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<big>'''The Unofficial Performers' Guide'''</big>  
<big>'''The Unofficial Performers' Guide'''</big>  
for the Bose® Personalized Amplification System™ family of products.
for the {{PAS}}.


If you will be using the Bose System for the first, second, or third time and are looking for quick-hit things you need to know you are in the right place. This is for you in the role of performer who may or may not actually own an  L1&trade;  System. <!-- TODO Initially, I will write this with the solo or duo act in mind. There may be another version later for larger ensembles. -->
If you will be using the Bose System for the first, second, or third time and are looking for quick-hit things you need to know you are in the right place. This is for you in the role of performer who may or may not actually own an  L1® System. <!-- TODO Initially, I will write this with the solo or duo act in mind. There may be another version later for larger ensembles. -->


If you just got your new System then you will want to check out the [[L1™ Unofficial Users' Guide]] which covers things that System owners like to know.  
If you just got your new System then you will want to check out the [[L1™ Unofficial Users' Guide]] which covers things that System owners like to know.  


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{{L1™ System Benefits}}
[[Image:Bose-Mon8.jpg|Ashland MA Bose-East event photo by Drumr]]
 
[[Image:Bose-Ashby34.jpg|Ashland MA Bose-East event photo by Drumr]]
 
[[Image:Bose-Mon2.jpg|Ashland MA Bose-East event photo by Drumr]]
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== Setting Up ==
== Setting Up ==
If you are stepping onto the stage and someone has made all the connections for you skip down to the section about Performing.  
{{Model II icon}}{{Model I icon}}{{Classic icon}}
If you are stepping onto the stage and someone has made all the connections for you skip down to the section about [[{{PAGENAME}}#Performing|Performing]].  
 
=== Physical Assembly ===
{{Classic Model I Basic Setup}}


=== Microphone Setup ===
=== Microphone Setup ===
{{Get Plugged In Microphone}}
{{Get Plugged In Microphone}}


=== Setup Technique to Reduce Bass Regeneration ===
Bass regeneration is a special class of feedback, or regeration, that exists in all live amplification systems. It is a very insidious and hard-to-confront phenomenon, but it is responsible for a lot of bad sound. Resonances of all kind, including those of musical instruments and those of large “boomy” rooms will also contribute to bass regeneration. And the more system gain you need; either by having soft sources to amplify or by needing to play loud, the more unstable and unpleasant the regeneration becomes. The net result of this is a sonic “doom” that makes musical presentations sound like they were being passed through a wet towel.  Severe cases of bass regeneration will favor discrete frequencies at unfortunate musical notes and may make it very difficult to play bass instruments (like electric bass) due to certain notes sustaining out of control.
Independent of most actions to prevent it, bass tends to go everywhere. Thus, it tends to be picked up, more than any frequency range, by all open microphones and “re-broadcasted” through the systems that amplify those sounds. The more sources of sound and the more devices that pick up and amplify this sound there are, the worse bass regeneration gets. So, in a complicated triple system, this can be a nightmare, especially with a lot of players and especially if the band wants to play loud (lots of system gain).
The Bose Personalized Amplification System™ approach uses a minimum sources/pickups, but bass regeneration will still occur.  There are many ways to minimize this and, like a good work of art, detailing will always result in excellent sound and minimum bass regeneration. The main approach is to reduce the amount of bass that is re-introduced into the system and the following are specifics of how to do this:
* Use a highpass (low-cut) filter such as the presets. This reduces bass gain while not affecting the gain of the upper part of the audio range.  For instance, if you are a singing bassist, use a highpass filter on your vocal microphone to keep your bass signal out of the regeneration loop.  Use only the range you need and filter the rest.
 
* Keep open microphones away from bass boxes -  If you are setting up an L1&trade; system as recommended (on the backline) and are using a microphone pickup for, say, a small guitar amplifier, don’t place the guitar amp next to, say, the bass boxes that the bassist is using. If you do this, it will amplify this part of the bassist’s sound, but not in a predictable or deliberate manner. Also, don’t set the little guitar amp next to the L1 system that is being used for electric guitar. You will not get good results, due to self-feedback in the bass. Rather, set it offstage where the bass from the entire band is relatively quiet. In amplifying a kick drum, get the pickup microphone as close to the beater for a strong signal. This way, you can reduce system gain on the microphone. Also, get the kick drum as far from the drum’s bass box(es) as possible. This is a bit of a conflict because the drummer wants to hear and feel the kick drum, and the drummer’s system should be close enough to the actual drum kit so the sound appears to be coming from the drums.  Using the method described next, for kick drum, will allow very high levels with minimum bass regeneration.


