Making a Living with the L1®: Difference between revisions

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The following are new tools that the L1 system gives the musical artist, that they have never had before

# ~~The tone you craft everywhere~~

# Combining common musical instruments with the L1 creates a totally new kind of musical instrument that has unprecedented qualities of connecting artists with audiences.

* When a musician crafts an airborn tone using instrument, ToneMatch preset and L1 system, a never-before available complete and totally new musical instrument is created. The human race has never before had such an instrument. This is not a marketing-and-sales statement from the Bose Corporation. It is a statement of, in my mind, profound fact, especially for any musician to consider. Here are some examples:

** Human voice loses volume when the distance from the singer or speaker is increased. It is crisp (sibilants) in front of the head and dull in back of the head. Sound systems for voice (using microphones) have the same characteristics of volume change, plus the vocalist or talker can't hear what his audience is hearing. This is not as much a problem for a "speaker" who is simply delivering information to an audience, as it is to a vocalist who is delivering their heart and soul to an audience. The L1 system puts both vocalist and audience in the same soundfield. The tone and level delivered is very uniform. When the vocalist understands this and accepts it, a profound change takes place in the delivery of their performance. The realization that they can live in the delivery creates a bond and connection to the audience that simply was never possible before in the history of delivering vocal to an audience. It is empowering and deeply spiritual. And from this realization comes a change in the depth of the performance. The performer digs deep and connects to their audience like never before. It's true, it's real.

** Human voice is the most familiar-sounding musical instrument in all of our experience. We know how it sounds live and we know how it sounds witin an ensemble, including from good recordings made with microphones. Human voice loses volume when the distance from the singer or speaker is increased. It is crisp (sibilants) in front of the head and dull in back of the head. Sound systems for voice (using microphones) have the same characteristics of volume change, plus the vocalist or talker can't hear what his audience is hearing. This is not as much a problem for a "speaker" who is simply delivering information to an audience, as it is to a vocalist who is delivering their heart and soul to an audience. The L1 system puts both vocalist and audience in the same soundfield. The tone and level delivered is very uniform. When the vocalist understands this and accepts it, a profound change takes place in the delivery of their performance. The realization that they can live in the delivery creates a bond and connection to the audience that simply was never possible before in the history of delivering vocal to an audience. It is empowering and deeply spiritual. And from this realization comes a change in the depth of the performance. The performer digs deep and connects to their audience like never before. It's true, it's real.

** Acoustic guitars have a familar tone, a tone we as a species have lived with and loved for many centuries. A normal acoustic or "Spanish" guitar behaves exactly like human voice: its sound level falls off rapidly (inverse square of the distance) and its tone varies depending on where you are in the audience. Certainly, the player gets a totally different tone than anyone in the audience. When an acoustic guitar, or a guitar-like instrument whose electrical signal is, is played through the L1

** Acoustic guitars have a familar tone, a tone we as a species have lived with and loved for many centuries, both live and through recordings. A normal acoustic or "Spanish" guitar behaves exactly like human voice: its sound level falls off rapidly (inverse square of the distance) and its tone varies depending on where you are in the audience. Certainly, the player gets a totally different tone than anyone in the audience. When an acoustic guitar, or a guitar-like instrument whose electrical signal emulates or is that of a real guitar's recording, is played through the L1, the player and the audience are put in the same soundfield and, exactly like the example of human voice, an unprecedented connection of the artist, to and through their instrument and to their audience, is made. Properly configured, the "totally new instrument" here has all the tone and soul of a "real" guitar, but it connects to an audience in a way never before possible. Thus, the artist is empowered and actually encouraged to perform at peak level.

** The same is true for all other "amplifyable" instruments, like horns, all kinds of string instruments, pianos, and so on.

** Electric guitar seems to benefit greatly from being combined with the L1 system. Electric guitar on recordings have delighted jazz, rock and blues fans since the invention of these artforms. Electric guitar amps, unfortunately, are very loud and shrill in front of them, loud and dull off to the side, softer but still shrill in the audience section in front of the amps onstage and dull and soft off to the side areas of the audience. In large concerts, amplifying electric guitar tone by placing a microphone pickup in the "right" place is good for the audience but the artist never hears the tone at the play position. In fact, NO ONE, hears this tone but the player. When electric guitar tone is send to the L1 system, everyone onstage and in the audience hears the intended tone and it's more uniform than ever before. And so, like voice and other instruments discussed, the use of electric guitar with the L1 creates, or rather redefines, the electric guitar as a new kind of musical instrument.

