There is so much to say about this priceless moment in time that we all shared ... would just like to start a separate thread where we can wax poetic or simply make statements... observations,... ask questions... and even state regrets about this encounter...

For instance:

I regret I did not get to know each one of you a little better...

The kindness that prevailed and the lack of arrogance in every direction was almost unreal ...

There wasn't one individual or situation which rubbed me the wrong way... this is so unusual and almost unheard of at events such as this...

Yes, we, the electric guitar players, got a little carried away with the unset of the Monday night Jam session... but we nipped that in the bud after we tamed our overzealous-ness with smiles ...

The intellectual capacity that prevailed in the Hidden Studio for those two days...Whool!!

(more to come...)

Hi all,
Annie & I would like to thank everyone for their great generosity, and also for the great new friendships we enjoyed. We met so many wonderful folks, and everyone's music was deeply inspiring for us.

We ended up staying in the Big Sur area for a few extra days, and hearing Kim, Aaron, Barklie & Joseph lay fresh tracks was a real treat!
We got home yesterday after camping around California and passing through Death Valley. This was the first time we've been able to take the time off work to have a *real* family vacation, and being able to share a part of it with so many wonderful folks was one of the highlights of the trip for us.

Wishing you all the best!

Hi David,

I loved starting a new friendship with you and Annie. You both made a great contibution to the conference.

I especially liked meeting you two kids, both of whom greeted me with an unusually pleasant and clear-eyed manner. It was a delight and their parents must have a heck of a lot to do with their manners. As a parent of three, I tip my hat to you and Annie. Did the kids see the Big Sur Natives? If so, I'd love to know what they said about it.

With best regards,

Ken

Joseph,

I want everyone to know that it was YOU who had the vision to have this gathering at the Hidden Barn.

None of this would have happened if it wasn't for you.

BRAVO, The Joseph!!!

I really wish I had had more time to play David's instruments, as well as the ones that Richard brought. Some beautiful stuff! But since returning, I have done some tweaking and paid a bit more attention to B1 placement as well as presets, and I sound even more awesome. I think a Packlite is in my future. Once again, many thanks to the Hidden Barn denizens, as well as the Bose folks for a marvelous and enriching experience.

Would it be possible for someone to recap the "B1 Placement" information for us unfortunate non-attendees please? Tom's acoustic guitar info was very interesting...

THANKS! Mike

Hi Mike,

Someone may be able to write a nice recap for you, but let me suggest an experiment that can get you to the heart of the matter. By the way, it takes brilliant minds to come up with simple demonstrations like this. I take no credit in that department.

You need

• a couple of people (you, stationary most of the time and someone else to move the B1).
  
• a long B1 cable (optional, but easier to use than hoisting the Powerstand around while you try things).
  
• and somewhere here on the forum there is a software driven sine wave frequency generator. (I'll try to find it in a sec).
  

The procedure is stunningly easy.

• Run a low frequency to the Powerstand (try a frequency below 100 Hz - I think we used 80 Hz).
  
• Move the B1 with it's long cable slowly, in and out from a sturdy wall (not mere drywall over studs).
  
• You should hear really dramatic effects as you move in and out within a range of say 0-6 feet.
  
• Try aiming the port at the wall. Move in and out again.
  
• Try the B1 in a corner and move it around.
  
• Whenever you hear something interesting (much louder, much softer) leave the B1 stationary and move around the room listening carefully for volume changes.
  
• Repeat the experiments at different frequencies if you are interested, although you don't have to be really scientific about it. The effects you experience should be similar, but will be most pronounced at different distances.
  

I am not telling what you should experience as you try things but the steps I've described should yield some interesting results.

It helps if you have attractive inventor models like Cliff and Ken to help you with the heavy lifting.


-- photos by Tom Munch --

Note: You do not have to elevate the B1 to conduct these experiments. There were a lot of instruments on the stage, and it was difficult to get the floor space it would have required to move things around. So Ken and Cliff just held the B1 aloft so we could see what they were doing (distances and angles). The results may have been different with the B1s on the floor. If conducting the experiments now, I would put the B1 on the floor, because that is more typical of how I use it onstage.

Now Mike, here are a couple of warnings, disclaimers and observations.

The behaviour of the bass frequencies will be highly dependent on the room. This includes: dimensions, reflective surfaces, angles of the walls and reflective surfaces, things you can't see like construction materials and on and on, AND the position of the bass source (B1).

The position and direction and proximity to other objects and the presence of expensive or merely effective bass-traps probably makes a difference - it is extremely difficult to generalize.

A sine wave generated at a single frequency can be very effective as a tool to illustrate concepts. It certainly was at Big Sur, BUT music is generally presented across a wide spectrum. You cannot not necessarily predict the perception of bass using the perception of a single frequency as a model.

