What about feedback?
The system is unusually immune to feedback.
Please don’t take this the wrong way: if you keep cranking up the gain, you can get feedback. But under normal conditions, you can get a huge amount of output without feedback.
The easiest way to explain the immunity is to realize that because of the very gradual falloff of sound level from the Cylindrical Radiator™ loudspeaker, the sound on stage is almost the same as the sound in the audience. With a conventional system, it’s much louder on stage, which often leads to feedback.
Also, keep in mind that there’s a one-to-one relationship between microphone and speaker, instead of one microphone feeding many monitors and PA speakers. This too helps to control feedback.
Last the system is very simple and under the total control of the musicians. I have been a live sound engineer for twenty five years and I can tell you that multiple changes at the mixing board to effect change for purposes other than feedback often then conspire to create feedback when I make another move at the board: it’s impossible to unravel all the changes you made to solve the “what caused the feedback” problem.
With the Personalized Amplification System™ approach, each musician – and no one else – controls his or her sound. Each can tell when their gain is at its maximum and set safely below this threshold, unlike a sound operator in a the conventional approach who must somehow keep track of everyone’s sound.
If anything here isn’t clear, just post back to me.
Just to amplify (ahem) Ken’s point, I routinely put my “hot” mic on the speaker grill of my L1 to illustrate to my bandmates how hard it is to generate feedback. Forget the theory – it just works.
Yours,
Amado
Last the system is very simple and under the total control of the musicians. I have been a live sound engineer for twenty five years and I can tell you that multiple changes at the mixing board to effect change for purposes other than feedback often then conspire to create feedback when I make another move at the board: it’s impossible to unravel all the changes you made to solve the “what caused the feedback” problem.
I been mixing for over 25 years working for some bands that have sold LOTs of records. I have done FOH and monitors. I have made changes on desks that have over 2500 knobs and when I have had ANY feed back I know where it comes from. I had the fun job of mixing monitors for a southern rock band …22 mixes … if there was feedback I knew where it was from. This system might work for a small lounge act but I can’t see it working for a real rock band!!
Hey Robert, the system is great for “real rock bands”. I think what you are trying to point out is that system is not going to be appropriate for arena size venues, you’re not implying that band who play smaller venues are not “real rock bands”, right? I don’t want people to read your post that way.
You are correct, the system will not have enough output to fill an arena, however it would be a great system for a band’s stage mix. We’ve tested it and what the players said is that they really enjoy being able to hear each other clearly on stage.
As for feedback, while the system is not completely immune to feedback, it is certainly a lot easier to manage feedback with this system than a console with even 1/10th the number of knobs than you’re accustomed to working with.