Bose PAS Message Board Post.
I run a swing band in Milwaukee, WI. (Mr. Lucky Swing Syndicate,
http://www.luckyswings.com) We previously used JBL Eons, powered by a Mackie 808s. We used two powered Eons for monitors. In addition to running the band and doing all the set up, etc., I do all the arrangements and mix from the stage. We have piano, bass, guitar, drums, 2 trumpets, trombone, alto, tenor, bari/flute, vocalist (and sometimes a stunt vocalist.)
When I first considered buying the PAS, I did a lot of reading on the message board and had the good fortune to come across posts by Ken Buasano, who runs a band similar to mine. His advice and experiences finally convinced me to give it a try. I promised him I would post my experiences on the message board, passing along the kindness. I’ll try to organize the thoughts according to the topics I’ve seen discussed in the forum.
REACTIONS
* I’ve been performing in bands for 25 years. Vocal fatigue is noticeably reduced by the PAS. My pitch accuracy is improved – because I can actually hear myself and feel the full frequency range of what I’m doing.
* The bass players who play with our band (we’re a book band, and a have to have a roster of players for each position) all love the PAS, citing an increased ability to hear themselves, thus improving tuning on upright bass because the sound was up near their ears.
* The horn players also love them. We used to use just two monitors on stage, and they never could hear everything they wanted. Also, the sax players who doubled on flute never felt that the flute was really being heard. All better now. Our lead trumpet (who toured with Sinatra for 7 years) keeps saying “sounds just like a recording session.” Brass fatigue has been decreased thanks to a decline in over all band volume.
* The piano and guitar players are the most concerned about the change, as they are used to their amps and their SPLs. We are fortunate to be able to have players walk around the room and listen during gigs, with someone else covering their book, so they can start to get comfortable with it.
* The look of our set up is enhanced dramatically. No more monitors between me and the audience. With traditional sound systems, you are visually identified by what defines the edge of your stage – stacks of speakers, lollipops (speakers on poles), etc. We play a lot of classy affairs in elegant rooms, where the speakers and amps where at odds with the décor, which put us visually at odds with the event and, thus, the client and their guests. Now, we are part of the elegance of the room, which makes us a welcome part of the event from the start. It eliminates the predisposition to assume a band will be loud because of “all those speakers”.
* I set up a new rack with a mixing board, wireless mics, an Alesis Nanonverb, BBE Sonic Maximizer and an EQ. We are using less and less reverb all the time, although just a touch seems nice to sweeten the vocals. The BBE, which makes a night and day difference in traditional systems, still seems to add something, but it is less tangible with the PAS. The only feedback we have encountered was eliminated by setting the EQ to dip the 8K range.
SET UP
* The concert-style gigs on big theatrical stages (which would allow for the set up recommended by Bose) are mighty rare in the real world. To keep the set up tight and not block the PASs with bodies, help everyone to hear each other (but not too much so), and keep the horns hearing themselves acoustically, we have adopted this set up:
* Rhythm instruments plug directly into their PAS. Vocals and horns are mixed at a mixing board, slight effects added. Rack case also includes wireless mics to speed set up and tear down.
DURABILITY/STABILITY/PORTABILITY
* I have had two problems in this regard in the four months the units have been in service. First, the four PS units were standing on edge, face to face, on a cart for storage. A 10” JBL Eon was placed on top of them. At some point the load shifted, and the weight of the other units pressed the pointy rear foot of the Eon into one of the PS-1s. The case was not penetrated, nor even marred, but a hole the size of a nickel was punched in the PS-1. This did not affect performance, but it is a disappointing blemish. The second problem is more heartbreaking. While being carried, another cased PS-1 was momentarily leaned up against something. It was then bumped, and it tipped and, since it was next to a step, it managed to land on the handle, which shattered. The unit still worked, but the handle had to be held together with duct tape to avoid injury to hands during transport. Tech Supp was very helpful in giving me an RMA to return these units for repair, but they say that such damage is not covered by the warranty and there is a flat fee of $250 per unit to begin the repair process. The PS units are designed to be carried vertically, and obviously are going to be leaned up against things during transport. In this age when even cars are made of plastic, music equipment that is obviously going to be transported under less than perfect conditions ought to be more resilient. The unit with the shattered handle is now repaired, and I commend tech support for their excellent work.
* In use, the units are perfectly stable.
* For transport, I use a Rock ‘n’ Roller 52” multicart with a piece of plywood cut to fit the bottom (for added stability). I stack the L-1 pieces in two layers of 4, securing them to the cart with two bungee cords. That leaves room on one end of the plywood for one PS standing on the plywood. Three more stand up next to it, face to face, on top of the L-1s. At the other end, the 5 B-1s stack 2-2-1 on top of the L-1s. Long bungee cords, strung between the cart handles, add lateral stability.
THE CAVE STAGE
* Our first gig with the 4 new PASs was an elevated cave stage in the end of an old, long, dance hall. There was less than two inches between the top of the columns and the ceiling. It was disappointing as a first outing. No kind of equipment, Bose or Traditional, will ever fully overcome the problems inherent in the architecture. There is no magic bullet. Not even exceptional musicianship is enough to guarantee success. People standing inside a megaphone are going hear a lot of volume, no matter how the sound is produced. The audience at our gig, however, was perfectly comfortable with our sound.
DESIGN ISSUES:
* One of the biggest selling points is the ease of use and gig functionality. That Bose has given this a lot of thought can be seen in the small details, like the fact that the remote control unit has cable jacks on the top AND the bottom, allowing flexibility in convenient positioning.
* SUGGESTIONS FOR THE NEXT DESIGN GENERATION:
o Put the controls on the front of the unit, so they are more easily accessible. Rare is the gig that has extra room on stage, and seldom is there any space behind the band, much less an aisle behind the PASs for access. This could be accomplished by doing something as simple as turning the L-1 around, with the carrying handle faced to the back.
o Have the blue cord be retractable into the B-1. Have the power cord retract into the PS-1. Have the remote communicate wirelessly.
o If there has to be a cover on the controls, have the flap open toward the column, and not off the edge of the unit, where it is doomed to breakage. Better still, would be to have it be a sliding door.
o Market an accessory that attaches a guitar stand and/or an upright bass stand to the column.
o Market a wheeled case that holds all four pieces. Those of us who have to move a number of units at once would benefit from the increased stability, protection and efficiency.
PROBLEMS
* Channel 3 on one PAS developed a strange hiss when a piano note was played. Tech Support was exceptionally helpful in immediately getting a replacement unit to me, with instructions on how to return the defective product. The Bose tech support is great.
* See breakage issues under “Durability”, above.
IF YOU BUY…
* Invest in good microphones. The PASs are part of a complete reorganization of our band sound equipment, music books, etc., designed to speed set up and tear down, etc. I got the 4 PASs and was experiencing some buyer’s remorse until my new Shure wirelesses arrived to replace our old, run-o’-da-mill mics. The difference was amazing.
* Record your first couple of PAS gigs on a recorder across the room (DAT recorders are great for this). You’ll see the ways in which you need to start listening differently in order to maximize the effectiveness of the PAS. When you feel as though you can’t possibly be loud enough, the recording will give you objective feedback.
* When you use the PAS, use the crowd for real-time mix monitoring. We watch to see whether people are chatting comfortably at the tables. They usually are, at the same time that the dance floor is full. That’s a good sign.
This purchase has been good for me. Thanks for considering these thoughts.
Jerry Becker
The Mr. Lucky Syndicate.
2005 WAMI Swing Band of the Year
http://www.luckyswings.com 
