would happen. The results were astonishing. The good basic tone of the 2x12 was still there, but the {{L1}} added wonderful clarity and sparkle. It also gave the sound the superior dispersion characteristic of the {{L1}} where it counts most, in the mid and upper frequency ranges. The fact that there was only one {{B1}} was not an issue: keeping the 2x12 cabinet provided plenty of support for the low end. Best of all, it allowed me to keep "my" tone, created by the preamp.<br />
<br />
An alternative arrangement is to reverse this: Plug the bass into channel 1 or 2 of the {{L1}} (assuming they are not occupied) and use the {{L1}}<nowiki></nowiki>s line out to feed a conventional bass rig for extra power on-stage. I did not explore this option because I wanted the tone of my preamp to come out of the {{L1}}, and also because channels 1 and 2 on both systems were already in use.<br />
<br />
The drawback to this hybrid solution, of course, was that I still had a fairly large, heavy bass rig to contend with. This led me to take the next step in optimizing the rig.<br />
<br />
----<br />
<br />
'''Optimizing the hybrid system'''<br />
<br />
On the premise that part of the frequency spectrum produced by the rig<nowiki></nowiki>s conventional speaker cabinet was being duplicated by the {{L1}}, I purchased a small, lightweight single-15" speaker cabinet to replace the large 2x12. The overall configuration remained the same: bass plugged into the bass rig (now a 1x15), with a line out going to the {{L1}}. By itself this cabinet did not sound very good, but it didn<nowiki></nowiki>t need to the mid- and high-end were being carried by the {{L1}}. This effectively eliminated the major drawback of the earlier rig a big, heavy cabinet. I did prefer the tone of the 2x12/L1 hybrid system, but I was willing to compromise to gain compactness and light weight.<br />
<br />
This final iteration of the hybrid system displayed many of the physical/logistical benefits of the {{L1}}, specifically size and weight. The 1x15 cabinet I had selected weighed less than 30 pounds and was about as small as a 1x15 cabinet can get. My four-space amp rack also made use of a very lightweight power amp.<br />
<br />
'''Moving to the {{L1}}'''<br />
<br />
When the {{A1}} was introduced, I decided to give it a try. Curious about how it would sound compared to my satisfactory hybrid setup, I purchased the <br />
<br />
{{A1 EB}} ({{A1}} and two {{B1}}s). After a month of A/B comparisons, I decided to keep it. The tone was good, the logistics were good, and there was a side benefit: the drum machines were now able to take advantage of the additional power and bass support provided by the {{A1}} and extra {{B1}}s.<br />
<br />
Soon after, I was in a position to buy a third {{L1}}, which I did basically because Bose had been right about every other claim, so I was willing to purchase it on faith by that time; they said that one system per performer is the way to go, and I had to find out. Needless to say I wound up keeping it.<br />
<br />
So I had ultimately worked my way into owning a $3300 bass amp. Was I insane? Perhaps, but there were good reasons to add the third system. These had at least as much to do with the improved overall sound of the band as it did with the bass tone that the extended-bass {{L1}} gave me. Giving each singer a separate {{L1}} made a significant difference in the monitoring situation one that surprised us. We would never have guessed how much better having one system per performer sounded had we not tried it for ourselves.<br />
<br />
Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s.<br />
<br />
In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki></nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important.<br />
<br />
The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and now use the extended-bass {{L1}} system, driven by a Line6 BassPODxt, as my bass amp. My {{L1}} also supports one channel of the drum machine and my vocal.<br />
<br />
'''Tone options'''<br />
<br />
Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking color, even with the full extended-bass package.<br />
<br />
----<br />
<br />
The alternative is to feed the {{L1}} with a signal that has been put through a preamp of some sort. This can be accomplished in any one of several ways:<br />
<br />
* A rack-mount preamp<br />
* A pedal such as the SansAmp Bass Driver DI<br />
* A modeler such as the Line6 BassPODxt<br />
<br />
I<nowiki></nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki></nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode, I<nowiki></nowiki>ve been able to get a tone that I find very pleasing quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki></nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step.<br />
<br />
The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer.<br />
<br />
There<nowiki></nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right.<br />
<br />
'''Thump'''<br />
<br />
The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki></nowiki>t down low it<nowiki></nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience.<br />
<br />
Also, the bassist<nowiki></nowiki>s perception is different from that of the audience. The bassist feels the low "thump" more because he/she is standing right in front of the cabinet, or at least in close proximity. Out in the audience, that physical "hit" of air movement, while it may still be present, is lessened.<br />
<br />
The real question is, what sounds best? Does having a powerful "thump" really serve the music? The important thing is to ''listen'' to the sound and abandon preconceived notions about what "should" sound right. Like many bassists, I used to cut the mids and boost both bass and treble because this "smiley face" EQ curve sounds good soloed. But in the mix, the bass disappears if it<nowiki></nowiki>s EQed this way. Now I leave the bass EQ flat and boost the mids and the overall sound of the band is excellent, with the bass sitting prominently in the mix and no blurriness or muddiness. This EQ curve doesn<nowiki></nowiki>t sound quite as pleasing when the bass is being played by itself, however.<br />
<br />
Ultimately this is a matter of personal taste. Several {{L1}} users are using large powered subwoofers as the Mackie 1801 subwoofers to generate that extra air movement. In my experience going that far is not necessary.<br />
<br />
'''Two or four {{B1}}s?'''<br />
<br />
Another misconception is that adding more {{B1}}s will add "more bass." This is not so. What it does do is add more headroom. Bass frequencies require a lot of power, and the more you can throw at them, the better they<nowiki></nowiki>ll sound at any volume. This is also true of conventional rigs: My old rig had a 1200 watt amplifier driving a 2x12 cabinet and it sounded superb because I was never pushing the amp hard. Unlike electric guitars where a heavily-driven tube power amp can produce improved tone, with electric bass it<nowiki></nowiki>s far better to have plenty of clean power on tap.<br />
