Fiddle: Difference between revisions - Bose Portable PA Knowledge

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For fiddle players who prefer the freedom of a pickup or mic clipped to their instrument, plugging direct into the L1 Model 1 power stand may pose special challenges. In spite of all, "bow scritch" and a certain "snark" only they know, may come blasting through with the same crystal clarity as the good stuff - the warm, woody tones of a well-seasoned fiddle.

Short of a Model I or T1 preset to address the issue, this article presents an outboard gear solution that has worked for several years now for our band, an acoustic Celtic trio. Our fiddle player uses a Crown GLM 200 condensor clip mic, plugged through a small rack box of dual outboard gear. Dual, since the same gear, other side, is shared with her hammered dulcimer.

Short of a Model I or T1 preset to address the issue, this article presents an outboard gear solution that has worked for several years now for our band, an acoustic Celtic trio. Our fiddle player uses a Crown GLM 200 condensor clip mic, plugged through a small rack box of dual outboard gear. Dual, since the same gear, other side, is shared with her [[hammered dulcimer]].

==Condensor mic? Isn't that a no-no?==

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In a 4 space SKB x-rack (shallow), I put in top-down order:

ART dual preamp

* ART dual preamp

DBX dual 15-band EQ

* DBX dual 15-band EQ

DBX dual compressor/limiter

* DBX dual compressor/limiter

Furman power conditioner

* Furman power conditioner

In back (inside the box), the preamp's dual audio outs (one per side, i.e., one out for the fiddle, one for the HD) are plugged into the inputs of the dual EQ, whose outputs are in turn plugged into the inputs of the dual compressor/limiter, whose outputs go direct to Channels 3 and 4 on the L1 Model 1 power stand. The three units' power cords are plugged into the Furman, so there is but one power cord to plug in to our band power strip (next to to the L1's, of course).

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EQ settings for the fiddle can vary a bit with each gig. The notch to remove the 'scritch' is readily apparent and never changes. What most needs adjusting is the high end, e.g., to enhance 'airiness', or smooth harsh highs. Between 2.5k and 6.3k there is a special tonal range that bears checking each time; it can make the difference between a flat, 'snarky' sound, and a more open, natural acoustic sound.

We hope one day to run the fiddle through a T1 Tonematch. But until then, this little rack setup makes the most of our HD/fiddle player's Bose Model I!

We hope one day to run the fiddle through a T1 Tonematch, which has all these capabilities and more (plus the channel mutes!). But until then, this little rack setup makes the most of our HD/fiddle player's Bose Model I.

** A note regarding those occasions where we must play through house systems: another benefit to this setup is its portability. Gone are the days of long sound checks, because now we have our sound check in a box! Typically, the sound person will request that we reduce the gains on the preamps, usually to 12 o'clock.

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 For fiddle players who prefer the freedom of a pickup or mic clipped to their instrument, plugging direct into the L1 Model 1 power stand may pose special challenges.  In spite of all, "bow scritch" and a certain "snark" only they know, may come blasting through with the same crystal clarity as the good stuff - the warm, woody tones of a well-seasoned fiddle.
-Short of a Model I or T1 preset to address the issue, this article presents an outboard gear solution that has worked for several years now for our band, an acoustic Celtic trio.  Our fiddle player uses a Crown GLM 200 condensor clip mic, plugged through a small rack box of dual outboard gear.  Dual, since the same gear, other side, is shared with her hammered dulcimer.
+Short of a Model I or T1 preset to address the issue, this article presents an outboard gear solution that has worked for several years now for our band, an acoustic Celtic trio.  Our fiddle player uses a Crown GLM 200 condensor clip mic, plugged through a small rack box of dual outboard gear.  Dual, since the same gear, other side, is shared with her [[hammered dulcimer]].
 ==Condensor mic? Isn't that a no-no?==
@@ Line 9: / Line 9: @@
 In a 4 space SKB x-rack (shallow), I put in top-down order:
-ART dual preamp
+* ART dual preamp
-DBX dual 15-band EQ
+* DBX dual 15-band EQ
-DBX dual compressor/limiter
+* DBX dual compressor/limiter
-Furman power conditioner
+* Furman power conditioner
 In back (inside the box), the preamp's dual audio outs (one per side, i.e., one out for the fiddle, one for the HD) are plugged into the inputs of the dual EQ, whose outputs are in turn plugged into the inputs of the dual compressor/limiter, whose outputs go direct to Channels 3 and 4 on the L1 Model 1 power stand.  The three units' power cords are plugged into the Furman, so there is but one power cord to plug in to our band power strip (next to to the L1's, of course).
@@ Line 22: / Line 22: @@
 EQ settings for the fiddle can vary a bit with each gig.  The notch to remove the 'scritch' is readily apparent and never changes.  What most needs adjusting is the high end, e.g., to enhance 'airiness', or smooth harsh highs.  Between 2.5k and 6.3k there is a special tonal range that bears checking each time; it can make the difference between a flat, 'snarky' sound, and a more open, natural acoustic sound.
-We hope one day to run the fiddle through a T1 Tonematch.  But until then, this little rack setup makes the most of our HD/fiddle player's Bose Model I!
+We hope one day to run the fiddle through a T1 Tonematch, which has all these capabilities and more (plus the channel mutes!).  But until then, this little rack setup makes the most of our HD/fiddle player's Bose Model I.
 ** A note regarding those occasions where we must play through house systems: another benefit to this setup is its portability. Gone are the days of long sound checks, because now we have our sound check in a box! Typically, the sound person will request that we reduce the gains on the preamps, usually to 12 o'clock.