After a wonderful presentation ( I wish you could have been there ), I will be more likely to approach things this way.

1. Don't like what I hear? Move or turn something.
   
2. Still don't like what I hear? Move it or turn it some more.
   
3. Still don't like what I hear? I'd probably give it perhaps one more cycle.
   Then, just shut-up and play.

For permanent installations you can do all kinds of analysis and trouble shooting. Then you can fix the room (budget and time permitting).

In portable installations, you probably can't re-engineer the room, so you can try to be aware of problems and know what kinds of things may affect those problems.

Important Generalizations
Experience may help you to eliminate steps that would yield no better results.
Experience may lead you to eliminate steps that would yield better results.

Was that clear?

ST

PS - I am pretty certain that either or both Chuck and Kyle (and / or someone else) posted links to signal generators within the last few months - and I *cannot* find them. Kyle? Chuck?

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

oh-KAY! Thanks ST - as usual you're the most helpful guy in the world! But *I* remember a long time ago, when YOUR were telling people a simplified version of this same thing - TURN the B1's to the side to eliminate the low feedback! )))

Thanks very much - MIKE

quote:

PS - I am pretty certain that either or both Chuck and Kyle (and / or someone else) posted links to signal generators within the last few months - and I *cannot* find them. Kyle? Chuck?

How about playing a sustained low note on a synth? (I think E2 is around 80 Hz)

If you want to walk around, just put a rock on it or something.

Jeff
www.theunmentionables.com

quote:

Originally posted by ST:
Experience may lead you to eliminate steps that would yield better results.

Now that's profound (especially for a Friday afternoon).

Been there. Done that. Way too many times.

Mike

quote:

Originally posted by ST:
I am pretty certain that either or both Chuck and Kyle (and / or someone else) posted links to signal generators within the last few months - and I *cannot* find them. Kyle? Chuck?

For OS X there is Audio Function Generator which lets you burn a CD of any signals you create. Also AudioTest, and SignalSuite. Useful programs all. They are all shareware with liberal demo conditions.

Mike

I regret most of us only heard Ronjazz playing in a "go-for-it" electric guitar style...

While chatting in the audience between performances and lectures, Richard Glick brought out an incredible looking and sounding acoustic guitar, (I think it was a Keppler ...?) Richard showed this beauty to only a few of us...

When it ended up in Ronjazz hands, Ron starting playing this touchingly beautiful, a bit on the modern side-solo piece... right there and then I realized we haven't been hearing Ron's true forte ... though Ron can play well in any style, it was obvious that on a acoustic instrument, as a soloist, he was outstanding ...

I must say it was moving to hear him display such a sensitive touch and delicate phrasing ...

It was beautiful. The song was Afro-Cuban Lullaby. I would have liked to hear him play a few like that, too. Maybe next time...

ST and all,

Sorry about the delayed response - busy day! Here's that post about the function generator. I've found it to be quite useful...

Here's a wonderful picture of David and Annie playing their beautiful duet at the conference.

Ken

Ken,
I've been waiting for you to relay the miraculous story of "Brock & the Enke Pickups".

(or was it done, and I missed it?)

Pete,

It was briefly mentioned here:
http://bose.infopop.cc/eve/forums/a/tpc/f/301107819...631062423#5631062423

Jeff
www.theunmentionables.com

Pete,
I also referred to it in a bit more detail, including a picture here.

Chris

I do regret not taking my main guitar, an Aparicio flamenco outfitted with an RMC pickup rig, whch sounds amazing through the L1, but I didn't want to chck stuff through as luggage because my cheap flights from Providence involved several changes. About 80% of my work is on the nylon-string flamenco-style guitar, but the little Hohner was easy to fly with. Anyhow, I appreciate the kind words, and I hope my Romanza recording gifts are enjoyed. I am really happy to have Joseph's work available via Hot Chocolate.

The synchronicity of Brock winning the conga pickups was ironic in a good way! We got the idea of taking a drum kit as a gift after seeing all the photos of the drums at the Hidden Barn, but then after we arrived, we realized that there were a lot more guitar players attending then drummers. When we mounted the set on Brock's drums, we figured that most likely the gift set would end up being switched out for something of equivalent value that was more suited to what the winner would most like to have. How funny things work out sometimes!

-Ken,
thanks for the kind words regarding the young ones. As you know, it's always curious to see what kids come up with, and sometimes they can get into some interesting moods indeed! Regarding seeing the Natives, the first thing each of them said afterwards was something to the effect of "you guys sure do get to hang out with some cool people". We'll have to see if they take up fire dancing.

The sound was also fantastic, and I've never heard so many percussionists coming through so clearly at one time. Rather then combining into a jumbled mess (which can happen a lot even with no amplification at all), each player could be heard clearly and had their own distinct place in the mix and the over-all soundscape. Awesome!