Performing with the L1 Pro: Difference between revisions
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== Overview== | == Overview== | ||
Performing with an L1 Pro is different from using a conventional PA. You hear yourself in the same sound field as the audience, without monitors, and in the context of the room. This changes how you set levels, blend with other musicians, and work the microphone. The sections below explain how to take advantage of this approach so you can perform confidently and get the most from the system. | |||
== Performing == | == Performing == | ||
Latest revision as of 07:54, 5 April 2026
Overview
Performing with an L1 Pro is different from using a conventional PA. You hear yourself in the same sound field as the audience, without monitors, and in the context of the room. This changes how you set levels, blend with other musicians, and work the microphone. The sections below explain how to take advantage of this approach so you can perform confidently and get the most from the system.
Performing
Hearing yourself
This is a different approach to amplifying your sound. If you set up your stage with the L1 Pro behind you, as Bose recommends, the sound of your voice and/or instrument will come from an L1 Cylindrical Radiator® loudspeaker located 5-10 feet 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. ... full article
Mixing Yourself In A Group
With today's modern compact sound systems, you are probably controlling your sound from the stage. You are not relying on someone else to make you sound great. It's your responsibility. Using the L1 systems as designed, you can hear yourself better than with conventional PA gear.
Using a typical triple amplification system, a professional Front-Of-House engineer 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”. ... full article
Microphone Technique
Setting the Level
"Sing as loud as you're going to sing with your lips touching the windscreen and adjust the trim so that the LED just flickers RED. Remember that when you want to be your loudest vocally, you're lips should be touching the windscreen. You can always "work" the mic by backing away from it to lower volume but remember that when you need to be loudest, you're kissing that windscreen. This technique is true for ANY live amplification system, not just ours." -- Ken-at-Bose
Singing
You will probably find that you hear yourself better with this system than in other live music situations. If you are new to the experience, you may want to back off from the microphone. Try this instead. Get up closer to the mic. Relax and get used to hearing yourself. You will find it is easier to sing when you can hear.
"Many owners, myself included, have found singing through L1 s to be reminiscent of singing in unamplified groups (big family, in my case), but different, sonically better. Unamplified, we control our timbre and dynamics with just our bodies - No mics to technique. With the L1 , staying on the mic (the simplest of techniques) allows us to sing that way, using our head to toes as our preamp and our lungs as our volume control. Here's where it gets better - With much more available volume, therefore much more dynamic range and coverage way out into the room, we can still bring it down to that unamplified-level whisper (and everyone, singers and audience, can hear every nuance - I love that!), then bring it back up to the brink of ouch! Very expressive. Very musical..." - - Chuck-at-Bose
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.
Microphone Feedback (squeal)
- Use close mic technique "eat the mic"
- Avoid leaving the mic pointed in the general direction of the L1 with nothing in between.
- If you are practicing in a small room (smaller than a performance space), you may find the system is prone to feedback because of the wide sound dispersion and reflections from the walls. This should be alleviated when you set up in a larger room.
- Read more about Feedback