Hi snakehips,
Just a few thoughts.
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Originally posted by snakehips:
Hi there !
Wow ! What a great idea.
My duo bandmate and I bought an L1 markII 1Bass unit with one T1. After much thought, reading all this forum has to offer (and LOTS it does have !!!) I worked out we really needed a T1 each. (Will get another B1 soon !)
Thinking back on your earlier posts, I think that having a couple of T1® will serve you will.
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I switch between Ac. guitars (plugged in mic’d), electric guitar for a few numbers, and e.piano (boogie-woogie stuff)
Bandmate’s Tonematch :
Ch1 - Guitar/instrument pickup
Ch2 - Condensor mic on ac. guitar/instrument (AKG C1000s) (luxury option for some gigs !)
Ch3 - Vocal Mic (SM57)
Ch4/5 - unused / spare for guest musician(s)
Tonematch direct input power into L1
My T1 :
Ch1 - Guitar pickup
Ch2 - Condensor mic on ac. guitar (AKG C1000s) (luxury option for some gigs !)
Ch3 - Vocal Mic (SM57)
Ch4 - E.Piano
Ch5 - E. guitar thru a effects unit (Behringer V-Amp 2 - amp and speaker simulator effects)
T1 power adaptor for power.
Balanced jack-jack cable to connect from Main out on T1 to Aux input of L1
Ch4/5 is workable as piano does not sound when not played and I can turn down guitar or effects unit to off when not playing e.guitar).
However, I have to change channel settings when I swap between E.piano and E.guitar.
Since you are using the effects unit for the Guitar, you might end up running with a Flat setting (no major EQ), and you would rely on the effects unit for effects unit for … effects, so you probably won’t have to do much to Channel 4 to make it work for your Electric Guitar.
Apply the same thinking to the Electric Piano - all the tone and effects would be in the Piano. So you might just go with Channel 4/5 Flat (no EQ) and no effects, and not have to do any switching as you move from one instrument to the other.
Another approach is just to use T1® Channel 2 for Electric Guitar except when you are using the luxury option (C1000 on Acoustic Guitar).
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Of course, if mid-gig, we find we are too loud or not loud enough, we have to adjust our own Main Volume controls ourselves - and hope we adjust both of ours equally. As just been stated in the last post (many thanks Jimmy Val !!) I could take my main output to my bandmate’s free channel 4/5 - would most people recommend “bypass” on that channel ?
While I understand and respect that Jimmy & Val might choose to connect their T1®s this way, I encourage you to try running your T1®s independently. I can count on one hand the number of times that my band has been told “you’re too loud” after we switched to the L1® System. And on three of those occasions it was not that
we were too loud, but rather - one of us was. So it has been extremely rare that we all had to adjust our volume by the same amount. On that occasion we just agreed who was supposed to be loudest, let him make the volume adjustment and the rest of us worked in relation to his volume.
In my various collaborations with other L1® players I frequently adjust my Channel volumes and Master Volume independently (from the other players). This is in response to what I hear happening live. That is, it may be time for my role in the ensemble to change from lead to support and I may choose to manage that with the controls on MY T1®. I might make change the volume or tone or effects.
Put another way, most of the people with whom I collaborate want to maintain our separate musical identities within the collaboration. One of the distinguishing factors (besides tonality of the instruments and voices) is individual dynamics. Yes, we have group dynamics too, but we manage that as players.
Final thought on this for now:
Your L1® is both your front of house system and your monitors. Having a master level for your front of house system might make sense, but if you treat it that way with the L1® you are also raising and lowering the monitors.
In my early days with the L1® I noticed that if someone manipulates the controls on the L1® while someone else is performing, that can be somewhat disconcerting to the performer. The L1® is both the main system and the monitor system. Changes to one are changes to the other.
So please consider this suggestion - Let both of you learn all the possibilities of your individual T1®s, and that includes managing your own individual dynamics including your separate Master Volumes.
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I could then connect my E.piano to the L1’s Aux channel, leaving my e.guitar only in Ch4/5.
Yes, I’ll still need my power adaptor - I know !
Yes - of course - you can use the Analog Input on the Model II for the Electric Piano.
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I think this would be a slightly better approach.
I’m going to be ditching the guitar effects unit and mic’ing up a 5 watt valve amp instead, for my e.guitar, into Ch4/5.
Would lose spare channel (Ch4/5) of my bandmate’s T1 but channel 2 could be used for guest musician instead of using a condensor mic)
Channel 4/5 is designed for line level inputs so you may find that you don’t have enough gain from a microphone. It might work, but it really depends on the microphone.
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Anyone see any problems in all this ?
Would still love if we could have various instrument presets PER CHANNEL to swap between without having to change global scenes. For our acoustic guitar channel (pickup), we swap around with different guitars - up to 3 acoustic guitars (well, National resonator guitars with Highlander piezo pickups) and my band mate’s 2 resos with magnetic pickups, one wooden acoustic (vintage Stella parlour guitar, piezo pickup), 1940’s Kay electric mandolin, 10-string 1920’s all koa Tipple. Would be great if we could store settings for each of these instruments ALL in Channel 1 !!!
With all those instruments and their individual voices you guys are going to be experts at switching and working out your gain structures very quickly.
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Any chance Mr Bose ???
That’s
Doctor Bose.
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Did I forget to mention I play washboard (percussion) too, and may introduce some harmonica ??? !!!
I had someone playing along on washboard the other night. First time in forever. She was using brushes. Sounded great.
Also had someone join me on harmonica with a
Green Bullet Mic through a Fender
Fender Blues Junior. Very tasty.