<br />
Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki></nowiki>s not necessary to drive them as hard.<br />
<br />
Note that the full extended-bass {{L1}} system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig.<br />
<br />
The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations.<br />
<br />
'''Summary'''<br />
<br />
My own journey from conventional amplification to an all-Bose system has covered most of the possible configurations, from conventional rig to hybrid to a full-bore extended-bass {{L1}} system. At every stage I<nowiki></nowiki>ve been rigorous with my decision to move to the next step, conducting extensive A/B comparisons and choosing the most viable overall option. It says a great deal about the engineering of the {{L1}} that I no longer own a conventional amplifier.<br />
<br />
Overall, my experience with the hybrid conventional rig/L1 arrangement was very positive. For the bassist who simply cannot afford his or her own {{L1}} system, but who has access to one belonging to a bandmate, I believe that a hybrid arrangement is an effective, but not optimal, solution. It is, in my opinion, well worth taking advantage of the 45-day trial period to test the extended-bass {{L1}} system against such a hybrid system. It was only after I had done this that I concluded that the added benefits justified the cost.<br />
<br />
'''To recap the main points:'''<br />
<br />
* Purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki></nowiki>s used to replace additional equipment as well, it is very cost-competitive.<br />
* If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system.<br />
* A full extended-bass {{L1}} system can and does make a viable replacement for a conventional bass rig and offers the following benefits:<br />
* Multiple use as a vocal monitor/PA replacement<br />
* Reduced weight and bulk<br />
* Improved sonic characteristics<br />
* {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers.<br />
* The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air.<br />
* The extra presence and punch provided by additional {{B1}}s and the {{A1]] is well worth the cost in this application.<br />
<br />
----<br />
<br />
'''''About the author'''''<br />
<br />
Andrew Douglas is a professional writer and an amateur bassist ("I<nowiki></nowiki>m good enough to get asked back, and nobody<nowiki></nowiki>s thrown a rotten tomato at me yet but there<nowiki></nowiki>s always a first time.") who lives in Bridgeport, Connecticut. He has been playing off-and-on with the same two close friends for over 20 years, and the three of them have been performing as a band for over 10 years. He is also a Bose {{L1}} Product Specialist.<br />
<br />
'''''About the equipment'''''<br />
<br />
'''Original rig:'''<br />
<br />
* Pre-Fender SWR Grand Prix tube preamp<br />
* PreSonus Blue Max Compressor<br />
* Stewart World 1.2 1200-watt power amp<br />
* Avatar 2x12 w/horn, later replaced by a Flite Sound 1x15, no horn<br />
<br />
'''Current Bose rig:'''<br />
<br />
* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s)<br />
* Line6 BassPODxt w/Shortboard, running into Ch.2, preset 00<br />
* Studio Tone amp model (SWR)<br />
* Studio Tone 4x10, Silvercone 4x10 or Green 25 4x12 cabinet models, depending on venue<br />
* Tube mic, close, 20-30% room setting<br />
<br />
'''Basses:'''<br />
<br />
* Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp<br />
* Current bass, MusicMan Bongo 5 HH w/piezo<br />
<br />
----<br />
<br />
<references/></div>Andrew Douglashttps://boseperformer.com/index.php?title=Bose_L1%C2%AE_Musicians_Conference_Fall_2006/Agenda/Details&diff=2706Bose L1® Musicians Conference Fall 2006/Agenda/Details2006-10-27T14:32:52Z<p>Andrew Douglas: /* Sunday Night 8:00-11:00 pm */</p>
<hr />
<div>== Earlier Version ==<br />
Agenda: Emerging<br />
<!-- these are comment tags and are not visible in the page <br />
to add new agenda items - create a new heading e.g.<br />
<br />
== Talker: Topic ==<br />
comments about the Topic <br />
<br />
end of comments <br />
--><br />
<br />
<br />
We know what we are doing (roughly) on Sunday and Monday nights. The rest is still unfolding. See [[Bose L1™ Musicians Conference Fall 2006/Discussion Topics|Discussion&nbsp;Topics]] <br />
<br />
<br />
<br />
== Sunday Night 6:00 pm ==<br />
The main event starts on Sunday night at 6:00 PM in the dining hall called The Haydn Lodge, where dinner will be served.<br />
<br />
== Sunday Night 7:00 pm ==<br />
Cliff and Ken would like to give a slide show. Location TBD<br />
<br />
== Sunday Night 8:00-11:00 pm ==<br />
We'll gather in the lobby of the Inn, a delightful space with a Kawai baby grand piano and a very nice location for a "stage".<br />
<br />
Music so far (a few tunes apiece):<br />
:* Alan Steinberger: acoustic piano<br />
:* Ronjazz: flamenco, brazilian guitar<br />
:* Tom Munch: voice, guitar<br />
:* Cliff Henricksen: acoustic piano<br />
:* Andrew Douglas and Charles Mitchell: bass, 12-string acoustic and drum machine, vocals<br />
<br />
== Monday Night 8:00 pm ==<br />
The plan is to have another festive evening on Monday night in the main dining hall. This should start at 8:00 and we expect it to run late.<br />
<br />
(These are just suggestions. Not locked in yet.)<br />
<br />
:* captbanjo would like to perform a song he wrote for all struggling musicians called 'Play Me Stairway to Heaven'.<br />
<br />
== Chris Ickler: Understanding ToneMatch&trade; technology ==<br />
Narrators in the [http://www.bose.com/controller?event=VIEW_STATIC_PAGE_EVENT&url=/musicians/tonematch.jsp Taylor/Bose video] are having some difficulty explaining the ToneMatch&trade; concept simply, so the video tries to solve that problem by providing multiple explanations and by conveying the enthusiasm of the people involved instead. <br />
<br />
Chris Ickler has some ideas on how to talk about this at the Fall L1 Owners Conference and maybe that will lead to a shorter, more accurate message about ToneMatch technology.<br />
<br />
(ickler text follows)<br />
<br />
Nobody can ToneMatch a system that doesn’t have uniform coverage. (It’s like trying to impose a house curve on an installed system that has spotty coverage.) Certainly no triple system has uniform coverage. Even if you decided to ToneMatch every instrument through every speaker of a triple system, you would have to nail the performers’ shoes to the floor and the audience would have to take turns standing in the "ToneMatched" sweet spot of the FOH system. ToneMatch technology only has audible benefit AFTER you solve the coverage problem.<br />
<br />
* So the first problem of amplified music is to get the same tone everywhere. The L1 is the solution.<br />
