5th Anniversary of L1® Launch: Difference between revisions

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To Musicians Everywhere,

You can see how they blended in to the environment.

[http://bose.infopop.cc/eve/forums/a/tpc/f/1341014465/m/4341021665?r=4341021665#4341021665 Ken-at-Bose]

Cliff Henricksen came to Bose in November of 1993.

[http://bose.infopop.cc/eve/forums/a/tpc/f/1341014465/m/1711005465?r=1711005465#1711005465 Ken-at-Bose]

== Earliest Activities ==

My suggestions for a possible technological solution to this epidemic in music-land came from recent industry vibrations about the special qualities of line arrays and from the brave experiments by the Grateful Dead, putting the whole sound system, made up partially by bass and guitar line arrays and a large central vocal system. The latter made so much sense; putting the system behind the band so they could hear it. The Dead used a canceling microphone system too, to reduce feedback in large-audience shows. Ken and I knew it was imperfect, but the idea of a system the band could use and hear and control was the inspiration. My suggestion was using line arrays that were very small in width and above head-level in height. This would give very wide horizontal acoustical radiation and an array-high vertical pattern. It would also give a very gradual change in level with distance from the array. I decided that one system per player would probably work, although at first I thought that horizontal waveguides would be necessary to direct the sound, and so would control by an audience-situated mix engineer. Boy, was that ever wrong on both counts. I wrote an early document to Ken in September of 1995 during our ongoing search for something that would work for most players.

—  [http://bose.infopop.cc/eve/forums/a/tpc/f/1341014465/m/4551024465?r=4551024465#4551024465 Cliff-at-Bose]

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