International Bluegrass Musicians Association: Difference between revisions
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This is a report from the [http://www.ibma.org/ IBMA - International Bluegrass Musicians Association] - October 26 2005]. This chronicles the results of using the [L1™ Traditional Music System]. | This is a report from the [http://www.ibma.org/ IBMA - International Bluegrass Musicians Association] - October 26 2005]. This chronicles the results of using the [[L1™ Traditional Music System]]. | ||
Submitted by: | Submitted by: | ||
* Steve-at-Bose (Steve Skillings) | * Steve-at-Bose (Steve Skillings) | ||
* Ken-at-Bose (Ken Jacob) | * Ken-at-Bose (Ken Jacob) | ||
* Rich Stillman | * [Rich Stillman http://www.waystation.net/] | ||
This originally appeared in the Bose Community Message Boards. | This originally appeared in the Bose Community Message Boards. | ||
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We had a couple of variations on the theme during the week. One showcase presenter hosted five bands using a traditional multi-mic setup, connecting the PAS systems to their mixing board and sending a separate monitor mix through standard floor monitors. The engineer in that room had problems with gain before feedback until he turned off the monitors entirely. Once that was done, everything worked fine. | We had a couple of variations on the theme during the week. One showcase presenter hosted five bands using a traditional multi-mic setup, connecting the PAS systems to their mixing board and sending a separate monitor mix through standard floor monitors. The engineer in that room had problems with gain before feedback until he turned off the monitors entirely. Once that was done, everything worked fine. | ||
Our second odd setup involved adding a separate mic for Michael Cleveland, two-time IBMA fiddle player of the year, who sat in with a showcase band playing mandolin. Michael is blind and needed to stand still in front of a | Our second odd setup involved adding a separate mic for Michael Cleveland, two-time IBMA fiddle player of the year, who sat in with a showcase band playing mandolin. Michael is blind and needed to stand still in front of a microphone. We activated the dummy SM57 from the center, moving it to the side. Mike’s mandolin was coming entirely from one side of the stage, but that’s where he was standing so it didn’t sound odd at all. However, without the center mic to focus on, the band’s lead singer began singing directly into one of the KSMs. The lead singing very obviously came from one side of the stage, and the extreme separation of the voices made their blends difficult to listen to. | ||
One band that hosted their own afternoon showcase had an unusual setup: three seated musicians, two playing through amps, and a standing fiddler/singer. To get everything heard, we used an extra dynamic mic aimed at the unamplified singer/guitarist/banjo player. The two KSMs were quite far away from the other seated singers and their amps, but by aiming those mics differently we got a balanced sound out into the room. | One band that hosted their own afternoon showcase had an unusual setup: three seated musicians, two playing through amps, and a standing fiddler/singer. To get everything heard, we used an extra dynamic mic aimed at the unamplified singer/guitarist/banjo player. The two KSMs were quite far away from the other seated singers and their amps, but by aiming those mics differently we got a balanced sound out into the room. | ||