* The second problem of amplified music is to get the right tone everywhere. ToneMatch is the solution.<br />
* No one can deliver the second solution before they deliver the first solution.<br />
<br />
<br />
<br />
<br />
== OLDGHM: Vocal Microphones ==<br />
See [http://bose.infopop.cc/eve/forums/a/tpc/f/1266055944/m/4191078963?r=5101000073#5101000073 this post] as one of many from oldghm on the subject of vocal microphones.<br />
<br />
We had this on the agenda for the Big Sur Conference but never got to it.<br />
<br />
== Cliff Goodwin: Composing, Arranging, and Performing in an L1&trade; World ==<br />
Cliff was music director and guitarist for the Joe Cocker Band (live and studio) for twelve years. He developed and plays guitar in The Linemen, the ensemble that introduced the L1 system to the world in 2004-2004.<br />
<br />
The L1 approach solved the problem for many, including those attending the conference, of Hearing Together. Now there's so much to learn about Playing Together.<br />
<br />
The format for this presentation will be for Ken Jacob to ask Cliff Goodwin questions and for Cliff to give his thoughts and seek those of the audience.<br />
<br />
A few topics sure to come up are:<br />
<br />
* Exploiting the lateral (left to right) field<br />
* Getting out of each others' way<br />
* Modesty<br />
* Making every sound mean something<br />
* Supporting the vocalist<br />
* Supporting a soloist<br />
* Space, and musical holes<br />
* Designing a set list<br />
<br />
== Chuck Nemitz: Electric Guitar Tone & the L1&trade; ==<br />
Chuck would demonstrate the values/shortcomings of using conventional amps, various micing techniques, modelers (amp and/or guitar), ups and downs of using time-based effects, etc.<br />
<br />
== Andrew Douglas: Using the L1 for Electric Bass ==<br />
An opportunity to hear an L1 system rigged as an electric bass amplifier, compared to a high quality conventional amp. A demonstration of a hybrid system (L1 plus conventional amp) is also planned. Direct comparison of a 2B1 system vs. a 4B1/Packlite system.<br />
<br />
The basic agenda (not final) is this:<br />
<br />
* Intro<br />
* Discussion of the case for/against using the L1 to amplify electric bass.<br />
* With assistance from Mike Zartarian of Bose, live demonstrations of a conventional bass rig (Eden), conventional rig-plus L1 (hybrid) and all-Bose rig, set up to emulate the Eden and also without emulation. I'm going to try to set these up as A/B comparisons where appropriate.<br />
* Discussion/demo of different ways to get tone (BassPOD emulation vs. Bose presets vs. preamps, the effect of BassPOD cabinet/mic simulation selection on tone). More A/B if time permits.<br />
* Discussion of "thump" and A/B demo of 2 vs. 4 B1s<br />
* Q&A<br />
<br />
== Hilmar Lehnert: why the laws of physics always punish the poor bass player (proposed) ==<br />
<br />
Why do I need big speakers and the guitar player doesn't ?<br />
<br />
How deep do we really need to go for real bass. What about the B string ?<br />
<br />
A 100 dB is a 100 dB right ? (wrong !!)<br />
<br />
[[category:Bose L1™ Musicians Conference Fall 2006]]<br />
<br />
== ST: Changing Expectations of Live Music ==<br />
Why do we do what we do, and ways that we leverage our reach, to do it.<br />
<br />
Discussion boards, sketcher, wikis; and supporting L1™ owners online.<br />
<br />
The {{LMTG}} has one of the most active and healthy online communities on the web. We can be talking about where it has been and where it may be going - taking advantage of some of new (to us) online collaboration tools.</div>Andrew Douglashttps://boseperformer.com/index.php?title=Bose_L1%C2%AE_Musicians_Conference_Fall_2006/Agenda/Details&diff=2704Bose L1® Musicians Conference Fall 2006/Agenda/Details2006-10-27T14:30:40Z<p>Andrew Douglas: /* Andrew Douglas: Using the L1 for Electric Bass */</p>
<hr />
<div>== Earlier Version ==<br />
Agenda: Emerging<br />
<!-- these are comment tags and are not visible in the page <br />
to add new agenda items - create a new heading e.g.<br />
<br />
== Talker: Topic ==<br />
comments about the Topic <br />
<br />
end of comments <br />
--><br />
<br />
<br />
We know what we are doing (roughly) on Sunday and Monday nights. The rest is still unfolding. See [[Bose L1™ Musicians Conference Fall 2006/Discussion Topics|Discussion&nbsp;Topics]] <br />
<br />
<br />
<br />
== Sunday Night 6:00 pm ==<br />
The main event starts on Sunday night at 6:00 PM in the dining hall called The Haydn Lodge, where dinner will be served.<br />
<br />
== Sunday Night 7:00 pm ==<br />
Cliff and Ken would like to give a slide show. Location TBD<br />
<br />
== Sunday Night 8:00-11:00 pm ==<br />
We'll gather in the lobby of the Inn, a delightful space with a Kawai baby grand piano and a very nice location for a "stage".<br />
<br />
Music so far (a few tunes apiece):<br />
:* Alan Steinberger: acoustic piano<br />
:* Ronjazz: flamenco, brazilian guitar<br />
:* Tom Munch: voice, guitar<br />
:* Cliff Henricksen: acoustic piano<br />
<br />
== Monday Night 8:00 pm ==<br />
The plan is to have another festive evening on Monday night in the main dining hall. This should start at 8:00 and we expect it to run late.<br />
<br />
(These are just suggestions. Not locked in yet.)<br />
<br />
:* captbanjo would like to perform a song he wrote for all struggling musicians called 'Play Me Stairway to Heaven'.<br />
<br />
== Chris Ickler: Understanding ToneMatch&trade; technology ==<br />
Narrators in the [http://www.bose.com/controller?event=VIEW_STATIC_PAGE_EVENT&url=/musicians/tonematch.jsp Taylor/Bose video] are having some difficulty explaining the ToneMatch&trade; concept simply, so the video tries to solve that problem by providing multiple explanations and by conveying the enthusiasm of the people involved instead. <br />
<br />
Chris Ickler has some ideas on how to talk about this at the Fall L1 Owners Conference and maybe that will lead to a shorter, more accurate message about ToneMatch technology.<br />
<br />
(ickler text follows)<br />
<br />
Nobody can ToneMatch a system that doesn’t have uniform coverage. (It’s like trying to impose a house curve on an installed system that has spotty coverage.) Certainly no triple system has uniform coverage. Even if you decided to ToneMatch every instrument through every speaker of a triple system, you would have to nail the performers’ shoes to the floor and the audience would have to take turns standing in the "ToneMatched" sweet spot of the FOH system. ToneMatch technology only has audible benefit AFTER you solve the coverage problem.<br />
<br />
* So the first problem of amplified music is to get the same tone everywhere. The L1 is the solution.<br />
* The second problem of amplified music is to get the right tone everywhere. ToneMatch is the solution.<br />
* No one can deliver the second solution before they deliver the first solution.<br />
