Countryman E6: Difference between revisions - Bose Portable PA Knowledge

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Performing with the L1 means the stage is less cluttered and the space between the performer and audience is opened up in a way that is more warm, personal, and inviting. Where this, more direct, connection between the performer and audience is valued, it is a natural step to eliminate the microphone and stand as well. This is where the E6 comes into its own. It is so unobtrusive that it will almost completely disappear on the singer, and once the music begins, the audience will forget the microphone and simply hear the performer singing to them.

=== Setting the ~~microphone~~'s ~~position~~ ===

=== Setting the Microphone's Position ===

The E6i is a more flexible version that is better suited for adjusting to multiple people who wear it, but if only one person is using the microphone, the E6 is much more stable than the E6i and can be worn close to the face more easily. The closer the boom is to the face, the more invisible it will seem. However, be careful if you are using the directional version as contact with the boom will be amplified. The omni is much less susseptible to this and can even be worn with the boom touching the face almost all the way down to the capsule.

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Following Countryman's fitting directions is pretty straightforward, and it feels more stable on the ear than you might expect. Of course, if you tend to move your head quickly, you will want to purchase the stabilizing accessory that goes behind the head and around the other ear. You will have to work with the positioning to get it back far enough to prevent breath noises, particularly from the "f" sounds that direct wind out the corner of the mouth. To test for this, try saying "face" (while smiling) during a sound check. If you get a blowing sound, then you need to place it further back.

=== Gain...To ~~feedback~~, or not to ~~feedback~~ ===

=== Gain...To Feedback, or not to Feedback ===

Feedback...~~wow~~, ~~there is an often misunderstood concept. Basically, the idea is~~ to get the microphone as close to the sound source as possible and as far from the amplification system as possible. When distance cannot be altered any more, what else is left to do? There are several options available to you, particularly if you are using the T1 with your Bose L1. The parametric equalizer and ZEQ are both tools that can be used to squeeze a few more db out of the system.

Feedback...basically, in order to get the maximum gain, place the microphone as close to the sound source as possible and as far from the amplification system as possible. When distance cannot be altered any more, what else is left to do? There are several options available to you, particularly if you are using the T1 with your Bose L1. The parametric equalizer and ZEQ are both tools that can be used to squeeze a few more db out of the system.

In larger and more open rooms, feedback will be less of a problem than with more confined spaces. Hard surfaces will be particularly problematic, especially if there is a low ceiling. In these types of rooms, a rug placed under and in front of both the L1 and B1 will help significantly, but if you play a variety of venues and you are using the E6 Omni, do yourself a favor and scout the venue and / or bring a backup microphone.

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Now it mostly sounded like me, only louder (that is my objective), so I started ratcheting up the gain and noticed a high ring and some obtrusive sibilance, so I used the parametric EQ to adjust and ultimately set it at: Level -11.2, Freq 13407 and Width .51oct. That also seemed to help with some of the sizzle. To further address the sibilance, I used the De-esser set to Threshold -25.5 and Gain .2db. Ahhh that sounded nicer, but now it was too much like me...I wanted it a little fatter (not much), so I added a very slight amount of chorus2 set at Mix 14% and Depth 73%. Then I added reverb at Mix 12% and Brightness at 7% (reverb type is Large, Time 2.20s, and Bal 50%).

At the peak volume I could obtain (two feet in front of the L1), the main ~~gain~~ was set at 1 o'clock and the E6 gain was set around 3 o'clock. I was pleased, to say the least, but it probably isn't enough volume for the rockers among us. For my own purposes, I can't imagine needing to be louder where I didn't have a lot more room on stage. That is the key, though. How does it do in actual performance?

At the peak volume I could obtain (two feet in front of the L1), the main volume was set at 1 o'clock and the E6 gain was set around 3 o'clock. I was pleased, to say the least, but it probably isn't enough volume for the rockers among us. For my own purposes, I can't imagine needing to be louder where I didn't have a lot more room on stage. That is the key, though. How does it do in actual performance?

=== Performing with the E6 - L1 ~~combo~~ ===

=== Performing with the E6 - L1 Combo ===

I was anxious to see how it sounded, and at our first gig, I was very pleased. I have gotten in the habit of turning the volume up, just enough to feel "pushed" or "supported" by the L1 (don't know how else to describe the feeling). That volume level seems perfect for most venues. Larger venues need a little more "push", but with the L1 doesn't need to feel as loud as the stage volumes of some groups. For a large gym, there was no problem whatsoever, and the combo sounded fantastic.

