Hi AnthemGuitar,

Thanks for using The Sketcher! Here is your Sketch.


-- click image to make changes to the live version --

Legend:
L1® Model II
T1 ToneMatch® audio engine

There were no notes with this Sketch.

This message has been edited. Last edited by: ST,

Hi AnthemGuitar,

It looks like you have a plan. Is this something you are doing now? How is it working for you? Need help?

Please tell us more about your music:

• What kind(s) of music you play?
  
• Where you do it (size, type of venue)?
  
• Who is there (audience) - how many, what are they doing while you are performing?
  
• Do you have a web site?
  
• If no web site, could you post a picture of your group?
  

Thank you.

Tomorrow, we will play our fisrt gig using the L1 systems. We play a mix of traditional Celtic music and Celtic-flavored popular music. We play mostly in pubs on very small stages. Sometimes the pub can be one large room and very open and somtimes it's several smaller rooms. Usually, there's no about 30-50 people but it can get very loud in the bar. We are on Facebook and MySpace.com/KiltedSpirit. I'd really like to know how to use the ToneMatch with my Irish bouzouki, electric stand-up bass, electric fiddle, and electric bass drum. There are no settings for these instruments. I'd also like to know what input arrangement would be best for the two systems. Thanks!

Hi AnthemGuitar,

Thank you for joining the Forum.

Thanks for all the great information.

Is one person playing the Irish bouzouki, electric stand-up bass and guitar (left side of the sketch). I'm trying to figure out if they will all be played at the same time. Does that person also sing?

Are the microphones at the right side of the stage for vocals or instruments?

When I amplify my buddy's Irish Bouzouki we use the Acoustic Guitar Presets (w/Piezo when using his a pickup and w/cond mic when using a condenser microphone).

For electric fiddle - there IS a Preset.
Category: Special
Preset: Electric Violin

For the electric bass drum try the Presets in the
Category: Percussion

As a general principle - every input should be heard through only one L1®, the closest one. Nothing comes out of both.

Please see: The L1® Approach and the History of Amplification for the reasons.

You can read about it here: Localization.


If you can give me a little more detail about the instruments and the microphones (my questions above), I can be more specific about how I would connect things.

Thanks for your reply. Here is my attempt to diagram our band:

Me: I play the following but never at the same time and I do not sing: electric bouzouki with built-in pickup, electric upright bass with built-in pickup, Taylor Grand Auditorium.

Colleen: sings and plays a Taylor Grand Concert simultaneously. She also and plays one of these into her SM58 mic: Irish flute, tin whistle, harmonica.

Liatt: sings into a Shure Super 55 mic. He plays djembe, cajon, and various percussion instruments into the same mic. He also plays and electric bass pedal.

Eily: sings into an SM58 mic and plays an electric violin.

I know this is complicated for me which is why I'm asking for help. I really open to any setup arrangement including where we stand. I generally have to stand behind the other three because of my bass. I also can use a splitter for my instruments since I switch off from song to song. Any help with inputs would be appreciated. I really hope to not have a disaster tomorrow night! Thanks for all your help.

Hi AnthemGuitar,

Here's one way you could approach this.


-- click image to make changes to the live version --

Legend:
L1® Model II
T1 ToneMatch® audio engine
Orange numbers are Systems and Inputs using those Systems.
Blue filled numbers are Channel connections to/from the T1 ToneMatch® audio engine.
Green numbers are for general notes about the Sketch and connections to non-Bose gear.


is you.

Liatte

Colleen

Eily

is Liatt's electric bass pedal.

You and Liatt are sharing system .

Colleen and Eily are sharing system

I've got another version of this coming in a couple of minutes.


What do you think of this so far?

Hi again AnthemGuitar,

Here's a slightly different approach and it involves connecting Liatt's electric bass pedal directly to Model II Power Stand . You will have to control the volume directly on the Model II Power Stand (Analog Input trim control).