<br />
<br />
<br />
<br />
== OLDGHM: Vocal Microphones ==<br />
See [http://bose.infopop.cc/eve/forums/a/tpc/f/1266055944/m/4191078963?r=5101000073#5101000073 this post] as one of many from oldghm on the subject of vocal microphones.<br />
<br />
We had this on the agenda for the Big Sur Conference but never got to it.<br />
<br />
== Cliff Goodwin: Composing, Arranging, and Performing in an L1&trade; World ==<br />
Cliff was music director and guitarist for the Joe Cocker Band (live and studio) for twelve years. He developed and plays guitar in The Linemen, the ensemble that introduced the L1 system to the world in 2004-2004.<br />
<br />
The L1 approach solved the problem for many, including those attending the conference, of Hearing Together. Now there's so much to learn about Playing Together.<br />
<br />
The format for this presentation will be for Ken Jacob to ask Cliff Goodwin questions and for Cliff to give his thoughts and seek those of the audience.<br />
<br />
A few topics sure to come up are:<br />
<br />
* Exploiting the lateral (left to right) field<br />
* Getting out of each others' way<br />
* Modesty<br />
* Making every sound mean something<br />
* Supporting the vocalist<br />
* Supporting a soloist<br />
* Space, and musical holes<br />
* Designing a set list<br />
<br />
== Chuck Nemitz: Electric Guitar Tone & the L1&trade; ==<br />
Chuck would demonstrate the values/shortcomings of using conventional amps, various micing techniques, modelers (amp and/or guitar), ups and downs of using time-based effects, etc.<br />
<br />
== Andrew Douglas: Using the L1 for Electric Bass ==<br />
An opportunity to hear an L1 system rigged as an electric bass amplifier, compared to a high quality conventional amp. A demonstration of a hybrid system (L1 plus conventional amp) is also planned. Direct comparison of a 2B1 system vs. a 4B1/Packlite system.<br />
<br />
The basic agenda (not final) is this:<br />
<br />
* Intro<br />
* Discussion of the case for/against using the L1 to amplify electric bass.<br />
* With assistance from Mike Zartarian of Bose, live demonstrations of a conventional bass rig (Eden), conventional rig-plus L1 (hybrid) and all-Bose rig, set up to emulate the Eden and also without emulation. I'm going to try to set these up as A/B comparisons where appropriate.<br />
* Discussion/demo of different ways to get tone (BassPOD emulation vs. Bose presets vs. preamps, the effect of BassPOD cabinet/mic simulation selection on tone). More A/B if time permits.<br />
* Discussion of "thump" and A/B demo of 2 vs. 4 B1s<br />
* Q&A<br />
<br />
== Hilmar Lehnert: why the laws of physics always punish the poor bass player (proposed) ==<br />
<br />
Why do I need big speakers and the guitar player doesn't ?<br />
<br />
How deep do we really need to go for real bass. What about the B string ?<br />
<br />
A 100 dB is a 100 dB right ? (wrong !!)<br />
<br />
[[category:Bose L1™ Musicians Conference Fall 2006]]<br />
<br />
== ST: Changing Expectations of Live Music ==<br />
Why do we do what we do, and ways that we leverage our reach, to do it.<br />
<br />
Discussion boards, sketcher, wikis; and supporting L1™ owners online.<br />
<br />
The {{LMTG}} has one of the most active and healthy online communities on the web. We can be talking about where it has been and where it may be going - taking advantage of some of new (to us) online collaboration tools.</div>Andrew Douglashttps://boseperformer.com/index.php?title=Bose_L1%C2%AE_Musicians_Conference_Fall_2006/Agenda/Details&diff=2703Bose L1® Musicians Conference Fall 2006/Agenda/Details2006-10-27T14:29:42Z<p>Andrew Douglas: /* Andrew Douglas: Using the L1 for Electric Bass */</p>
<hr />
<div>== Earlier Version ==<br />
Agenda: Emerging<br />
<!-- these are comment tags and are not visible in the page <br />
to add new agenda items - create a new heading e.g.<br />
<br />
== Talker: Topic ==<br />
comments about the Topic <br />
<br />
end of comments <br />
--><br />
<br />
<br />
We know what we are doing (roughly) on Sunday and Monday nights. The rest is still unfolding. See [[Bose L1™ Musicians Conference Fall 2006/Discussion Topics|Discussion&nbsp;Topics]] <br />
<br />
<br />
<br />
== Sunday Night 6:00 pm ==<br />
The main event starts on Sunday night at 6:00 PM in the dining hall called The Haydn Lodge, where dinner will be served.<br />
<br />
== Sunday Night 7:00 pm ==<br />
Cliff and Ken would like to give a slide show. Location TBD<br />
<br />
== Sunday Night 8:00-11:00 pm ==<br />
We'll gather in the lobby of the Inn, a delightful space with a Kawai baby grand piano and a very nice location for a "stage".<br />
<br />
Music so far (a few tunes apiece):<br />
:* Alan Steinberger: acoustic piano<br />
:* Ronjazz: flamenco, brazilian guitar<br />
:* Tom Munch: voice, guitar<br />
:* Cliff Henricksen: acoustic piano<br />
<br />
== Monday Night 8:00 pm ==<br />
The plan is to have another festive evening on Monday night in the main dining hall. This should start at 8:00 and we expect it to run late.<br />
<br />
(These are just suggestions. Not locked in yet.)<br />
<br />
:* captbanjo would like to perform a song he wrote for all struggling musicians called 'Play Me Stairway to Heaven'.<br />
<br />
== Chris Ickler: Understanding ToneMatch&trade; technology ==<br />
Narrators in the [http://www.bose.com/controller?event=VIEW_STATIC_PAGE_EVENT&url=/musicians/tonematch.jsp Taylor/Bose video] are having some difficulty explaining the ToneMatch&trade; concept simply, so the video tries to solve that problem by providing multiple explanations and by conveying the enthusiasm of the people involved instead. <br />
<br />
Chris Ickler has some ideas on how to talk about this at the Fall L1 Owners Conference and maybe that will lead to a shorter, more accurate message about ToneMatch technology.<br />
<br />
(ickler text follows)<br />
<br />
Nobody can ToneMatch a system that doesn’t have uniform coverage. (It’s like trying to impose a house curve on an installed system that has spotty coverage.) Certainly no triple system has uniform coverage. Even if you decided to ToneMatch every instrument through every speaker of a triple system, you would have to nail the performers’ shoes to the floor and the audience would have to take turns standing in the "ToneMatched" sweet spot of the FOH system. ToneMatch technology only has audible benefit AFTER you solve the coverage problem.<br />
<br />
* So the first problem of amplified music is to get the same tone everywhere. The L1 is the solution.<br />
* The second problem of amplified music is to get the right tone everywhere. ToneMatch is the solution.<br />
* No one can deliver the second solution before they deliver the first solution.<br />
<br />
<br />
<br />
<br />
== OLDGHM: Vocal Microphones ==<br />
