Oct 26, 2009
quote:Originally posted by Col. Cliff-at-Bose:
First of all, the L1 Compact is very different in basic nature from the two original ones. It has a head-high vertically-divergent array that is ultra-wide horizontally. the vertical angle is narrow enough so its sound pressure fall-off with distance is not as severe as, say, a guitar amp, but it's somewhat greater than an L1 I or II. We have data galore taken on the L1C array, but to a musician, its not only useless, it's confusing. Thinking about this stuff intellectually leads nowhere.
So, forgetting all this, The L1 Compact sounds the same and, from personal experience playing and singing solo, it feels the same. When I played (this seems to be a typical configuration), the system was off to the side 5' and back of me 4'. It is louder when you get on top of it (unlike the L1) so you need to get a little further from it. But not much. It's very well behaved and it's easy to arrive at an organically-correct distance from it. But; bottom line; it really behaves like the other L1's. I know it has less overall output than the big ones, but I never felt that limit playing demos for a variety of audiences prior to yesterday's launch. I know the system will allow me to entertain at a level I'm happy with in our live music theater. I really don't want more level from it. Our theater holds over 100 and is acoustically treated to be pretty dry. Charlie Farrin did the same on a number of occasions. He's an experienced pro, playing guitar and singing to demonstrate for other audiences. As an audience member listening to Charlie, I was delighted with the sound quality and level. It was exceptionally articulate musically and I understood all his words, on songs I wasn't familiar with. I'm guessing if you're playing guitar or keys and singing (a solo gig), you can play for 100 with great quality. I never thought once about the capacity of the LF. My keys are never exaggerated on the low end and I want them to sound like, for instance, a real piano or a Rhodes Suitcase. I'm guessing an organ player playing a heavy bass line and singing, like a solo gig, might put the thing to the test. I haven't experienced this and don't do it myself.
Sep 13, 2018
The EV N/D (N/Dym) mic line is actually quite good, as are the old "Variable D" RE models. I bought a handful of the N/D 767's for our church band that were a big improvement over their SM58's (we did stay with an SM58 for one lady who's "problem" area tonally was emphasized by the N/D's presence peak). You can find a lot of the original RE series on eBay, etc, for a song as people just think they're old run of the mill mics. But you would be surprised at how good the R15 sounds on guitars and the RE16 on vocals (I believe Rush used these exclusively on their pre-Moving Pictures tours, but might have been RE18's).
We use a pair of Compacts for our 4-person acoustic band, and we position them behind and outside of the left- and right-most members (we line up L-R). We have a cardioid Sennheiser e835 for my wife on lead, then a cardioid EV RE-15 for daughter's fiance, a hypercarioid Audix OM2 for my daughter (sitting on a Cajon) and an SM58 for me. The only one we have the occasional high pitched ring from is my wife's Sennheiser if it's pointing up more towards the speaker section. It helps if we angle it down more, which makes sense pattern-wise. We had the same issue with my daughter's original SM58 mic as it's on a low mic stand pointing up, so we swapped it out for the tighter patterned Audix and adjusted the mic angle less "upward" a bit and that helped as well.
As mentioned, make sure your gain structure for your mixer is set up properly before it even gets to the Compacts. We use an analog Soundcraft Signature12 MTX mixer into our Compacts and, whether rehearsing or live, we set our channel levels up so the output meters is generally bouncing into the yellow range (+3 to +10) and averaging around the 0dB mark. Then we just set the Compact volumes as needed for practice or venue use (typically 10-12 o'clock). If your mixer output meter is consistently running below -12 dB, you'll be pushing the Compacts more than needed which can push you closer to feedback.
Note: if you're using a digital mixer with meters that top out at 0dBFS, i.e. 0dB "Full Scale", instead of going from negative through 0dB to positive, remember that 0dBu analog is actually equivalent to -18dBFS digital. Typically both analog and digital green/yellow/red colored meter areas will track for ease of use so if you're unsure: Green=Good, Yellow=Okay But Be Careful, Red=Bad
Hope this helps,