* Localized and spatially-distributed ensemble sound and "Stereo" everywhere

** A typical ensemble using a front-of-house PA in a small venue has most of the sound of the band heard from the nearest PA speaker. Plus, those close to the speaker can get toxic and damaging sound levels. The L1 system, properly used (one per player), gives a sonic perspective from anywhere in the room, as the sound coming from every player is easily heard coming from their location onstage. The ensemble will sound full and spacious and vocals from all members will take on a quality of spacious beauty never possible before.

**Musical arrangements employing this tool can produce spectacular "pingpong" musical effects with vocal and/or instrumental exchanges that treat audiences to the musical equivalent of a very good professional tennis match. Plus, the simple soundstage, distributed and spread across a stage, sounds full and rich and allows much more subtlty to be heard from individual instruments than ever before. This is a very powerful tool that will encourage new kinds of musical arrangements that create new and spatial sound scapes for audiences.

** Your bandmates will hear you AND The Mix. And so, you will be able to play so that the song is served. Can't hear the vocal? It's the one thing that sells both the song and your ensemble. Protect it with all your might. Turn it up or, most likely, turn everything else down. This usually translates to playing right within the song. This forces you to listen and play together better than ever.

* Playing in the same soundfield as your audience invites much more considerate performances

** Let's say you had an electrode connected to your finger tip and so did all the people in an audience, and let's say you had a control whereby you could change the voltage, same for everybody including you. Turn it up a little and it's actually interesting and could even be construed as pleasant. Turn it all the way up and everyone's electrocuted. At some level, it gets painful. So naturally, you would turn it up, maybe play a bit with it, but you would definitely back off when it got uncomfortable. That's sort-of like an L1 system. Now, take your electrode off. That's like the triple amplification system.

** Let's say you're in a hot tub with a lot of people...ah, forget all this. You know what I'm getting at. The L1 system puts you, your bandmates and the audience in the same pool, the same soundfield, for the first time. I suppose some musicians want to abuse their audiences, and maybe themselves at the same time. You know; hate and angst music. The L1 is perfect for this. But most audiences want to feel the love, get transported to a better place, feel good, feel God, all that. And so, the L1 system is best used for this kind of thing, in my opinion. It invites a soulful connection, subtlty, dynamics and good musicianship.

* Nowhere to hide

** This is a blessing and a curse.

** Performing is no joke. For most serious and conscientious artists, it is life and death. You practice practice practice so that you can perform without thinking and without making bad notes. When you just play (and don't think), you connect best with your audience. The L1 system, properly used, places you as bare and naked as can be in front of an audience. If you talk to them through your microphone and mumble, they'll tell you. Make a lot of bad notes or play out of tune and they'll let you know (by not applauding, or by not coming back as your customers). There's no place to hide. This is the curse part.

** The blessing is that you are as bare and naked as you can be. And so, the blessing to you is that it forces you to get your act together, to sing in tune, to connect with your own muse and to put on your best performance.

* Lookin good

The L1 tends to disappear visually from most stages. Audiences often forget they are there. This draws attention to you and your beautiful instruments, and maybe your thoughtfully feng-shue'd-out set. It sure gives you more moving room, compared to a stumble-disaser stage full of wedges and amps. Your show will focus on the players and instruments and not on the equipment. This is also a big advantage in events like weddings, barmitzvahs, corporate events, etc (money events) where the event planners want everything to look slick and polished. They love how L1-equipped bands look. It's a selling point for you to them and for them to their clients.

* No Toxic Sound Zone

PA speakers have a toxic sound zone. No one wants to sit or stand there. At the very least, like at a wedding, it becomes a zone for annoyance, where you can't hold a conversation. With an L1-equipped band, wedding planners (for instance) can have tables in very intimate proximity to the band. In a night club, it allows much more seating by having the best seats right on top of the band, not the worse seats as with a normal PA. More seating means more revenue for the club owner and, hopefully the band.

