L1® Traditional Music System: Difference between revisions

If you try to set up one of these large "group condensers" with the Cylindrical Radiator&reg; speaker placed behind the performers, you can't get much gain because the players just can't get close enough to the mic and if even if they could the difference in volume from their normal position when not soloing would be musically far to great and would sound severe and unnatural.<br><br>The brain wave for a different application of the Cylindrical Radiator speaker came on April 2nd of this year in an earlier test. You can read all about this discovery in a very interesting thread on this Message Board by clicking <a href="http://bose.infopop.cc/eve/forums/a/tpc/f/8146026354/m/7501028281" target="_blank">here</a>,<br><br>The idea was to push the Cylindrical Radiator speaker downstage to the lip, where the extraordinarily wide pattern of the speaker would both cover the whole audience and wrap some sound back to the performers on stage.<br><br>Moreover, if TWO large diaphram mics were used instead of one, spaced a few feet apart, a left one feeding a speaker on the left (only) and the right one feeding only a speaker on the right, then the audience would enjoy a glorious spatiality not present in typical bluegrass amplification setups. This basic approach was tried in April and produced unbelievably satisfying results. The audience heard the band at very good levels. But with the extraordinary pattern of the Cylindrical Radiator speaker, even on the extreme right of the audience they clearly heard the speaker on the left, and vice versa, something no conventional speaker could do.<br><br>Here's a picture of the setup in the test yestereday, showing the two speakers left and right and the two Shure KSM44 mics on stage. Note that the mics were switched to their cardioid pattern, with the main lobe pointed towards the players and the null of the pattern pointed toward the audience.<br>