See [http://bose.infopop.cc/eve/forums/a/tpc/f/1266055944/m/4191078963?r=5101000073#5101000073 this post] as one of many from oldghm on the subject of vocal microphones.<br />
<br />
We had this on the agenda for the Big Sur Conference but never got to it.<br />
<br />
== Cliff Goodwin: Composing, Arranging, and Performing in an L1&trade; World ==<br />
Cliff was music director and guitarist for the Joe Cocker Band (live and studio) for twelve years. He developed and plays guitar in The Linemen, the ensemble that introduced the L1 system to the world in 2004-2004.<br />
<br />
The L1 approach solved the problem for many, including those attending the conference, of Hearing Together. Now there's so much to learn about Playing Together.<br />
<br />
The format for this presentation will be for Ken Jacob to ask Cliff Goodwin questions and for Cliff to give his thoughts and seek those of the audience.<br />
<br />
A few topics sure to come up are:<br />
<br />
* Exploiting the lateral (left to right) field<br />
* Getting out of each others' way<br />
* Modesty<br />
* Making every sound mean something<br />
* Supporting the vocalist<br />
* Supporting a soloist<br />
* Space, and musical holes<br />
* Designing a set list<br />
<br />
== Chuck Nemitz: Electric Guitar Tone & the L1&trade; ==<br />
Chuck would demonstrate the values/shortcomings of using conventional amps, various micing techniques, modelers (amp and/or guitar), ups and downs of using time-based effects, etc.<br />
<br />
== Andrew Douglas: Using the L1 for Electric Bass ==<br />
An opportunity to hear an L1 system rigged as an electric bass amplifier, compared to a high quality conventional amp. A demonstration of a hybrid system (L1 plus conventional amp) is also planned. Direct comparison of a 2B1 system vs. a 4B1/Packlite system.<br />
<br />
The basic agenda (not final) is this:<br />
<br />
- Intro<br />
- Discussion of the case for/against using the L1 to amplify electric bass.<br />
- With assistance from Mike Zartarian of Bose, live demonstrations of a conventional bass rig (Eden), conventional rig-plus L1 (hybrid) and all-Bose rig, set up to emulate the Eden and also without emulation. I'm going to try to set these up as A/B comparisons where appropriate.<br />
- Discussion/demo of different ways to get tone (BassPOD emulation vs. Bose presets vs. preamps, the effect of BassPOD cabinet/mic simulation selection on tone). More A/B if time permits.<br />
- Discussion of "thump" and A/B demo of 2 vs. 4 B1s<br />
- Q&A<br />
<br />
== Hilmar Lehnert: why the laws of physics always punish the poor bass player (proposed) ==<br />
<br />
Why do I need big speakers and the guitar player doesn't ?<br />
<br />
How deep do we really need to go for real bass. What about the B string ?<br />
<br />
A 100 dB is a 100 dB right ? (wrong !!)<br />
<br />
[[category:Bose L1™ Musicians Conference Fall 2006]]<br />
<br />
== ST: Changing Expectations of Live Music ==<br />
Why do we do what we do, and ways that we leverage our reach, to do it.<br />
<br />
Discussion boards, sketcher, wikis; and supporting L1™ owners online.<br />
<br />
The {{LMTG}} has one of the most active and healthy online communities on the web. We can be talking about where it has been and where it may be going - taking advantage of some of new (to us) online collaboration tools.</div>Andrew Douglashttps://boseperformer.com/index.php?title=Bose_L1%C2%AE_Musicians_Conference_Fall_2006/Contact_Information&diff=2684Bose L1® Musicians Conference Fall 2006/Contact Information2006-10-26T20:17:06Z<p>Andrew Douglas: </p>
<hr />
<div>We'll add emails and telephone numbers of key contacts as we get them.<br />
<br />
{{:Fall Conference 2006 Sold Out}}<br />
<br />
In the meantime, send inquiries to Ken-at-Bose on the Bose Musicians Message Board [http://bose.infopop.cc/eve/forums/a/tpc/f/4806048934/m/1361058963 here].<br />
<br />
<br />
[http://www.warrencenter.com/ Warren Conference Center & Inn, Ashland, MA.]<br />
<br /><br />
529 Chestnut Street<br />
<br /><br />
Ashland, Massachusetts 01721<br />
<br /><br />
888.WARREN.1<br />
<br /><br />
508.231.3000<br />
<br /><br />
508.231.3441 fax<br />
<br /><br />
[mailto:info@warrencenter.com Email]<br />
<br /><br />
[http://www.warrencenter.com/images/map.jpg Link to a Map]<br />
<br /><br />
<br />
<br />
From Alan Steinberger<br />
: Jeff Incutto, Operations Manager at the Warren Center, gave me the following response when I asked about transportation from either Boston or Providence airports:<br /><br />"The [http://www.loganexpress.com/ Logan Express] is probably your best bet to get transporation from Logan Airport to the Warren Center. Providence is a little further away so it would be more expensive. Logan Express' phone # is 508-872-5424. Or you could call Boston Coach 888-735-5038, ask for Tonny Gichohi (617-394-3742)."<br />
<br />
=== Individuals ===<br />
Ken Bausano (jazzhorn1) doing Musical Direction Duties for Monday Night <br />
<br />
Cell: (661) 809-8664 kbausano@bak.rr.com<br />
<br />
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Andrew Douglas, playing Sunday, presenting on Monday afternoon and having a ball the rest of the time<br />
<br />
Cell: (203) 258-7191 adouglas@optonline.net<br />
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[[category:Bose L1™ Musicians Conference Fall 2006]]</div>Andrew Douglashttps://boseperformer.com/index.php?title=Bose_L1%C2%AE_Musicians_Conference_Fall_2006/Agenda/Details&diff=2499Bose L1® Musicians Conference Fall 2006/Agenda/Details2006-10-04T17:38:59Z<p>Andrew Douglas: </p>
<hr />
<div>== Earlier Version ==<br />
Agenda: Emerging<br />
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to add new agenda items - create a new heading e.g.<br />
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== Talker: Topic ==<br />
comments about the Topic <br />
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end of comments <br />
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<br />
<br />
We know what we are doing (roughly) on Sunday and Monday nights. The rest is still unfolding. See [[Bose L1™ Musicians Conference Fall 2006/Discussion Topics|Discussion&nbsp;Topics]] <br />
<br />
<br />
<br />
== Sunday Night 6:00 pm ==<br />
The main event starts on Sunday night at 6:00 PM in the dining hall called The Haydn Lodge, where dinner will be served.<br />
<br />
== Sunday Night 7:00 pm ==<br />
Cliff and Ken would like to give a slide show. Location TBD<br />
<br />
== Sunday Night 8:00-11:00 pm ==<br />
We'll gather in the lobby of the Inn, a delightful space with a Kawai baby grand piano and a very nice location for a "stage".<br />
<br />
Music so far (a few tunes apiece):<br />
:* Alan Steinberger: acoustic piano<br />
:* Ronjazz: flamenco, brazilian guitar<br />
:* Tom Munch: voice, guitar<br />
:* Cliff Henricksen: acoustic piano<br />
<br />
== Monday Night 8:00 pm ==<br />
