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I just had a frustrating gig at a 100+ person cocktail party. Before the gig, I set the PA and volume of BIAB to what I thought was a good level. However, during the party the people got so loud, I could not hear the BIAB backing or myself playing. I got lost playing a few time making it a bad hair night. I figured if I turned up the volume the people would get louder so I just dealt with it.

I'm fairly new to playing gigs by myself. I have an Eon10 PA and Roland KC350 KB amp. I play keyboards thorough the KC350. BIAB also feeds into the KC and I feed the KC signal into the Eon for additional support. I sing only through the Eon. I have a monitor but I didn't use it tonight because I was playing right next to the KC. Perhaps that was the problem.

Just wondering what I could do different or should I do anything at all?

Thanks
Rachael

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In ear foldback is discrete and probably easier to use in a loud environment than a monitor... Can cost for good gear though.


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We used Hot Spot monitors and found them to work extremely well in these types of situations. We used the ones with a volume control as it gave each musician control over their monitors and also virtually eliminated feedback. They have a very small footprint, can be placed on a mic stand (that’s how we used them – we raised them to ear level) and only cost around $130 USD.

I hope this helps.


Why is it that the people who tell me to calm down are the ones who tick me off in the first place!

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Hi Rachael,

I have been gigging for many years and I think the answer is one you touched on, you need to get louder or be lost! I don't use monitors but I always have a good line of sight (or ears) to my PA. I don't intentionally play loud but if it gets noisy, so do I. I like to stay on top. Alternatively you could always scream at them to be quiet ! (Just kidding ;o)

Good Luck,

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Dave.

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When this happened to me a few months ago, I fired an 1847 Walker Colt replica pistol into the air. People got quiet in a hurry. Unfortunately, I shot out a mini-spot and choked myself on the smoke, so it's not always a practical approach.

Probably not recommended outside of Texas either.


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I appreciate the replies. I figured if I turned the volume up, the people would talk louder to be heard. Maybe if I lowered the volume, they would talk softer...nah! Well I guess that comes with providing 'background' music. I hate that term.

I think I'll keep the volume low and use my monitor.

Rachael

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Quote:

When this happened to me a few months ago, I fired an 1847 Walker Colt replica pistol into the air. People got quiet in a hurry. Unfortunately, I shot out a mini-spot and choked myself on the smoke, so it's not always a practical approach.

Probably not recommended outside of Texas either.




Hey Axegrinder, I used to play joints where they issued you a weapon at the door if you forgot your's at home. I know where you are coming from.

Later,

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Rachael,

The answers are in your question and comment. Your monitor is like your American Express card, never leave home without it. (I use a little powered Roland Cube built into my music stand right under my PA head) The second part is crank'er up man!

I start with what to me is a very nice volume level. One that people can hear conversations over and still hear the music. But as I am in control of the dial, I adjust accordingly. With that said I dare them to get louder than me.

Later,

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Next time try elevating the keyboard amp.

Like set it on a chair.

Or perhaps tilt it back to the wall such that the speakerboard is at least pointing at an angle upwards.

Can make a huge difference in what you hear in a pinch like that, midrange and treble being most of the information content and directional.




--Mac

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Quote:

Rachael,

But as I am in control of the dial, I adjust accordingly. With that said I dare them to get louder than me.

Later,




You got it Danny! ;o)

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When this happened to me a few months ago, I fired an 1847 Walker Colt replica pistol into the air. People got quiet in a hurry. Unfortunately, I shot out a mini-spot and choked myself on the smoke, so it's not always a practical approach.

Ha-ha! LOL. Love it. I can smell it now!
In the UK that would cause complete PC pandemonium followed by three to five in chokey.

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In our band we break the cardinal rule and have the pole mounted PA cabs slightly behind our 'ears line' and therefore the mic line. Careful setup is necessary to avoid feedback but it works for us in terms of overall foldback.
Like all of us here I guess we try and moderate levels to the needs of the gig (much louder if there's a lot of soft furnishings and closeup people, etc.) but err on the louder side so we keep people's attention and the level of 'excitement' up. Also, a large Mackie sub helps.

