Introducing Performers to the Bose System: Difference between revisions

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Here is how I introduce new players to the system. I wrote this to describe what I do for festival situations and open stages. I hope you find some ideas that work for other situations too. This originated as a post on the Bose Musicians Forum

=== If They Trust You ===

If the performers are used to trusting the ~~soundman~~, that is: they just want to walk in, plug in, and play... you may have a little difficulty getting them to take the reins (control the ~~remote~~).

If the performers are used to trusting the sound man, that is: they just want to walk in, plug in, and play... you may have a little difficulty getting them to take the reins (control the {{T1}}).

~~If they are used to trusting *you* then things should go smoothly~~.

If they are used to trusting you then things should go smoothly.

<!--

To be prepared for people who just want to walk in and play the old way... Have a conventional mixer wired up with mains out running to your two** systems (channels 3/4). You might want to do this for line-level instruments anyway.

** Ron, for whom I originally wrote this was contemplating 2 Systems.

That's your backup plan. BUT

-->

This is what I do with open stage situations with guest artists. It sounds like it would take awhile, but really we're talking just a couple of minutes.

I ~~setup the Bose systems as though there was no mixer. That is~~:

=== Set up for each performer ===

* ~~microphones into channels 1~~/2 on ~~each system~~

==== {{T1}} with {{Model II}} {{Model 1S}} {{Compact}} ====

* ~~DI's to~~ the ~~remaining channels 3~~/~~4 open on~~ each ~~system.~~

* I have a system for each performer so I typically wire things up

* Remotes wired and attached to the mic stands

** Channel 1: Vocal Microphone

** Channel 2: Instrument

* If it is a loud stage then I will set up a [[Feedback_/_Microphone#Use_the_T1.C2.AE_Comp_Gate_to_mute_the_microphone|Noise Gate]] on the vocal microphone

* I put the {{T1}} on the microphone stand using the [[T1 ToneMatch® Audio Engine Microphone Stand Bracket]]

==== {{Model I}} / {{Classic}} ====

* I have a system for each performer so I typically wire things up

** Channel 1: Vocal Microphone

** Channel 2: Instrument

* R1 Remotes wired and attached to the mic stands

=== Avoiding Feedback ===

See: [[Feedback / Microphone|Microphone Feedback]]

=== Soundcheck ===

=== Introducing Performers to the System ===

But before getting into a lot of detail, I just get the gain staging setup in the conventional way. (all volume controls on the remote at zero). This is the time to set the presets for people who have brought their own mics. While I'm doing that I'll point out that all the sound is coming from the Bose systems and that there will be no need for monitors or a separate house mix. That is: Everyone, the performers and the audience will be listening to the [[Hearing the Same Thing|same sound source]].

But before getting into a lot of detail, I just get the gain staging setup in the conventional way. (all volume controls on the remote at zero). This is the time to set the presets for people who have brought their own mics. While I'm doing that I'll point out that all the sound is coming from the Bose systems and that there will be no need for monitors or a separate house mix. That is: Everyone; the performers and the audience will be listening to the [[Hearing the Same Thing|same sound source]].

=== How does this thing work? ===

Time for a quick tutorial about feedback, covering mic angle, positioning and how ~~resiliant~~ the system to feedback as long as you don't leave an open mic pointing directly at the L1.

Time for a quick tutorial about feedback, covering mic angle, positioning and how the system is unlikely to feedback as long as you don't leave an open mic pointing directly at the Cylindrical Radiator®.

==== {{T1}}====

If I am working with a {{T1}} I will point out that I have the vocal microphone in Channel 1 and the instrument input in Channel 2 (my standard approach). Then I will demonstrate how the Channel Volume and Mute buttons work.

If I have set up the [[Feedback_/_Microphone#Use_the_T1.C2.AE_Comp_Gate_to_mute_the_microphone|Noise Gate]] on the vocal microphone, I will demonstrate that you have to be singing directly into the microphone to get any sound and I'll explain that this is to prevent feedback.

I also point out the Master Volume and ask the performer to turn down the Master before leaving the stage.

==== {{R1}} ====

If I am working with an {{R1}} I will point out that I have the vocal microphone in Channel 1 and the instrument input in Channel 2 (my standard approach). Then I will demonstrate how the Channel Volume and Tone Controls work.

=== Bring on the sound (one unit at a time) ===

Turn up the master to just under 1/2 way and get the performers to turn up the individual channels. ~~Encouragage~~ them - this is *you* in control of *your* sound. Get them to try the other tone controls, and let them get used to the buffered response to the controls. Assure them that what they hear is what is being heard in the house.

Turn up the master to just under 1/2 way and get the performers to turn up the individual channels. Encourage them - this is '''you''' in control of '''your''' sound. Get them to try the other tone controls, and let them get used to the buffered response to the controls. Assure them that what they hear is what is being heard in the house.

