L1® Model I

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1. Processor for drums is for kick drum trigger only. Alesis
2. Sansamp for bass pedal.

L1® Model I

L1® Model II

T1 ToneMatch® audio engine

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10 - 20' XLR Cable
2 - 25' XLR cables
2 - XLR --> 1/4" Adapters
1 - 10' XLR cable
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8 - 20' 1/4 Inst. Cables
3 - 10' 1/4 Inst. Cables
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Guitar player uses a talk-box
Percusionist uses vocal mic for harmonica, and mics the bottom end of large jimbe
Each player needs seperate monitors & mix
Guitar and Bass players would like to have 2 wedges if possible
Drums and percusion monitors need to be elevated.(milk crate height)

L1® Model I

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My friend works at a club and I wanted to help them out by getting better sound out of they'er venue.

The stage is 6 inches tall. The Back wall length is about 30ft and the stage runs along all of that except about 6 feet to the left. The stage butts into the bar on the the right. Length of the room is 60ft. The room is about 12ft high, or possibly 11. The stage is about 8ft deep.

The one L1 in the room is in the left on a 2ft table with the bass module underneeth. The stage is a rectangle and as you can see and dosen't have anyroom for the L1 on the stage unless the bass player moved.

There are seats to the left of the L1 so not much room to put it. I feel the L1 dosen't live up to its potential at this location. It sound like its coming from the corner its placed in. Many of the musicians that play at Anna's Jazz island in berkeley don't use it because they aren't familiar.

I'm wondering if it is crucail that the 1 L1 be moved to the center of the stage and taken off its stand. I'm also wondering if its better that the bass player bring his own amp. Amybe the bass module should be moved to the center of the stage?

The club has a variety of musicians come through but I thought this best represented a regular night.

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Guitar player uses a talk-box & synth a DI is needed
Percusionist uses vocal mic for harmonica, and mics the bottom end of large jimbe
Each player needs seperate monitors & mix
Guitar and Bass players would like to have 2 wedges if possible
Drums and percusion monitors need to be elevated.(milk crate height)

L1® Model II

T1 ToneMatch® audio engine

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Solo performance set-up :

1 Vocal mic - Shure SM58 into Ch1 of T1 (Vocal mic, SM58 setting)

4 Guitar setup :
1 electric (acoustic with vintage Dearmond magnetic pickup) into Fender Blues Jnr e.guitar amp, mic'd up with Shure SM57 into Ch2 of T1 (mic'd amp with SM57 preset)
3 National Resonator guitars with Highlander piezo-type active/powered pickups - into one input of Ch4/5 of T1
(still have the spare input for one other of these guitars for a guest musician)
Resonator guitars also mic'd up with AKG C1000s condensor mic, into Ch3 of T1 (not a symbol for resonator guitars so used cutaway acoustic symbol !)

E.piano - full 88's weighted keys (Roland FP-7) into Auc input of L1 base

Bose L1 + 2B1's (stacked) - Fender Blues Jnr amp sits on top of theis stack and T1 on L1 tower, just above Fender amp - all neat looking.

While it looks like there is a lot going through the L1, I am only using one vocal mic plus one instrument at a time. Unused instruments or channels are off (using the Channel mute button) when not in use. The e.piano channel doesn't need muted.

Most gigs are with my Duo band-mate. He has his own T1 - which is plugged into the Aux channel of the L1 base (with power adapter), and I plug my e.piano into one of his T1 channels. He is only using 3 channels - a vocal mic, a guitar pickup and a condensor mic also, on his guitar. Thus we would play everything through one L1 + 2B1's. Might purchase a 2nd L1 in the future.

L1® Model I

T1 ToneMatch® audio engine

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FOH mixer is a GL2400-24.

Bass Player uses a small combo bass amp. Usually its on the back wall, sometimes we have it aimed across the platform. Line out feeds him to a channel on the mixer. He sings on a wireless Audix OM5.

Drummer is on an acoustic kit. Kick, and toms are mic'd. He has a hard wired Audix OM5 vocal mic but may use it twice in a night.
All his mics have compressor/limiter/gates on them.

Center guitarist has an Audix wireless fed by Taylor guitars. His main one is a T5 12 string but he goes between 6 string T5s and other Taylor acoustics during the show. Right now they are all fed thru that wireless and we are just winging the EQ setting for it. He sings on a wireless Audix OM5.

2nd guitarist uses a Line 6 Variax acoustic thru a Line 6 PodXTlive pedal board. This feeds a small Roland AC-60 (pictured as a fender guitar amp) which is pointed back at the dummer. Vocal is a wireless Audix OM5.

Carpeted stage is 6" high, about 15' across, and 10' deep. (aprox.). Wall behind the stage and along the bass player's side only.
Room is concrete floors, flat wood ceiling, sheet rock walls. No acoustical treatment.

L1® Model I

L1® Model II

T1 ToneMatch® audio engine

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Left to Right:
Guitar 1: Electric into Line 6 X3 into Mesa Express 5:25, mic'd with Sennheiser E-609 channel 2 on T1;
EV ND 967 into T1 channel 1
Breedlove 12 string into channel 3 of T1

Bass: Pod into Channel 2 of Model 1
Shure SM 57 to Channel 1 of Model 1

Drums: T1 plugged into channel 3 of Model 1 (shared with bass)
Vocals into channel 1 of T1
Shure Beta (bass drum) into channel 2 of T1
Shure SM57 mic's snare/hihat and into channel 3 of T1
Roland V-drum plugged into Channel 4 of T1

Vocal: Audix OM5 into channel 1 of T1 with rev/delay (fx mute per song)
for wide/loud stages, we plug the output of Channel 1 into channel 4 of Guitar 1 T1 rig.

Guitar 2: Strats/Tele's plugged into Diezel Head, 2x12 cabinet, mic'd with Sennheiser E-609, Channel 1 of Model 1

L1® Model II

T1 ToneMatch® audio engine

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8 piece band - www.therhythmandbluesbrothers.co.uk

Ok, so here's our current setup, approximately. We have been trying it in two different configurations:

1st is probably more conventional, running the horns through the L1, the vocals/harp etc run through a conventional foh system, with a monitor mix running to the L1 (when we remember).
2nd is more L1-centric, with the mixer running to the L1, then a full mix to the foh. This of cause means (unlike option 1) we are able to get a great balance, and know its heading to the audience (even though it doesn't have the same lovely Bose sound when it gets there), the problem with this approach, is so many sound sources running through the mono unit, they tend to clash, for example the vocalist doesn't feel he gets the definition he wants against horn lines.

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Chain Lightning is a five piece band requiring the following;
3 vocal Microphones (SM58 or equivalent) with boom stands
2 Guitar Amp Microphones (SM57 or equivalent)
L & R channels for Keyboard DI's or 1 mono (keyboard player supplies DI's)
Bass runs Direct LoZ out of amp head
Drums require SM57's or equivalent for snare (1) and toms (3) and AKGD112/SM52 or equivalent for kick (1) small-diaphragm Condenser mike for high hat (1) and Overhead Condensers if you've got them.
3 vocal monitor wedges for singers