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Quote:

. . . I think I'll keep the volume low and use my monitor.

Rachael




Actually, that is an old soundman's trick--if the crowd is talking too loud, turn yourself down. Sometimes it works.

LOL,

R.


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We used to do the party volume test trick. Well that is, we did it on parties, not on gigs. We would graduattelly move up the volume until everybody was screaming their lungs out. Then in a second we lowered the volume completely. People get a bit embarrassed when they scream and everybody can hear them. We always saw people all of sudden start to whisper and looking a bit around them. then we would put the volume back to a normal level. Ah well, maybe not really a practical approach when doing gigs, it might be your last performance there, but I thought I just share an old story here...


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I think that is what has irratated me most when playing at a party or whatever, when I start losing their attention. It happens at gigs, or small parties. Keeping audience involvement is hard. It's not easy to keep yourself from thinking, "Why am I even here?" . Probably dialing in the demographics of the crowd quickly, by trying different sets, and mixing the songs up, detirmines what mood they're in. If they're in a raunchy, drinking rock/blues mood, and you play a country ballad, they will light up cigarettes, grab a beer, and talk all the way thru the song. Only clapping when the song is over, because of habit, not because they even heard any of it.

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How about buying another KC350. Would give you better monitoring options, plus the two amps would link up for that rich stereo effect. They'll listen.

Plus, learn to play the old chestnut, "Your mind is on vacation (And your mouth is workin' overtime)".

Or, just get drunk and play "The wreck of the Old '97" over and over. The inebriates love it.

Brad


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Rachael

I like the Hot Spot mounted right on the mic stand. A few times outdoors, or at the beach, there could have been something with a little more oomph but it worked.

A lot of the posts here stress being heard above the noise no matter what. I know that was not the original question. I would like to politely suggest that the nature of the gig be considered. Many performers have forgotten what it is like to be in the audience. I have been a sound man for 10 years and we get a lot of feedback. NPI

My voice does not carry. Projection lessons might be in order. If the entertainment is so loud that I have to get in someones ear just to be heard then I will just shut up, be polite and listen. Not that I am interested in the performer but that competing is not worth it.

Are you the show? Are people there to see you? Then crank it up.

Are people there to visit with friends in a pleasant atmosphere? Are you just the "Entertainment Provided"? Then be reasonable. If you were hired to provide background music then be the background. Provide a level where people who are paying attention can move closer and folks that want to chat can move to the back. During the break ask the host or manager and provide them with your reading of the crowd.

Here is what I go by. Are the chairs facing you? Let em have it. Are the chairs arranged around a table? Then show a little moderation until the audience turns their chairs of their own accord.

In many strict songwriter venues the audience will actually "shussh" the chatty ones around them so the performer can really be listened to at a moderate level.

Cheers - to having more chairs turned your way!

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If you have a small MP3/FM reciever (Ipod or the like) Go buy the accessory FM transmitter for it, the reverse it. Plug the headphone out of the mixer to the line in on the transmitter, tune your Ipod to that station and plug the ear buds in. WaaLaa instant ear monitor system. Cheap but not to bad.


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I love these recommendations, all very good and interesting, because it really isn't about the program, it's about playing live I saw one post that said to elevate the speaker, that's good, and another, don't forget your monitor, that's good And, if it was there, I missed it (forgive me), point the speaker at YOU (with a lil distance, and not directly)...They'll still here it, and you will too

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You could also stop at your local audiologist and order a pair of Westone custom fit ES49 earplugs, which have a user-adjustable attenuation that is rather flat across all frequencies.

http://www.westone.com/index.php?load=content&page=index&page_id=190

Disclaimer: I now work for Westone.

-Scott

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Hi Rachel - the dynamics of the cocktail party - Actually if they moved a couple of step closer (cozy) rather than try to talk across wider spaces, there wouldn't be a problem - their conversation volume goes up in direct proportion to alcohol consumption

- I spent 20 years playing in bars with no monitoring system, just and my acoustic - sat right next to the column speaker as the monitor, that way I got the ones that reaLLY wanted to listen sitting right up front - the people at the back took their response cues from those at front. If I had to do it again I'd probably look at the "ear buds".
They might save hearing damage when trying to compete with loud groups.