*

@@ Line 31: / Line 31: @@
 The following are new tools that the L1 system gives the musical artist, that they have never had before
-#  The tone you craft everywhere
+#  Combining common musical instruments with the L1 creates a totally new kind of musical instrument that has unprecedented qualities of connecting artists with audiences.
 *  When a musician crafts an airborn tone using instrument, ToneMatch preset and L1 system, a never-before available complete and totally new musical instrument is created.  The human race has never before had such an instrument.  This is not a marketing-and-sales statement from the Bose Corporation.  It is a statement of, in my mind, profound fact, especially for any musician to consider.  Here are some examples:
-**  Human voice loses volume when the distance from the singer or speaker is increased.  It is crisp (sibilants) in front of the head and dull in back of the head.  Sound systems for voice (using microphones) have the same characteristics of volume change, plus the vocalist or talker can't hear what his audience is hearing.  This is not as much a problem for a "speaker" who is simply delivering information to an audience, as it is to a vocalist who is delivering their heart and soul to an audience.  The L1 system puts both vocalist and audience in the same soundfield.  The tone and level delivered is very uniform.  When the vocalist understands this and accepts it, a profound change takes place in the delivery of their performance.  The realization that they can live in the delivery creates a bond and connection to the audience that simply was never possible before in the history of delivering vocal to an audience.  It is empowering and deeply spiritual.  And from this realization comes a change in the depth of the performance.  The performer digs deep and connects to their audience like never before.  It's true, it's real.
+**  Human voice is the most familiar-sounding musical instrument in all of our experience.  We know how it sounds live and we know how it sounds witin an ensemble, including from good recordings made with microphones.  Human voice loses volume when the distance from the singer or speaker is increased.  It is crisp (sibilants) in front of the head and dull in back of the head.  Sound systems for voice (using microphones) have the same characteristics of volume change, plus the vocalist or talker can't hear what his audience is hearing.  This is not as much a problem for a "speaker" who is simply delivering information to an audience, as it is to a vocalist who is delivering their heart and soul to an audience.  The L1 system puts both vocalist and audience in the same soundfield.  The tone and level delivered is very uniform.  When the vocalist understands this and accepts it, a profound change takes place in the delivery of their performance.  The realization that they can live in the delivery creates a bond and connection to the audience that simply was never possible before in the history of delivering vocal to an audience.  It is empowering and deeply spiritual.  And from this realization comes a change in the depth of the performance.  The performer digs deep and connects to their audience like never before.  It's true, it's real.
-**  Acoustic guitars have a familar tone, a tone we as a species have lived with and loved for many centuries.  A normal acoustic or "Spanish" guitar behaves exactly like human voice: its sound level falls off rapidly (inverse square of the distance) and its tone varies depending on where you are in the audience.  Certainly, the player gets a totally different tone than anyone in the audience.  When an acoustic guitar, or a guitar-like instrument whose electrical signal is, is played through the L1
+**  Acoustic guitars have a familar tone, a tone we as a species have lived with and loved for many centuries, both live and through recordings.  A normal acoustic or "Spanish" guitar behaves exactly like human voice: its sound level falls off rapidly (inverse square of the distance) and its tone varies depending on where you are in the audience.  Certainly, the player gets a totally different tone than anyone in the audience.  When an acoustic guitar, or a guitar-like instrument whose electrical signal emulates or is that of a real guitar's recording, is played through the L1, the player and the audience are put in the same soundfield and, exactly like the example of human voice, an unprecedented connection of the artist, to and through their instrument and to their audience, is made.  Properly configured, the "totally new instrument" here has all the tone and soul of a "real" guitar, but it connects to an audience in a way never before possible.  Thus, the artist is empowered and actually encouraged to perform at peak level.
+**  The same is true for all other "amplifyable" instruments, like horns, all kinds of string instruments, pianos, and so on.
+**  Electric guitar seems to benefit greatly from being combined with the L1 system.  Electric guitar on recordings have delighted jazz, rock and blues fans since the invention of these artforms.  Electric guitar amps, unfortunately, are very loud and shrill in front of them, loud and dull off to the side, softer but still shrill in the audience section in front of the amps onstage and dull and soft off to the side areas of the audience.  In large concerts, amplifying electric guitar tone by placing a microphone pickup in the "right" place is good for the audience but the artist never hears the tone at the play position.  In fact, NO ONE, hears this tone but the player.  When electric guitar tone is send to the L1 system, everyone onstage and in the audience hears the intended tone and it's more uniform than ever before.  And so, like voice and other instruments discussed, the use of electric guitar with the L1 creates, or rather redefines, the electric guitar as a new kind of musical instrument.