If there are concerns - "it seems dry" reassure them that when we bring up the master volumes, they will hear all the natural reverb from the room as it responds to them at performance levels.

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Give the performers a chance to do their soundcheck song(s) and adjust as necessary.

Up to this point I have been talking with an individual musician.

Up to this point, I have been talking with an individual musician.

=== Mixing Live ===

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Line 73:

* If you can't hear the vocals, turn down.

* If it's your solo, ~~be above~~ the ~~rest of~~ the band.

* If you can't hear the solo, turn down.

* If it's your solo, the others get to work with you, to feature the solo.

* Featuring the Solo:

** Let the vocalist or soloist set the volume for the band.

** (repeating) "If you can't hear the solo, turn down."

You can explain that it's like mixing an album live. Or, that it's like an old school acoustic jam but louder.

There is a lot more you could say about this, but I try not to overwhelm people with higher order thinking at this point. You can explain that it's like mixing an album live. Or, that it's like an old school acoustic jam but louder.

=== On with the show! ===

If all went well up to this point - you're good to go.

=== Plan '''B'''ackup ===

=== Plan '''B''' (ackup) ===

If someone just doesn't want to deal with it ("what are they paying *you* for?" (mister sound-guy)) then just plug the mics into the mixer, set the levels and go for it the slightly more conventional way).

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=== Successful outcome report ===

I recently worked with a true road warrior who immediately picked up on the system. He then did his performance without a hitch. [http://bose.infopop.cc/eve/forums/a/tpc/f/1506041054/m/4121083901?r=4121083901#4121083901 Read about it here...]

== Audience Response ==

The following is an excerpt from a gig report - [[Gig Report / 8 Live Acts 7 Hours]] and speaks to working with audience criticism.

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[http://bose.infopop.cc/eve/forums/a/tpc/f/1506041054/m/5241075011/r/4561056011 About to get my first 2...]

[http://bose.infopop.cc/eve/forums/a/tpc/f/1506041054/m/8891056011/r/8891056011 Introducing Performers]

----

[[~~category~~:Editorial]]

[[Category:Editorial]]

[[~~category~~:Performance]]

[[Category:Application Note]]

[[Category:Festival Sound]]

[[Category:Gig Report]]

[[Category:Performance]]