* Reduce resonances in bass or “kick” drums. Especially in strong amplified music, getting a solid kick drum sound usually involves placing the pickup microphone in the drum itself.  The shell of the drum will have its own resonances and will thus tend to “ring” at these specific frequencies. If a second or back drum head is uses, especially one with a resonator hole in it, the resonances will change. A successful method is to reduce these resonances by filling the drum cavity with Dacron® wool, dampen the beater head with typical methods (felt strap, rubber pad, etc) and loosening the back head so that its resonance is low. The Dacron filling will also dampen its resonance.  You can also use fiberglas, but you might not like its itchy nature and you may not appreciate glass fibers getting into your favorite microphone.  Whatever method you use, you can acheive a very dampened and “tight” acoustical drumshell cavity that will not cause excessive system gain at specific frequencies.  The microphone will essentially pick up the character and snap of the beater head.  This really works well.
=== Multiple Performers Sharing One {{L1 no link}} System ===
{{Model II icon}}{{Model I icon}}{{Classic icon}}
Electric guitarists used to play and sing through their amps, but this soon stopped when they started to concentrate on the tone of their guitars.  Now, few musicians are willing to share their amps, based on the idea that any sound other than that of your instrument will somehow corrupt the tone. This is probably true for guitar amplifiers playing at heavy distortion levels (voice will be heavily modulated due to clipping).  But it is not true of an {{L1 no link}} loudspeaker.


* Get the highest signal possible to the microphones, thus reducing system gain – Sing and play strongly.  Don’t play too loud, like through a mic’d guitar amp, so that you interfere with and spoil the sound distributed by the Bose Personalized Amplification System™. You will have to achieve a good balance between too loud and too soft.
Sharing should be restricted to musicians located near each other on stage, for example, two background singers standing shoulder to shoulder, or a horn line.


* Mute open microphones that are not in use- Using your remote control, turn off your microphone if you don’t need to use it.  This is just good practice.  A noise gate will do this automatically, so try the ones we have provided in our presets.
Several instruments or instruments and voices can be amplified simultaneously with complete independence of tone and no corruption of any kind, other than having everything come from one source.  Always try to take advantage of the ToneMatch® preset feature.  


* Don’t play so loud. We’re so used to this artifact of the triple system (playing too loud) that we don’t think about it much. Your audience will appreciate it and so will you when your ears don’t ring. A nice benefit of playing softer is that you need less system gain. This results in  less bass regeneration.
{{Model I icon}}{{Classic icon}}
For instance, if you are doing a “single” and have a drum machine and/or sequencer driving a bunch of MIDI modules, use channels 1 and 2 for personal-preference preset settings, like your vocal microphone and, say, an acoustic guitar with a pickup. Then use an external mixer, which you probably have if this example describes your musical work, and put it into channel 3 or 4.




=== Connections General Examples ===
=== Connections General Examples ===
{{Model I icon}}{{Classic icon}}
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==== Interactive Tour of the Inputs and Outputs ====
==== Interactive Tour of the Inputs and Outputs ====
{{PS1 Connections Interactive}}
{{PS1 Connections Interactive}}


=== Connections for a Soloist ===
=== Connections for a Soloist ===
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=== Soloist with Backing Tracks ===
{{:Vocalist with Backing Tracks L1}}


=== Connections for a Duo ===
=== Connections for a Duo ===
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=== Quick Hookup Guide ===
* [http://bose.infopop.cc/eve/forums/a/ga/ul/2501026994/hookupGuide_v081705.pdf Quick Hookup Guide] - Print this and keep it handy (especially for people unfamiliar with the system). This is a 6 page pdf document, that you can print and leave at any venue that provides an L1™ Classic or Model I for performers to use. It includes most of the information above.


