Stereo / Mono / Distributed Systems: Difference between revisions

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* There are many reasons a player would want to hear his or her instrument in stereo. Having different sounds come from different directions can be very exciting sonically and I doubt there's much controversy about that.

* An L1 system can project a wide stereo field on stage and into the audience -- particularly the Model I and ~~the~~ Model II. Because the ~~I and II~~ are essentially 14' line arrays (7' speaker with a 7' mirror image source created by the floor reflection) they project sound at much less loss with distance than a conventional speaker. This has the effect of greatly enhancing the size of the stereo field.

* An L1 system can project a wide stereo field on stage and into the audience -- particularly the L1 Pro32, L1 Model I and L1 Model II. Because the these are essentially 14' line arrays (7' speaker with a 7' mirror image source created by the floor reflection) they project sound at much less loss with distance than a conventional speaker. This has the effect of greatly enhancing the size of the stereo field.

* It's a mistake to place stereo speakers too closely together. Not only does the area over which listeners hear stereo sound shrink but you can get undesirable interference effects caused when the same (or very nearly the same) signal is played simultaneously through two or more like speakers. (Multi-source interference can cause audible dropouts in tone.)

* For these reasons, I'd recommend spacing L1 systems used for stereo at least 10' apart. There are competing interests here. A player located too close to one of the L1 systems spaced too far apart won't hear stereo — but his or her audience will. On the other hand, space the L1 systems closer so that the player gets stereo and you won't project stereo to the audience.

* For these reasons, I'd recommend spacing L1 systems used for stereo at least 10' apart. There are competing interests here. A player located too close to one of the L1 systems spaced too far apart won't hear stereo — but his or her audience will. On the other hand, space the L1 systems closer so that the player gets stereo, and you won't project stereo to the audience.

* A player located roughly between two spaced L1 systems will hear stereo well and many in the audience will too. 10-20' feels good to me for this kind of setup although I don't want to have this come across as more than a rule of thumb.

* A player located roughly between two spaced L1 systems will hear stereo well, and many in the audience will too. 10-20' feels good to me for this kind of setup, although I don't want to have this come across as more than a rule of thumb.

* The {{Compact}} uses a significantly shorter array than the {{Model I}} or {{Model I}}. As a result, it doesn't project sound as far. Said another way, the level falls off more rapidly with distance on the Compact. As a consequence, the stereo field won't be quite as large. This will translate I think to a smaller stereo sweet area for the player and for the audience. On the other hand, as has recently been pointed out on this forum, a player can buy two L1 Compacts for the price of one L1 Model I and can buy three for the price of a Model II and a T1 ToneMatch engine. For those that value a stereo instrumental sound, experimentation with the various L1 models is encourage.

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 * There are many reasons a player would want to hear his or her instrument in stereo. Having different sounds come from different directions can be very exciting sonically and I doubt there's much controversy about that.
-* An L1 system can project a wide stereo field on stage and into the audience -- particularly the Model I and the Model II. Because the I and II are essentially 14' line arrays (7' speaker with a 7' mirror image source created by the floor reflection) they project sound at much less loss with distance than a conventional speaker. This has the effect of greatly enhancing the size of the stereo field.
+* An L1 system can project a wide stereo field on stage and into the audience -- particularly the L1 Pro32, L1 Model I and L1 Model II. Because the these  are essentially 14' line arrays (7' speaker with a 7' mirror image source created by the floor reflection) they project sound at much less loss with distance than a conventional speaker. This has the effect of greatly enhancing the size of the stereo field.
 * It's a mistake to place stereo speakers too closely together. Not only does the area over which listeners hear stereo sound shrink but you can get undesirable interference effects caused when the same (or very nearly the same) signal is played simultaneously through two or more like speakers. (Multi-source interference can cause audible dropouts in tone.)
-* For these reasons, I'd recommend spacing L1 systems used for stereo at least 10' apart. There are competing interests here. A player located too close to one of the L1 systems spaced too far apart won't hear stereo &mdash;  but his or her audience will. On the other hand, space the L1 systems closer so that the player gets stereo and you won't project stereo to the audience.
+* For these reasons, I'd recommend spacing L1 systems used for stereo at least 10' apart. There are competing interests here. A player located too close to one of the L1 systems spaced too far apart won't hear stereo &mdash;  but his or her audience will. On the other hand, space the L1 systems closer so that the player gets stereo, and you won't project stereo to the audience.
-* A player located roughly between two spaced L1 systems will hear stereo well and many in the audience will too. 10-20' feels good to me for this kind of setup although I don't want to have this come across as more than a rule of thumb.
+* A player located roughly between two spaced L1 systems will hear stereo well, and many in the audience will too. 10-20' feels good to me for this kind of setup, although I don't want to have this come across as more than a rule of thumb.
 * The {{Compact}} uses a significantly shorter array than the {{Model I}} or {{Model I}}. As a result, it doesn't project sound as far. Said another way, the level falls off more rapidly with distance on the Compact. As a consequence, the stereo field won't be quite as large. This will translate I think to a smaller stereo sweet area for the player and for the audience. On the other hand, as has recently been pointed out on this forum, a player can buy two L1 Compacts for the price of one L1 Model I and can buy three for the price of a Model II and a T1 ToneMatch engine. For those that value a stereo instrumental sound, experimentation with the various L1 models is encourage.