The plan is to have another festive evening on Monday night in the main dining hall. This should start at 8:00 and we expect it to run late.<br />
<br />
(These are just suggestions. Not locked in yet.)<br />
<br />
:* captbanjo would like to perform a song he wrote for all struggling musicians called 'Play Me Stairway to Heaven'.<br />
<br />
== Chris Ickler: Understanding ToneMatch&trade; technology ==<br />
Narrators in the [http://www.bose.com/controller?event=VIEW_STATIC_PAGE_EVENT&url=/musicians/tonematch.jsp Taylor/Bose video] are having some difficulty explaining the ToneMatch&trade; concept simply, so the video tries to solve that problem by providing multiple explanations and by conveying the enthusiasm of the people involved instead. <br />
<br />
Chris Ickler has some ideas on how to talk about this at the Fall L1 Owners Conference and maybe that will lead to a shorter, more accurate message about ToneMatch technology.<br />
<br />
(ickler text follows)<br />
<br />
Nobody can ToneMatch a system that doesn’t have uniform coverage. (It’s like trying to impose a house curve on an installed system that has spotty coverage.) Certainly no triple system has uniform coverage. Even if you decided to ToneMatch every instrument through every speaker of a triple system, you would have to nail the performers’ shoes to the floor and the audience would have to take turns standing in the "ToneMatched" sweet spot of the FOH system. ToneMatch technology only has audible benefit AFTER you solve the coverage problem.<br />
<br />
* So the first problem of amplified music is to get the same tone everywhere. The L1 is the solution.<br />
* The second problem of amplified music is to get the right tone everywhere. ToneMatch is the solution.<br />
* No one can deliver the second solution before they deliver the first solution.<br />
<br />
<br />
<br />
<br />
== OLDGHM?: Vocal Microphones ==<br />
See [http://bose.infopop.cc/eve/forums/a/tpc/f/1266055944/m/4191078963?r=5101000073#5101000073 this post] as one of many from oldghm on the subject of vocal microphones.<br />
<br />
We had this on the agenda for the Big Sur Conference but never got to it.<br />
<br />
<br />
== Cliff Goodwin: Arranging for L1 Ensembles ==<br />
Cliff was music director and guitarist for the Joe Cocker Band (live and studio) for twelve years. He developed and plays guitar in The Linemen, the ensemble that introduced the L1&trade; system to the world in 2004-2004.<br />
<br />
The L1 approach solved the problem for many, including those attending the conference, of Hearing Together. Now there's so much to learn about Playing Together.<br />
<br />
The idea would be for Cliff to work with an ensemble at the Conference putting arranging a few songs and using the deep principles he's developed. Attendees would observe and ask questions of Cliff.<br />
<br />
In the evening, Cliff would demonstrate "finished product" with The Linemen, allowing attendees to ask questions about his choices on the five songs used to introduce the L1 system. A final set of songs could be added for Monday entertainment, with spouses, loved ones, favorite waiters and waitresses etc. to enjoy.<br />
<br />
<br />
== Chuck Nemitz: Electric Guitar Tone & the L1 ==<br />
Chuck would demonstrate the values/shortcomings of using conventional amps, various micing techniques, modelers (amp and/or guitar), ups and downs of using time-based effects, etc.<br />
<br />
== Andrew Douglas: Using the L1 for Electric Bass ==<br />
An opportunity to hear an L1 system rigged as an electric bass amplifier, compared to a high quality conventional amp. A demonstration of a hybrid system (L1 plus conventional amp) is also planned. Direct comparison of a 2B1 system vs. a 4B1/Packlite system.<br />
<br />
== Hilmar Lehnert: why the laws of physics always punish the poor bass player (proposed) ==<br />
<br />
Why do I need big speakers and the guitar player doesn't ?<br />
<br />
How deep do we really need to go for real bass. What about the B string ?<br />
<br />
A 100 dB is a 100 dB right ? (wrong !!)<br />
<br />
[[category:Bose L1™ Musicians Conference Fall 2006]]<br />
<br />
== ST: Collaboration Online ==<br />
Discussion boards, sketcher, wikis; and supporting L1™ owners online.<br />
<br />
The {{LMTG}} has one of the most active and healthy online communities on the web. We can be talking about where it has been and where it may be going - taking advantage of some of new (to us) online collaboration tools.</div>Andrew Douglashttps://boseperformer.com/index.php?title=Bose_L1%C2%AE_Musicians_Conference_Fall_2006/Discussion_Topics&diff=2498Bose L1® Musicians Conference Fall 2006/Discussion Topics2006-10-04T17:34:15Z<p>Andrew Douglas: /* Electric Bass */</p>
<hr />
<div><big>Some ideas for discussion topics that came up before Big Sur'''</big><br />
<br />
Add or expand on these ideas if you want to see them included in the [[Bose L1™ Musicians Conference Fall 2006/Agenda|Agenda]]. The Agenda will be the final plan, but we can talk develop the ideas here.<br />
<br />
== Ideas from the past ==<br />
* B1s and Tone (the effect on tone, headroom, etc of adding additional B1's, whether via an additional PS1 or the PackLite)<br />
* Dual mono, and the frequency cancellation that can ensue<br />
* Equipping the band (for those folks who are doing the gear for everyone).<br />
<br />
* Improvements and wish list<br />
* Introducing new performers to the System.<br />
* Long term user perspectives<br />
* Making it work as a house / festival sound system<br />
<br />
* Mono vs stereo, especially for sequenced or prerecorded backing tracks (background for live performers) Note: Chris-at-Bose dealt with this in [[Live or PreRecorded / Stereo and *-Mono]]<br />
* Where is the market and how to reach them?<br />
* Where we first met - talking about the forum<br />
<br />
[http://bose.infopop.cc/eve/forums/a/tpc/f/4806048934/m/9791086792 forum discussion about topics]]<br />
<br />
== Ideas proposed or in progress ==<br />
<br />
=== Bass (the Instrument) ===<br />
==== Upright Bass ====<br />
: I've had the opportunity to with Buddy Catlett and other upright players dialing in the bass tone they hear and where they expect it in the mix. I'd like to see some discussion on upright bass. - Dan Sayan<br />
<br />
==== Electric Bass ====<br />
<br />
Andrew Douglas has written a paper that could be handed out after a workshop he'd lead.<br />
<br />
:* With assistance from Mike Zartarian from Bose, demonstrate a high-quality conventional bass rig vs. a hybrid rig vs. an all-Bose solution<br />
:* What a 2 B1 system vs. a 4 B1/Packlite system actually sounds like<br />
:* The effect of EQ and model selection on bass tone<br />
:* The efficacy of the BassPODxt vs. presets<br />
<br />
=== Collaboration Online ===<br />
Discussion Boards, Sketcher, wikis; and supporting L1&trade; System Owners online.<br />
[[User:ST|ST]]<br />
<br />
