I'll preface by saying that I have little or no knowledge of P.A. equipment and the related argot. I'm a musician trying to create a sound. The problem is; I will have four singers and a couple of acoustic instruments performing into a 1933 RCA 44-A ribbon microphone. And some backup players that might be run through small amps. I know, most people would say that I shouldn't be trying to perform on stage with that old museum piece. But, a trio or quartet blending together through one mic is the best way to get that prewar sound (i.e. Mills Bros., Spirits of Rhythm, Cats & the Fiddle, etc.).
How do you think a 3" strip of fine aluminum between two magnets will react to this system?

OK Bose guys, a new preset for you to work on. I would sure like to hear your band. That's a wonderful kind of music.
Respect
Col. Andy

44a,

I'd sure like to hear it, too! Welcome and thanks for posting. Have you purchased a Personalized Amplification System™, or are you considering one?

Regarding your mic, just take extra care to ensure that the phantom power button is off before connecting such a classic. Too many years ago, I learned that one the hard way while interning at a local recording studio. 'Wrecked a perfectly good ribbon mic. I think it was a Beyer M500...

As long as you're not trying to get things very loud or to fill a really big room, it'll probably sound fantastic, especially if you're all used to playing this way. If you're looking for lots of volume, I'm thinking that with everyone so far from the mic, you may run into some gain-before-feedback challenges (by virtue of the ol' inverse square law)...

Please keep us posted and let us know if we can help at all with getting things dialed in...

Right now I'm just looking into the Personalized Amplification System™ for it's low stage clutter aspects.

Thanks so much for replying, but this sentence seems to be written in a foreign language (possibly Greek) —"you may run into some gain-before-feedback challenges (by virtue of the ol' inverse square law)..."
Do you think I should just schlep the mic out to the nearest Bose shop and try it out? And do you know where that might be in the Norfolk Va. area (and maybe Wash. DC)?
Thanks, 44a


"you may run into some gain-before-feedback challenges (by virtue of the ol' inverse square law)..."

quote:

"you may run into some gain-before-feedback challenges (by virtue of the ol' inverse square law)..."

Hi 44a,

Yeah, it gets a little weird around here at times.

Let's see if I can help.

First: Check out this great discussion of a Bluegrass setup.

Then on to the theory.

Gain-before-feedback
... or ... the quest for volume without feedback and typically in the context of Vocals and mic'd instruments.

Many of us like to run with the Bose Systems behind us and most of the documentation shows the setup that way.

This works particularly well for vocals when you set up the gain staging on the System such that the vocal microphone is set up:

• just before 'clipping' while singing at maximum performance volume
  
• with the Singer as close as possible to the microphone (lips just brushing the windscreen).
  

The net effect of this, is that you can generally get lots of volume for the vocals without feedback.

This is not possible with several people sharing a single microphone and that's why I referred you to the Bluegrass discussion first. In that situation (and likely yours) you may want to try the Bose System set up to the side or slightly in front of the microphone and the performers.

Inverse Square Law
... basically, the farther away you are the lower the sensitivity (for microphones) or volume (for speakers).

Now somewhat counter-intuitive is that the sensitivity (or volume) does not drop off in a linear fashion.

Here's a few references:
Tech note at Shure.com that describes how it tends to work in practice for microphones
Description from Joseph here in the forums. Joseph is decribing how the sound radiates from a speaker, but the Inverse Square Law is applicable to microphone sensitivity too.

Hi 44A,

Welcome. I think everyone shares the same concerns about a very sensitive microphone in front of this system. It can be done, but its tricky. As ST pointed out, you have to be creative with placement or flexible with volume. One thing you should consider is that this system allows you to get that great vocal blend you get from working with one microphone when you're using multiple microphones. Picture an acoustic performance except louder. Its one of those things you just about have to hear to understand.

I think I am the closest product specialist to you. Drop me a private message and I'll see if there's some way I can help you try this system out for your application. You could also drop into the Guitar Center in VA Beach.

Larry

Hey 44a,

'Sorry about the Greek. I should have kept it simpler. Thanks (as usual) to ST and Larry for clarifying...

I definitely recommend trying it out, via Larry or your local Guitar Center. Please let us know if we can help in any way...