@@ Line 1: / Line 1: @@
+{{Editorial}}
 Here is how I introduce new players to the system. I wrote this to describe what I do for festival situations and open stages. I hope you find some ideas that work for other situations too. This originated as a post on the Bose Musicians Forum
 === If They Trust You ===
-If the performers are used to trusting the soundman, that is: they just want to walk in, plug in, and play... you may have a little difficulty getting them to take the reins (control the remote).
+If the performers are used to trusting the sound man, that is: they just want to walk in, plug in, and play... you may have a little difficulty getting them to take the reins (control the {{T1}}).
-If they are used to trusting *you* then things should go smoothly.
+If they are used to trusting you then things should go smoothly.
+<!--
 To be prepared for people who just want to walk in and play the old way... Have a conventional mixer wired up with mains out running to your two** systems (channels 3/4). You might want to do this for line-level instruments anyway.
-** Ron, for whom I originally wrote this was contemplating 2 Systems.
 That's your backup plan. BUT
+-->
 This is what I do with open stage situations with guest artists. It sounds like it would take awhile, but really we're talking just a couple of minutes.
-I setup the Bose systems as though there was no mixer. That is:
+=== Set up for each performer ===
-* microphones into channels 1/2 on each system
+==== {{T1}} with {{Model II}} {{Model 1S}} {{Compact}} ====
-* DI's to the remaining channels 3/4 open on each system.
+* I have a system for each performer so I typically wire things up
-* Remotes wired and attached to the mic stands
+** Channel 1: Vocal Microphone
+** Channel 2: Instrument
+* If it is a loud stage then I will set up a [[Feedback_/_Microphone#Use_the_T1.C2.AE_Comp_Gate_to_mute_the_microphone|Noise Gate]] on the vocal microphone
+* I put the {{T1}} on the microphone stand using the [[T1 ToneMatch® Audio Engine Microphone Stand Bracket]]
+==== {{Model I}} / {{Classic}} ====
+* I have a system for each performer so I typically wire things up
+** Channel 1: Vocal Microphone
+** Channel 2: Instrument
+* R1 Remotes wired and attached to the mic stands
+=== Avoiding Feedback ===
+See: [[Feedback / Microphone|Microphone Feedback]]
 === Soundcheck ===
 === Introducing Performers to the System ===
-But before getting into a lot of detail, I just get the gain staging setup in the conventional way. (all volume controls on the remote at zero). This is the time to set the presets for people who have brought their own mics. While I'm doing that I'll point out that all the sound is coming from the Bose systems and that there will be no need for monitors or a separate house mix. That is: Everyone, the performers and the audience will be listening to the [[Hearing the Same Thing|same sound source]].
+But before getting into a lot of detail, I just get the gain staging setup in the conventional way. (all volume controls on the remote at zero). This is the time to set the presets for people who have brought their own mics. While I'm doing that I'll point out that all the sound is coming from the Bose systems and that there will be no need for monitors or a separate house mix. That is: Everyone; the performers and the audience will be listening to the [[Hearing the Same Thing|same sound source]].
 === How does this thing work? ===
-Time for a quick tutorial about feedback, covering mic angle, positioning and how resiliant the system to feedback as long as you don't leave an open mic pointing directly at the L1.
+Time for a quick tutorial about feedback, covering mic angle, positioning and how the system is unlikely to feedback as long as you don't leave an open mic pointing directly at the Cylindrical Radiator&reg;.
+==== {{T1}}====
+If I am working with a {{T1}} I will point out that I have the vocal microphone in Channel 1 and the instrument input in Channel 2 (my standard approach). Then I will demonstrate how the Channel Volume and Mute buttons work.
+If I have set up the [[Feedback_/_Microphone#Use_the_T1.C2.AE_Comp_Gate_to_mute_the_microphone|Noise Gate]] on the vocal microphone, I will demonstrate that you have to be singing directly into the microphone to get any sound and I'll explain that this is to prevent feedback.
+I also point out the Master Volume and ask the performer to turn down the Master before leaving the stage.
+==== {{R1}} ====
+If I am working with an {{R1}} I will point out that I have the vocal microphone in Channel 1 and the instrument input in Channel 2 (my standard approach). Then I will demonstrate how the Channel Volume and Tone Controls work.
 === Bring on the sound (one unit at a time) ===
-Turn up the master to just under 1/2 way and get the performers to turn up the individual channels. Encouragage them - this is *you* in control of *your* sound. Get them to try the other tone controls, and let them get used to the buffered response to the controls. Assure them that what they hear is what is being heard in the house.
+Turn up the master to just under 1/2 way and get the performers to turn up the individual channels. Encourage them - this is '''you''' in control of '''your''' sound. Get them to try the other tone controls, and let them get used to the buffered response to the controls. Assure them that what they hear is what is being heard in the house.
 If there are concerns - "it seems dry" reassure them that when we bring up the master volumes, they will hear all the natural reverb from the room as it responds to them at performance levels.
@@ Line 43: / Line 67: @@
 Give the performers a chance to do their soundcheck song(s) and adjust as necessary.
-Up to this point I have been talking with an individual musician.
+Up to this point, I have been talking with an individual musician.
 === Mixing Live ===
@@ Line 49: / Line 73: @@
 * If you can't hear the vocals, turn down.
-* If it's your solo, be above the rest of the band.
+* If you can't hear the solo, turn down.
-* If you can't hear the solo, turn down.
+* If it's your solo, the others get to work with you, to feature the solo.
+* Featuring the Solo:
+**  Let the vocalist or soloist set the volume for the band.
+**  (repeating) "If you can't hear the solo, turn down."
-You can explain that it's like mixing an album live.  Or, that it's like an old school acoustic jam but louder.
+There is a lot more you could say about this, but I try not to overwhelm people with higher order thinking at this point. You can explain that it's like mixing an album live.  Or, that it's like an old school acoustic jam but louder.
 === On with the show! ===
 If all went well up to this point - you're good to go.
-=== Plan '''B'''ackup ===
+=== Plan '''B''' (ackup) ===
 If someone just doesn't want to deal with it ("what are they paying *you* for?" (mister sound-guy)) then just plug the mics into the mixer, set the levels and go for it the slightly more conventional way).
@@ Line 64: / Line 91: @@
 === Successful outcome report ===
 I recently worked with a true road warrior who immediately picked up on the system. He then did his performance without a hitch. [http://bose.infopop.cc/eve/forums/a/tpc/f/1506041054/m/4121083901?r=4121083901#4121083901 Read about it here...]
+== Audience Response ==
+The following is an excerpt from a gig report - [[Gig Report / 8 Live Acts 7 Hours]] and speaks to working with audience criticism.
+{{#lst:Gig Report / 8 Live Acts 7 Hours|AudienceResponse}}
@@ Line 69: / Line 101: @@
 [http://bose.infopop.cc/eve/forums/a/tpc/f/1506041054/m/5241075011/r/4561056011 About to get my first 2...]
 [http://bose.infopop.cc/eve/forums/a/tpc/f/1506041054/m/8891056011/r/8891056011 Introducing Performers]
+----
-[[category:Editorial]]
+[[Category:Editorial]]
-[[category:Performance]]
+[[Category:Application Note]]
+[[Category:Festival Sound]]
+[[Category:Gig Report]]
+[[Category:Performance]]