=== B1 Cables (blue) ===
=== B1 Cables (blue) ===
{{Model II icon}}{{Model I icon}}{{Classic icon}}
* Make sure the Speakon cables (blue) are really connected. Insert and turn clockwise. There should be an audible click. You should have to slide the silver lock and twist counterclockwise to remove the cable. If you can remove it without a twist, it is not really connected.
* Make sure the Speakon cables (blue) are really connected. Insert and turn clockwise. There should be an audible click. You should have to slide the silver lock and twist counterclockwise to remove the cable. If you can remove it without a twist, it is not really connected.


=== ToneMatch&trade; Presets ===
 
=== ToneMatch® Presets ===
{{Model II icon}}{{Model I icon}}{{Classic icon}}
* Presets are used to get the best possible sound from your inputs. They are not meant to make something sound like something else (like Guitar processor or instrument patches).  Note: The presets for vocal microphones are based on using ''close microphone'' techniques.  
* Presets are used to get the best possible sound from your inputs. They are not meant to make something sound like something else (like Guitar processor or instrument patches).  Note: The presets for vocal microphones are based on using ''close microphone'' techniques.  


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== Performing ==
== Performing ==
 
{{Model II icon}}{{Model I icon}}{{Classic icon}}
=== Hearing yourself ===
=== Hearing yourself ===
This is a different approach to amplifying your sound. The sound of your voice and/or instrument will come from an {{L1 CR}} located 5-10 feet behind you. Unlike conventional approaches, you will not be behind the main speakers going to the room.


This is a different approach to amplifying your sound. There is typically only one amplified version of your sound entering the room. That will be the Cylindrical Radiator®. Typically it will be set up behind you. Unlike conventional approaches, you will not be behind the main speakers going to the room.
How does it sound? - It may seem unusual for a few minutes because you are hearing yourself in much the same way the audience is hearing you. This is a big difference because you will be hearing yourself in the context of the room instead of out of context in the monitor. ... [[Hearing Yourself|full article]]
 
How does it sound? - It may seem unusual for a few minutes because you are hearing yourself in much the same way the audience is hearing you. This is a big difference because you will be hearing yourself in the context of the room instead of out of context in the monitor.  
Where do I stand? - Usually in front of the Cylindrical Radiator®. Sometimes beside it. If you are in front of it, an ideal would be approximately 7-10 feet. This is easy to work out if you have the standard 15 foot cable. Assuming you have the Remote mounted on your mic stand, the cable should be a straight run back to the Power Stand.  
Where is the monitor? - No monitor required. You will be hearing yourself through the same Cylindrical Radiator®  that the audience is hearing.  
Where is the reverb? - This is typically not required because you will be hearing the natural reverb in the room not a monitor mix from a floor wedge.
Hearing Yourself with the Bose... 


=== Mixing Yourself In Ensemble ===
Using a typical [[Triple Amplification System|triple amplification system]], a professional front-of-house mixer rides vocals, varies the level of horn sections and rides (and often misses) lead solos. They do this because they and not you can hear a mix over the mains “out front”.  ... [[Mixing Yourself|full article]]


=== Microphone Technique ===
=== Microphone Technique ===
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=== Feedback ===
=== Feedback ===
Feedback occurs when sound coming from the Cylindrical Radiator® is reintroduced into the System and amplified again. You typically hear either a high pitched squeal or a low pitched howl. The first usually comes from a vocal microphone and the second is more likely from an acoustic instrument like a Guitar.  
Feedback occurs when sound coming from the Cylindrical Radiator® is reintroduced into the System and amplified again. You typically hear either a high pitched squeal or a low pitched howl. The first usually comes from a vocal microphone and the second is more likely from an acoustic instrument like a Guitar.  


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If you are a vocalist, one of the single most important things you can do is practice your microphone technique. You get the best [[Gain Before Feedback]] using close microphone technique. The presets for vocal mics are designed for that (close micing) technique.  
If you are a vocalist, one of the single most important things you can do is practice your microphone technique. You get the best [[Gain Before Feedback]] using close microphone technique. The presets for vocal mics are designed for that (close micing) technique.  
   
   
== Troubleshooting ==
{{:Troubleshooting}}  <!-- this is an inclusion of a separate article -->
== Working with Others ==
== Working with Others ==
[[Introducing Performers to the Bose System]]
[[Introducing Performers to the Bose System]]


[[category:Feedback]]
[[category:Feedback]]
[[category:Performance]]
[[category:Performance]]
{{Snap}}
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