+*  Localized and spatially-distributed ensemble sound and "Stereo" everywhere
+**  A typical ensemble using a front-of-house PA in a small venue has most of the sound of the band heard from the nearest PA speaker.  Plus, those close to the speaker can get toxic and damaging sound levels.  The L1 system, properly used (one per player), gives a sonic perspective from anywhere in the room, as the sound coming from every player is easily heard coming from their location onstage.  The ensemble will sound full and spacious and vocals from all members will take on a quality of spacious beauty never possible before.
+**Musical arrangements employing this tool can produce spectacular "pingpong" musical effects with vocal and/or instrumental exchanges that treat audiences to the musical equivalent of a very good professional tennis match.  Plus, the simple soundstage, distributed and spread across a stage, sounds full and rich and allows much more subtlty to be heard from individual instruments than ever before.  This is a very powerful tool that will encourage new kinds of musical arrangements that create new and spatial sound scapes for audiences.
+**  Your bandmates will hear you AND The Mix.  And so, you will be able to play so that the song is served.  Can't hear the vocal?  It's the one thing that sells both the song and your ensemble.  Protect it with all your might.  Turn it up or, most likely, turn everything else down.  This usually translates to playing right within the song.  This forces you to listen and play together better than ever.
+*  Playing in the same soundfield as your audience invites much more considerate performances
+** Let's say you had an electrode connected to your finger tip and so did all the people in an audience, and let's say you had a control whereby you could change the voltage, same for everybody including you.  Turn it up a little and it's actually interesting and could even be construed as pleasant.  Turn it all the way up and everyone's electrocuted.  At some level, it gets painful.  So naturally, you would turn it up, maybe play a bit with it, but you would definitely back off when it got uncomfortable.  That's sort-of like an L1 system.  Now, take your electrode off.  That's like the triple amplification system.
+** Let's say you're in a hot tub with a lot of people...ah, forget all this.  You know what I'm getting at.  The L1 system puts you, your bandmates and the audience in the same pool, the same soundfield, for the first time.  I suppose some musicians want to abuse their audiences, and maybe themselves at the same time.  You know;  hate and angst music.  The L1 is perfect for this.  But most audiences want to feel the love, get transported to a better place, feel good, feel God, all that.  And so, the L1 system is best used for this kind of thing, in my opinion.  It invites a soulful connection, subtlty, dynamics and good musicianship.
+*  Nowhere to hide
+**  This is a blessing and a curse.
+**  Performing is no joke.  For most serious and conscientious artists, it is life and death.  You practice practice practice so that you can perform without thinking and without making bad notes.  When you just play (and don't think), you connect best with your audience.  The L1 system, properly used, places you as bare and naked as can be in front of an audience.  If you talk to them through your microphone and mumble, they'll tell you.  Make a lot of bad notes or play out of tune and they'll let you know (by not applauding, or by not coming back as your customers).  There's no place to hide.  This is the curse part.
+**  The blessing is that you are as bare and naked as you can be.  And so, the blessing to you is that it forces you to get your act together, to sing in tune, to connect with your own muse and to put on your best performance.
+*  Lookin good
+The L1 tends to disappear visually from most stages.  Audiences often forget they are there.  This draws attention to you and your beautiful instruments, and maybe your thoughtfully feng-shue'd-out set.  It sure gives you more moving room, compared to a stumble-disaser stage full of wedges and amps.  Your show will focus on the players and instruments and not on the equipment.  This is also a big advantage in events like weddings, barmitzvahs, corporate events, etc (money events) where the event planners want everything to look slick and polished.  They love how L1-equipped bands look.  It's a selling point for you to them and for them to their clients.
+*  No Toxic Sound Zone
+PA speakers have a toxic sound zone.  No one wants to sit or stand there.  At the very least, like at a wedding, it becomes a zone for annoyance, where you can't hold a conversation.  With an L1-equipped band, wedding planners (for instance) can have tables in very intimate proximity to the band.  In a night club, it allows much more seating by having the best seats right on top of the band, not the worse seats as with a normal PA.  More seating means more revenue for the club owner and, hopefully the band.
+*