=== Guitar Tubes, Amps, Modellers ===<br />
There is an [[Bose L1™ Musicians Conference Fall 2006/Agenda|Agenda]] item that should cover this topic headed by Chuck-at-Bose.<br />
gittar-jonz requested this as well.<br />
: Thinking out loud...I'd love to see an L1 set up for guitarists to hear and/or try all the different tone methods that we discuss here on the forum - almost a "guitar clinic". For instance, maybe ASAT could set his rig up, and demo for 5 minutes, and then Chuck-at-Bose could do his, Steve could break out his Womanizer, someone who mics an amp do theirs (is Sarno's Emery still there?), etc etc. Having a pile of preamps, pedals, and toys would be like finding a buried treasure to most of us. It seems like there are a lot of bass players coming, too. So maybe they'd want a similar "bass clinic" to try different things. Giving each player 5 minutes to demonstrate their tone and how they get it could be a lot of fun.<br />
<br />
We will migrate Doug's ideas (above) into Chuck's notes.<br />
<br />
=== Vocal Microphones ===<br />
There is an [[Bose L1™ Musicians Conference Fall 2006/Agenda|Agenda]] item that should cover this topic proposed by Ken-at-Bose, with the idea the Oldghm might lead this.<br />
<br />
Some of the different popular mic choices, like the KMS 105, the Audix OM5, and the Shure Beta 87A)<br />
<br />
Maybe some guitar amp mics (Shure SM57, Sennheiser e609) and drum mics (Shure SM57, AKG D112, Audix D6, Sennheiser 421)<br />
<br />
I have an idea for a demo that might show the "not so big a difference" between the best, and the rest, and we'll include the Bose guys to help us understand why they "all" work better with the L1 ...... Oldghm <br />
<br />
=== L1&trade; system setup time trials ===<br />
There are a number of folks who claim to hold the unofficial record for [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/6881036873?r=9771090083#9771090083 setup of a single bass package]. A few taunts have gone back and forth. Now it's show time, time to separate the wheat from the chaff. The L1&trade; time trials will probably be part of the featured entertainment on Monday evening.<br />
<br />
<br />
[[category:Bose L1™ Musicians Conference Fall 2006]]</div>Andrew Douglashttps://boseperformer.com/index.php?title=Bose_L1%C2%AE_Musicians_Conference_Fall_2006/Discussion_Topics&diff=2497Bose L1® Musicians Conference Fall 2006/Discussion Topics2006-10-04T17:32:38Z<p>Andrew Douglas: /* Electric Bass */</p>
<hr />
<div><big>Some ideas for discussion topics that came up before Big Sur'''</big><br />
<br />
Add or expand on these ideas if you want to see them included in the [[Bose L1™ Musicians Conference Fall 2006/Agenda|Agenda]]. The Agenda will be the final plan, but we can talk develop the ideas here.<br />
<br />
== Ideas from the past ==<br />
* B1s and Tone (the effect on tone, headroom, etc of adding additional B1's, whether via an additional PS1 or the PackLite)<br />
* Dual mono, and the frequency cancellation that can ensue<br />
* Equipping the band (for those folks who are doing the gear for everyone).<br />
<br />
* Improvements and wish list<br />
* Introducing new performers to the System.<br />
* Long term user perspectives<br />
* Making it work as a house / festival sound system<br />
<br />
* Mono vs stereo, especially for sequenced or prerecorded backing tracks (background for live performers) Note: Chris-at-Bose dealt with this in [[Live or PreRecorded / Stereo and *-Mono]]<br />
* Where is the market and how to reach them?<br />
* Where we first met - talking about the forum<br />
<br />
[http://bose.infopop.cc/eve/forums/a/tpc/f/4806048934/m/9791086792 forum discussion about topics]]<br />
<br />
== Ideas proposed or in progress ==<br />
<br />
=== Bass (the Instrument) ===<br />
==== Upright Bass ====<br />
: I've had the opportunity to with Buddy Catlett and other upright players dialing in the bass tone they hear and where they expect it in the mix. I'd like to see some discussion on upright bass. - Dan Sayan<br />
<br />
==== Electric Bass ====<br />
<br />
Andrew Douglas has written a paper that could be handed out after a workshop he'd lead.<br />
<br />
:* With assistance from Mark-at-Bose, demonstrate a high-quality conventional bass rig vs. a hybrid rig vs. an all-Bose solution<br />
:* What a 2 B1 system vs. a 4 B1/Packlite system actually sounds like<br />
:* The effect of EQ and model selection on bass tone<br />
:* The efficacy of the BassPODxt vs. presets<br />
<br />
=== Collaboration Online ===<br />
Discussion Boards, Sketcher, wikis; and supporting L1&trade; System Owners online.<br />
[[User:ST|ST]]<br />
<br />
=== Guitar Tubes, Amps, Modellers ===<br />
There is an [[Bose L1™ Musicians Conference Fall 2006/Agenda|Agenda]] item that should cover this topic headed by Chuck-at-Bose.<br />
gittar-jonz requested this as well.<br />
: Thinking out loud...I'd love to see an L1 set up for guitarists to hear and/or try all the different tone methods that we discuss here on the forum - almost a "guitar clinic". For instance, maybe ASAT could set his rig up, and demo for 5 minutes, and then Chuck-at-Bose could do his, Steve could break out his Womanizer, someone who mics an amp do theirs (is Sarno's Emery still there?), etc etc. Having a pile of preamps, pedals, and toys would be like finding a buried treasure to most of us. It seems like there are a lot of bass players coming, too. So maybe they'd want a similar "bass clinic" to try different things. Giving each player 5 minutes to demonstrate their tone and how they get it could be a lot of fun.<br />
<br />
We will migrate Doug's ideas (above) into Chuck's notes.<br />
<br />
=== Vocal Microphones ===<br />
There is an [[Bose L1™ Musicians Conference Fall 2006/Agenda|Agenda]] item that should cover this topic proposed by Ken-at-Bose, with the idea the Oldghm might lead this.<br />
<br />
Some of the different popular mic choices, like the KMS 105, the Audix OM5, and the Shure Beta 87A)<br />
<br />
Maybe some guitar amp mics (Shure SM57, Sennheiser e609) and drum mics (Shure SM57, AKG D112, Audix D6, Sennheiser 421)<br />
<br />
I have an idea for a demo that might show the "not so big a difference" between the best, and the rest, and we'll include the Bose guys to help us understand why they "all" work better with the L1 ...... Oldghm <br />
<br />
=== L1&trade; system setup time trials ===<br />
There are a number of folks who claim to hold the unofficial record for [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/6881036873?r=9771090083#9771090083 setup of a single bass package]. A few taunts have gone back and forth. Now it's show time, time to separate the wheat from the chaff. The L1&trade; time trials will probably be part of the featured entertainment on Monday evening.<br />
<br />
<br />
