Template:Two L1 Pro16 or One L1 Pro32: Difference between revisions

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==== Two L1 Pro16====

Reasons to choose two L1 Pro16 over a single L1 Pro32:

* Stereo. If you are running prerecorded music in stereo (e.g., backing tracks), you need two systems to play stereo

* For two performers: Run the systems independently, with each performer heard through only one L1 Pro.

** You and your audience get the benefits of the [[Cocktail Party Effect]]

* Two or more performers. Use two systems to split the vocal microphones and increase your gain before feedback. Here's why:

** For every doubling of the number of microphones heard through one loudspeaker, you lower your gain before feedback by up to -3 dB

:{{FAQItem

** For every doubling of the number of loudspeakers connected to a microphone, you lower your gain before feedback by up to -3 dB

| question = Why is it better to split microphones over two or more L1 Pro systems

** If you run two microphones into two loudspeakers ([[Dual Mono|dual mono]]), you are doing both of the above

| answer =

** If you split the microphones so each microphone is heard through only one loudspeaker, you increase your gain before feedback compared to running all the microphones through one or more loudspeakers

When you split the microphones so each microphone is heard through only one loudspeaker, you increase your gain before feedback compared to running all the microphones through one or more loudspeakers. Reasons:

* Stereo. If you are running prerecorded music in stereo (e.g., backing tracks), you need two systems to play stereo

* For every doubling of the number of microphones heard through one loudspeaker, you lower your gain before feedback by up to -3 dB

* For every doubling of the number of loudspeakers connected to a microphone, you lower your gain before feedback by up to -3 dB

* If you run two microphones into two loudspeakers ([[Dual Mono|dual mono]]), you are doing both of the above

}}

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[[Category:L1 Pro]]

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 ==== Two L1 Pro16====
 Reasons to choose two L1 Pro16 over a single L1 Pro32:
+* Stereo. If you are running prerecorded music in stereo (e.g., backing tracks), you need two systems to play stereo
 * For two performers: Run the systems independently, with each performer heard through only one L1 Pro.
 ** You and your audience get the benefits of the [[Cocktail Party Effect]]
 * Two or more performers. Use two systems to split the vocal microphones and increase your gain before feedback. Here's why:
-** For every doubling of the number of microphones heard through one loudspeaker, you lower your gain before feedback by up to  -3 dB
+:{{FAQItem
-** For every doubling of the number of loudspeakers connected to a microphone, you lower your gain before feedback by up to -3 dB
+| question = Why is it better to split microphones over two or more L1 Pro systems
-** If you run two microphones into two loudspeakers ([[Dual Mono|dual mono]]), you are doing both of the above
+| answer =
-** If you split the microphones so each microphone is heard through only one loudspeaker, you increase your gain before feedback compared to running all the microphones through one or more loudspeakers
+When you split the microphones so each microphone is heard through only one loudspeaker, you increase your gain before feedback compared to running all the microphones through one or more loudspeakers. Reasons:
-* Stereo. If you are running prerecorded music in stereo (e.g., backing tracks), you need two systems to play stereo
+* For every doubling of the number of microphones heard through one loudspeaker, you lower your gain before feedback by up to  -3 dB
+* For every doubling of the number of loudspeakers connected to a microphone, you lower your gain before feedback by up to -3 dB
+* If you run two microphones into two loudspeakers ([[Dual Mono|dual mono]]), you are doing both of the above
+}}
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 [[Category:L1 Pro]]