I am loaning my L1 M2 with 2 b1’s and T1 to my friend who has an identical system. He is playing a fairly large (400 ) outdoor show on saturday. I thought it would make sense to have him run Dual Mono L1’s. My intention is to have him run his Gibson ES339 into his T1, and his Vocal Mic also into his T1. And then run the Master Out of his T1 into Channel 1 on my T1, and run it in Utility mode flat. My Question is, is there any advantage to stacking all 4 B1’s between the 2 L1’s so that they are coupled, and are less likely to cancel out? And what is the optimum spacing between the 2 L1’s in this dual mono setup. The performance is with a trio, where the bass player will be running his own bass amp independent of the L1’s, and a drummer with no Mics… but he can hit em hard when it’s needed.
Hi DaveyCrocket,
quote:Originally posted by DaveyCrocket:
I am loaning my L1 M2 with 2 b1’s and T1 to my friend who has an identical system.
Nice of you to lend it to him.
quote:
He is playing a fairly large (400 ) outdoor show on saturday. I thought it would make sense to have him run Dual Mono L1’s.
Typically not recommended because two L1®s running in close proximity MIGHT be a little louder. The theoretical best gain you could get with be a barely perceivable 3 dB and only in the lower range, and only for some parts of the audience.
The minor potential benefit is overshadowed by Multiple Source Interference (this is more complex than phase cancellation).
quote:
My intention is to have him run his Gibson ES339 into his T1, and his Vocal Mic also into his T1. And then run the Master Out of his T1 into Channel 1 on my T1, and run it in Utility mode flat. ***** (see below)
If the L1®s are 20 to 50 feet apart, and your goal is to get a wider reach (because it will not affect the forward throw anyway), then there might be some benefit… your wider reach is as wide as the distance between the L1®s. Bose recommends at least 20 to 50 feet between L1®s if you are going to do this. But be aware that some people in the audience will probably lose a intelligibility because of the perceivable delay they will experience if they are within ear-shot of both L1®s.
See Stereo / Mono / Distributed systems
quote:
My Question is, is there any advantage to stacking all 4 B1’s between the 2 L1’s so that they are coupled, and are less likely to cancel out?
This is the main benefit (stacking 4 B1s together) WILL make a difference, and this is the theory and practice behind the PackLite® Extended Bass Package
(PackLite® amp two B1 Bass Modules). quote:
And what is the optimum spacing between the 2 L1’s in this dual mono setup.
Minimum 20 feet.
quote:
The performance is with a trio, where the bass player will be running his own bass amp independent of the L1’s, and a drummer with no Mics… but he can hit em hard when it’s needed.
Now you could just have some fun with things if your friend’s guitar rig can run stereo effects. The point is to avoid having exactly the same signal coming out of two L1®s.
So you could run stereo effects Left to one L1® Right to the other. But if your friend is not running stero effects (e.g. ping-pong delay, luscious stereo chorus…), then in your shoes, I would suggest that he simply not use the Cylindrical Radiator®s in your L1®. He can run your Power Stand like a (kind of heavy) PackLite Amp, running a line from his Model II Power Stand Bass Line Out to your Model II Power Stand Analog input. And no Cylindrical Radiator®s required on your Model II Power Stand.
No matter what…
The vocal should go to ONLY one L1®.
Here’s my concern. If things sound goofy out front because of Multiple Source Interference, he may not hear it on stage. OR he may hear things sounding hollow and weak on stage and start cranking up his settings to compensate - and making things sound even stranger out front. If you put all the B1s together and run just one L1® with the Cylindrical Radiator®, you avoid all of that.
***** If I haven’t talked you out of trying this for the first time at a live gig, the the simplest way to do it is run the T1® to the first Model II Power Stand using the ToneMatch cable (as per normal), and run a signal cable (preferably balanced ¼ inch jack Tip-Ring-Sleeve) from the T1® ¼ inch jack Master Output, to the second Model II Power Stand Analog input. On the second Model II Power Stand set the analog input trim at 3 and adjust up and down as required from there. You don’t need the additional complication of gain staging through a second T1® that ultimately, you are not really using.
The reason for recommending the balanced signal cable is because you are going to have AT LEAST 20 feet between the L1®s, so the signal cable run will probably exceed 25 feet and having the balanced connection will give you a more robust connection (much less likely to pick up line noise).
He can run stereo out of my POD HD500, Thanks for all the info … I am so glad I asked here.
So here’s the new plan… 1 Vocal mic into Joe’s t1 CH 1
Gibson ES339 into Pod HD500 using Stereo outs
Left to Joe’s T1 Ch 2
Right to Dave’s T1 Ch 2
Kick To Dave’s T1 Ch 1
Overhead Drums to Dave’s T1 Ch3
Bass will run his own rig
Spacing of 20 ft between L1’s and 2 B1’s running UN coupled… just alongside their respective L1’s
Any flaws here?
Hi DaveyCrocket,
If I am reading this correctly (as I fly out the door), there is no single signal that is coming out of both L1®s.
You could conceivably get more for the Kick if you put all the B1s together, ran the Kick through the Aux out of Dave’s T1® to Joe’s Model II Power Stand Analog input BUT the benefit will be minimal if you can’t get a longer B1 cable (speakon NL4) and figure out a way to get all the B1s together.
See: Longer B1 Cables
I haven’t gotten around to running my Line6 HD300 in stereo, but I’m pretty confident that Line6 set things up so that you should have decent sound running stereo. But if things sound weird, hollow, phasey, chorusy and it’s not intentional, just tell Joe to unplug the right output from the HD500 and disconnect from and mute the input on the T1 that it was using (reverse the order of that sequence).
Gotta fly.