L1® Unofficial Performers' Guide: Difference between revisions
No edit summary |
No edit summary |
||
| Line 50: | Line 50: | ||
Several instruments or instruments and voices can be amplified simultaneously with complete independence of tone and no corruption of any kind, other than having everything come from one source. Always try to take advantage of the ToneMatch™ preset feature. For instance, if you are doing a “single” and have a drum machine and/or sequencer driving a bunch of MIDI modules, use channels 1 and 2 for personal-preference preset settings, like your vocal microphone and, say, an acoustic guitar with a pickup. Then use an external mixer, which you probably have if this example describes your musical work, and put it into channel 3 or 4. | Several instruments or instruments and voices can be amplified simultaneously with complete independence of tone and no corruption of any kind, other than having everything come from one source. Always try to take advantage of the ToneMatch™ preset feature. For instance, if you are doing a “single” and have a drum machine and/or sequencer driving a bunch of MIDI modules, use channels 1 and 2 for personal-preference preset settings, like your vocal microphone and, say, an acoustic guitar with a pickup. Then use an external mixer, which you probably have if this example describes your musical work, and put it into channel 3 or 4. | ||
=== Connections General Examples === | === Connections General Examples === | ||
| Line 61: | Line 62: | ||
==== Interactive Tour of the Inputs and Outputs ==== | ==== Interactive Tour of the Inputs and Outputs ==== | ||
{{PS1 Connections Interactive}} | {{PS1 Connections Interactive}} | ||
=== Connections for a Soloist === | === Connections for a Soloist === | ||
| Line 67: | Line 69: | ||
<br /> | <br /> | ||
</html> | </html> | ||
=== Connections for a Duo === | === Connections for a Duo === | ||
| Line 80: | Line 83: | ||
</html> | </html> | ||
--> | --> | ||
=== B1 Cables (blue) === | === B1 Cables (blue) === | ||
* Make sure the Speakon cables (blue) are really connected. Insert and turn clockwise. There should be an audible click. You should have to slide the silver lock and twist counterclockwise to remove the cable. If you can remove it without a twist, it is not really connected. | * Make sure the Speakon cables (blue) are really connected. Insert and turn clockwise. There should be an audible click. You should have to slide the silver lock and twist counterclockwise to remove the cable. If you can remove it without a twist, it is not really connected. | ||
=== ToneMatch™ Presets === | === ToneMatch™ Presets === | ||
| Line 92: | Line 97: | ||
If the stage is already set up, then it is time to talk about performing. | If the stage is already set up, then it is time to talk about performing. | ||
== Performing == | == Performing == | ||
| Line 112: | Line 119: | ||
You would think that embracing the simple truth of “what you hear is what everyone hears” would be simple and instantly-recognized. It should work “out of the box”. In one sense, it works perfectly. In another sense it doesn’t, simply because, to quote an old adage, old habits die hard. Many amplified musicians are not used to listening to everyone in the mix and adjusting their performances accordingly, or playing with dynamics or simply communicating directly with an audience. With the Bose system, you finally know how you sound everywhere. Give it time to sink in. The more you tune into listening, responding and adjusting to other musicians, the more this will make sense. Experienced jazz musicians excel at this, for example, and egocentric musicians that love to bathe in their own sound “bubble” (in their monitor mix) would have the greatest problem adapting. The best ensemble playing amounts to being a “team sport” where players help each other achieve great musical moments, or they work together to present a composition they love in the best possible manner. | You would think that embracing the simple truth of “what you hear is what everyone hears” would be simple and instantly-recognized. It should work “out of the box”. In one sense, it works perfectly. In another sense it doesn’t, simply because, to quote an old adage, old habits die hard. Many amplified musicians are not used to listening to everyone in the mix and adjusting their performances accordingly, or playing with dynamics or simply communicating directly with an audience. With the Bose system, you finally know how you sound everywhere. Give it time to sink in. The more you tune into listening, responding and adjusting to other musicians, the more this will make sense. Experienced jazz musicians excel at this, for example, and egocentric musicians that love to bathe in their own sound “bubble” (in their monitor mix) would have the greatest problem adapting. The best ensemble playing amounts to being a “team sport” where players help each other achieve great musical moments, or they work together to present a composition they love in the best possible manner. | ||
=== Mixing Yourself In Ensemble === | |||
Using a typical triple amplification system, a professional front-of-house mixer rides vocals, varies the level of horn sections and rides (and often misses) lead solos. They do this because they and not you can hear a mix over the mains “out front”. | |||
The Bose Personalized Amplification System™ changes all this. Now you can hear the mix your audience hears. Are the vocals too soft? Now you can do something about it. Turn it up (of sing louder)! Or, more probable, turn everything else down! Is your guitar solo easily heard? Are the drums too loud? Don’t get mad. Work together as a band and play the tune right. Play with dynamics. When that sax solo comes in, drop the whole band’s level so much that every little juicy nuance can be heard. How will you know? You will hear it. Listen! Support the lead instrument by playing quieter, or less, or most likely (the best-ever approach), don’t play at all! It might surprise you to know that many of the top professional players in the world are most revered and respected for what they don’t play than for what they do play. It’s exactly the same as a “playmaker” in a team sport. Yeah, the big scorers get the headlines. But the players that make the most assists quickly become the most valuable players. Delivering the song you are playing is the same as making a goal in sports. | |||
And about playing loud: This can be real exciting, but not as a steady thing. Don’t hammer your audiences into numbness without a letup. And don’t numb your whole band by a steady diet of loud. veryone appreciates a letup. Treat yourselves and your audiences to the knockout punch, but make it infinitely more dramatic when you launch it from almost dead quiet. Showbiz requires dramatic over-exaggeration for a memorable effect. Combining loud play with really quiet play is the best way to get the point across. This might be a new world of playing for you. Try it. Now you can hear it and now you can do something about it. It’s interesting: most “hit” records are produced to sound loud, and it is done with a big sacrifice in dynamic range or peak-to-average sound. Call this “punch”. You can make it sound better than a record. Mix it live by playing it right. | |||