This will allow you to connect all of your instruments to the T1® at the same time (no switching) and because you will have them on separate channels, you won't have to make any adjustments when you switch.


-- click image to make changes to the live version --

Legend:
L1® Model II
T1 ToneMatch® audio engine
Orange numbers are Systems and Inputs using those Systems.
Blue filled numbers are Channel connections to/from the T1 ToneMatch® audio engine.
Green numbers are for general notes about the Sketch and connections to non-Bose gear.

How does this look to you?

I like the analog input for the bass pedal. The pedal probably doesn't need the finesse of the Tone Match Engine and I won't have to use a splitter. We will try this tomorrow night. I'll let you know how it went. Thanks again for your help.

Hi AnthemGuitar,

I thought you'd prefer not having to use the splitter.

Please let us know how it goes tomorrow.

In the meantime here is some more reading for you.

L1® Model II in the wiki

T1 ToneMatch® Audio Engine

Well the gig was interesting! My fiddler's system had a problem - the cable to her bass module is defective. She didn't even know until we plugged in a guitar - it didn't sound right. I swapped the cable with my system and the problem followed the cable. I had to plug in the guitar to my system to get through the gig.

Next, we had all kinds of feedback from the mics. Our male singer moves around a lot. He's always bringing people on stage and that was a problem. The other two mics were feeding back too.

The stage we play at is very small. I'm wondering if we should change our layout to get a better angle on the mics so we can avoid the feedback.

Hi AnthemGuitar,

Sorry to hear about the problems at the gig. If your L1®s are new please call Bose and tell them about that cable.

Call Bose® Product & Technical Support at (877) 335-2673 (U.S. and Canada only)
Monday-Friday: 8:30 AM - 9:00 PM ET
Saturday 9:00 AM - 5:00 PM ET
Currently no support available on Sunday

Here are some notes that should help with microphone feedback.

See: Microphone Feedback in the wiki.

In addition to positioning everything on stage, you want to be aware of your microphone technique (see the article for details). This is hard to do with people that you bring up on stage unless they are experienced singers.

I use the Noise Gate to help with the feedback you get when someone wanders away from a microphone. (see the article for details).

Does that help?

We had our 2nd gig. The B1 now works with a new cable. My wife's guitar sounds much better. I still haven't got an acceptable sound on my Taylor 214ce - not enough bass. I tried the Taylor Grand Auditorium preset. Any suggestions?

We are also having LOTS of feedback problems. I tried moving the mics around and pointing them up. The problem is we have to play very close to our systems because of the small stage. I have the systems pointing straight ahead with each mic about 5 feet forward. The mics are pointed about 30 degrees away from the tower and pointed slightly up. It seems like we get a high squeal every time we move our heads away from the mic. This is ver frustrating because we bought these systems precisely to get rid of the feedback! I have not tried the noise gate solution yet because it sounds complicated. The problem is we do not have a huge amount of time for a sound check and the mics sound fine at home. Any suggestions here would be extremely helpful.

Hi AnthemGuitar,

If you are getting the feedback when you more your head(s) away from the microphones, the noise gate should help. It basically shuts down the microphone unless you are singing into it. The trick is to find the right sensitivity so that it detects when you are singing and so that it doesn't shut you down if you are singing softly.

You can do the setup for this at home. You should not have to change things at the gig.



Start with this setting on the T1® through which you are using the microphone.



While singing softly into the microphone turn the middle button Thres(hold) until your vocal disappears, (probably at around -30 dB), then turn it back until you can hear yourself again. Adjust the Threshold until you can sing softly but still be heard, but this is important - do this while you are using close-mic'ing technique. That is, with your lips right at the windscreen of the microphone. The result should be like someone is turning off the microphone except when someone is right in front of it, singing.

You probably don't have to adjust the Speed setting, but you can certainly experiment with it to see if it feels more natural at a different setting.

Please try that and let us know if this helps.

As for the Taylor settings, if you haven't already tried this: Try the settings that say "Finger" instead of "Strum". Also try the Taylor T5 Preset.