@@ Line 9: / Line 9: @@
 Performing with the L1 means the stage is less cluttered and the space between the performer and audience is opened up in a way that is more warm, personal, and inviting. Where this, more direct, connection between the performer and audience is valued, it is a natural step to eliminate the microphone and stand as well. This is where the E6 comes into its own. It is so unobtrusive that it will almost completely disappear on the singer, and once the music begins, the audience will forget the microphone and simply hear the performer singing to them.
-=== Setting the microphone's position ===
+=== Setting the Microphone's Position ===
 The E6i is a more flexible version that is better suited for adjusting to multiple people who wear it, but if only one person is using the microphone, the E6 is much more stable than the E6i and can be worn close to the face more easily. The closer the boom is to the face, the more invisible it will seem. However, be careful if you are using the directional version as contact with the boom will be amplified. The omni is much less susseptible to this and can even be worn with the boom touching the face almost all the way down to the capsule.
@@ Line 15: / Line 15: @@
 Following Countryman's fitting directions is pretty straightforward, and it feels more stable on the ear than you might expect. Of course, if you tend to move your head quickly, you will want to purchase the stabilizing accessory that goes behind the head and around the other ear. You will have to work with the positioning to get it back far enough to prevent breath noises, particularly from the "f" sounds that direct wind out the corner of the mouth. To test for this, try saying "face" (while smiling) during a sound check. If you get a blowing sound, then you need to place it further back.
-=== Gain...To feedback, or not to feedback ===
+=== Gain...To Feedback, or not to Feedback ===
-Feedback...wow, there is an often misunderstood concept. Basically, the idea is to get the microphone as close to the sound source as possible and as far from the amplification system as possible. When distance cannot be altered any more, what else is left to do? There are several options available to you, particularly if you are using the T1 with your Bose L1. The parametric equalizer and ZEQ are both tools that can be used to squeeze a few more db out of the system.
+Feedback...basically, in order to get the maximum gain, place the microphone as close to the sound source as possible and as far from the amplification system as possible. When distance cannot be altered any more, what else is left to do? There are several options available to you, particularly if you are using the T1 with your Bose L1. The parametric equalizer and ZEQ are both tools that can be used to squeeze a few more db out of the system.
 In larger and more open rooms, feedback will be less of a problem than with more confined spaces. Hard surfaces will be particularly problematic, especially if there is a low ceiling. In these types of rooms, a rug placed under and in front of both the L1 and B1 will help significantly, but if you play a variety of venues and you are using the E6 Omni, do yourself a favor and scout the venue and / or bring a backup microphone.
@@ Line 27: / Line 27: @@
 Now it mostly sounded like me, only louder (that is my objective), so I started ratcheting up the gain and noticed a high ring and some obtrusive sibilance, so I used the parametric EQ to adjust and ultimately set it at: Level -11.2, Freq 13407 and Width .51oct. That also seemed to help with some of the sizzle. To further address the sibilance, I used the De-esser set to Threshold -25.5 and Gain .2db. Ahhh that sounded nicer, but now it was too much like me...I wanted it a little fatter (not much), so I added a very slight amount of chorus2 set at Mix 14% and Depth 73%. Then I added reverb at Mix 12% and Brightness at 7% (reverb type is Large, Time 2.20s, and Bal 50%).
-At the peak volume I could obtain (two feet in front of the L1), the main gain was set at 1 o'clock and the E6 gain was set around 3 o'clock. I was pleased, to say the least, but it probably isn't enough volume for the rockers among us. For my own purposes, I can't imagine needing to be louder where I didn't have a lot more room on stage. That is the key, though. How does it do in actual performance?
+At the peak volume I could obtain (two feet in front of the L1), the main volume was set at 1 o'clock and the E6 gain was set around 3 o'clock. I was pleased, to say the least, but it probably isn't enough volume for the rockers among us. For my own purposes, I can't imagine needing to be louder where I didn't have a lot more room on stage. That is the key, though. How does it do in actual performance?
-=== Performing with the E6 - L1 combo ===
+=== Performing with the E6 - L1 Combo ===
 I was anxious to see how it sounded, and at our first gig, I was very pleased. I have gotten in the habit of turning the volume up, just enough to feel "pushed" or "supported" by the L1 (don't know how else to describe the feeling). That volume level seems perfect for most venues. Larger venues need a little more "push", but with the L1 doesn't need to feel as loud as the stage volumes of some groups. For a large gym, there was no problem whatsoever, and the combo sounded fantastic.