[[category:Bose L1™ Musicians Conference Fall 2006]]</div>Andrew Douglashttps://boseperformer.com/index.php?title=Bose_L1%C2%AE_Musicians_Conference_Fall_2006/Music&diff=2447Bose L1® Musicians Conference Fall 2006/Music2006-09-13T17:54:42Z<p>Andrew Douglas: </p>
<hr />
<div><big>'''Bose L1™ Musicians Conference Fall 2006/Music List'''</big><br />
<br />
Chad Welling suggested this:<br />
:''Guys, I'd like to suggest that we start some kind of master songlist for the jam situations. It's nice if everyone knows a lot of the same tunes. We're far enough out that those that need to can brush up on chord changes, heads, etc.'' -- Chad Welling<br />
<br />
* If you want to propose a song - edit the page (edit tab above) and add it to the '''Music LIst''' list below like this: The three tildes like this <nowiki>~~~</nowiki> at the end turns into your signature automatically.<br />
<br />
'''<nowiki>* Title / Artist or Performer / Key / Have Chart (yes/no) / link if you have one / Requested by ~~~</nowiki>''' (add more or put less depending on what you've got - it doesn't have to be complete). If you are asked to log in, do that, and if you don't already have an account, click '''Create an account'''. Please set your '''Real name''' to the same as the username you use on the discussion boards.<br />
<br />
<br />
* If you don't know how to do this just click the ''' discussion ''' tab at the top of this page and add as much info as you have about the song and sign your name with four tildes <nowiki>~~~~</nowiki>. I will see that and take care of the rest [[User:ST|ST]]<br />
<br />
== Music List ==<br />
(alphabetical order)<br />
* Title / Artist or Performer / Key / Have Chart (yes/no) / link if you have one / Requested by <nowiki>~~~</nowiki> <br />
example:<br />
* Goodbye Porkpie Hat / Charlies Mingus / E-flat minor / have chart (link) / http://www.accattatis.com/artists/mingus/goodbye_pork_pie_hat.html/ [[User:ST|ST]]<br />
<br />
* Mexico / James Taylor / F Major? / no chart / NA / [[User:Andrew Douglas|Andrew Douglas]]<br />
* Solsbury Hill / Peter Gabriel / B / link to tab / http://www.fretplay.com/tabs/g/gabriel_peter/solsbury_hill-crd.shtml / [[User:Andrew Douglas|Andrew Douglas]]<br />
* The Story in Your Eyes / Moody Blues / Am? D? / I can play the lead guitar hooks on bass / / [[User:Andrew Douglas|Andrew Douglas]]<br />
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[[category:Bose L1™ Musicians Conference Fall 2006]]</div>Andrew Douglashttps://boseperformer.com/index.php?title=Bose_L1%C2%AE_Musicians_Conference_Fall_2006/Music&diff=2446Bose L1® Musicians Conference Fall 2006/Music2006-09-13T17:29:23Z<p>Andrew Douglas: </p>
<hr />
<div><big>'''Bose L1™ Musicians Conference Fall 2006/Music List'''</big><br />
<br />
Chad Welling suggested this:<br />
:''Guys, I'd like to suggest that we start some kind of master songlist for the jam situations. It's nice if everyone knows a lot of the same tunes. We're far enough out that those that need to can brush up on chord changes, heads, etc.'' -- Chad Welling<br />
<br />
* If you want to propose a song - edit the page (edit tab above) and add it to the '''Music LIst''' list below like this: The three tildes like this <nowiki>~~~</nowiki> at the end turns into your signature automatically.<br />
<br />
'''<nowiki>* Title / Artist or Performer / Key / Have Chart (yes/no) / link if you have one / Requested by ~~~</nowiki>''' (add more or put less depending on what you've got - it doesn't have to be complete). If you are asked to log in, do that, and if you don't already have an account, click '''Create an account'''. Please set your '''Real name''' to the same as the username you use on the discussion boards.<br />
<br />
<br />
* If you don't know how to do this just click the ''' discussion ''' tab at the top of this page and add as much info as you have about the song and sign your name with four tildes <nowiki>~~~~</nowiki>. I will see that and take care of the rest [[User:ST|ST]]<br />
<br />
== Music List ==<br />
(alphabetical order)<br />
* Title / Artist or Performer / Key / Have Chart (yes/no) / link if you have one / Requested by <nowiki>~~~</nowiki> <br />
example:<br />
* Goodbye Porkpie Hat / Charlies Mingus / E-flat minor / have chart (link) / http://www.accattatis.com/artists/mingus/goodbye_pork_pie_hat.html/ [[User:ST|ST]]<br />
<br />
* Mexico / James Taylor / F Major? / no chart / NA / [[User:Andrew Douglas|Andrew Douglas]]<br />
* Solsbury Hill / Peter Gabriel / B / link to tab / http://www.fretplay.com/tabs/g/gabriel_peter/solsbury_hill-crd.shtml / [[User:Andrew Douglas|Andrew Douglas]]<br />
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[[category:Bose L1™ Musicians Conference Fall 2006]]</div>Andrew Douglashttps://boseperformer.com/index.php?title=Bose_L1%C2%AE_Musicians_Conference_Fall_2006/Music&diff=2445Bose L1® Musicians Conference Fall 2006/Music2006-09-13T15:48:12Z<p>Andrew Douglas: </p>
<hr />
<div><big>'''Bose L1™ Musicians Conference Fall 2006/Music List'''</big><br />
<br />
Chad Welling suggested this:<br />
:''Guys, I'd like to suggest that we start some kind of master songlist for the jam situations. It's nice if everyone knows a lot of the same tunes. We're far enough out that those that need to can brush up on chord changes, heads, etc.'' -- Chad Welling<br />
<br />
* If you want to propose a song - edit the page (edit tab above) and add it to the '''Music LIst''' list below like this: The three tildes like this <nowiki>~~~</nowiki> at the end turns into your signature automatically.<br />
<br />
'''<nowiki>* Title / Artist or Performer / Key / Have Chart (yes/no) / link if you have one / Requested by ~~~</nowiki>''' (add more or put less depending on what you've got - it doesn't have to be complete). If you are asked to log in, do that, and if you don't already have an account, click '''Create an account'''. Please set your '''Real name''' to the same as the username you use on the discussion boards.<br />
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* If you don't know how to do this just click the ''' discussion ''' tab at the top of this page and add as much info as you have about the song and sign your name with four tildes <nowiki>~~~~</nowiki>. I will see that and take care of the rest [[User:ST|ST]]<br />
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== Music List ==<br />
(alphabetical order)<br />
* Title / Artist or Performer / Key / Have Chart (yes/no) / link if you have one / Requested by <nowiki>~~~</nowiki> <br />
example:<br />
* Goodbye Porkpie Hat / Charlies Mingus / E-flat minor / have chart (link) / http://www.accattatis.com/artists/mingus/goodbye_pork_pie_hat.html/ [[User:ST|ST]]<br />
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* Mexico / James Taylor / F Major? / no chart / NA / [[User:Andrew Douglas|Andrew Douglas]]<br />
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[[category:Bose L1™ Musicians Conference Fall 2006]]</div>Andrew Douglas