Anyway, I found this link about the history of these "buds" http://www.livesoundint.com/archives/2001/julyaug/earworn1/earworn1.php
Cheers


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Quote:

We used Hot Spot monitors and found them to work extremely well in these types of situations. We used the ones with a volume control as it gave each musician control over their monitors and also virtually eliminated feedback. ...





I recently bought myself one of these , an Alesis Transactive 50 for this very same purpose.
After 3 gigs I’m extremely happy with this solution.
The unit also sits on top of a straight mike stand so you can easily station it within arm’s length. This is important as it means you can adjust the volumes as necessary (some of my synth patches are, of course, louder than others).

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.

>>>>....Just wondering what I could do different or should I do anything at all?...>>>>

Here is an approach that might bear thinking about:

What did the person who writes the check have to say? If she thought everything was wonderful, that you did exactly what she wanted and she would hire you again, try doing nothing. You did what you were hired to do. You earned your fee and everyone is happy.

If YOU are not happy, that's a different story. You don't have to put up with loud, inattentive audiences if you prefer not to. Don't take the next gig.

.


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Hi Flatfoot,
I would have to agree. Even though there is the "artist" side of me that wants to be heard after all the hard work that goes into the preparation for a performance. But, I confess that I need to shift my gears from artist to employee when accepting a paid performance to where if the employer is happy, then the job was a success.

A couple of questions I ask the employer at our meeting are, "What are your expectations?" And, "What compliments would you like your guests to say upon leaving?"

Ricke

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I know I'm kind of late in this thread, but it's been a while since I've visited the PG Music Forums, and I'm playing "catchup". (as opposed to mustard)

Lots of good thoughts here... Since I'll be playing my first solo BB gig this weekend, I can't say from experience how to cope with the problem of a too-loud audience, for a soloist with BB accompaniment. But with bands I've been in over the years, this didn't seem to be much of a problem, because most of the time we used floor wedges or in-ears to monitor. For my setup, I'm just going to be using two speakers on stands. My strategy at this point is to have the speakers slightly behind me and to the sides, so that my mains are also my monitors. In my live test setups, feedback has not been any problem, even at moderately loud levels. Even though I'm not in the optimal spot to hear the speakers (outside the full-frequency dispersion pattern), I can still hear plenty of P.A. sound and my own playing. Well, since I'm playing flute & clarinet, hearing myself play is not a problem, but I'm saying that hearing the BB accompaniment through the P.A. is not a problem, either. I'm using cardioid and supercardioid mics, and close-miking the instruments, so I don't think I'll have a feedback problem.

And, since I'm billing myself as background music, I'm not concerned about my audiences "not paying attention" - there is no "show" per se. I'm just providing a sonic background tapestry, and like we used to say in the Army Bands when we would play dinner music at the Officer's Club, I'm playing "music to be ignored by". If the audience were to get really loud, so loud that I can't hear the speakers enough to stay in time with the music, I might crank up the volume a little, but I'm not going to get into a volume war with them. I'll just unmute the Melody track in BB and let the Band play for a while. And mime playing a la Milli Vanilli so that people think I'm actually playing. :-)

--Doug

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Ignore the audience - play your best.

If it works great for you and the whole sound check works, then just do it! Those who are interested will notice. Those who aren't - ain't nothing you can do about them anyway

HTH


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I've been using a Fishman Solo Amp for my performances. I place it to my side and a bit behind me. It's pretty feedback resistant. Great carry-in and setup time, and it sounds great, too. Not a ton of thump (you'd need the Bose L1 plus sub for that), but it really gets the job done for me. I almost never miss a count-in as I'm hearing what the audience hears.

My $.02.

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Hey Mike -

Just listened to the samples on your web site. Nice stuff!


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I have the Yamaha StagePAS 300 . It is a great little PA system for anything from solo work to small bands. It does not feedback at all. I use my own for DJ shows, karaoke shows and personal performances. I have also used it outdoors with combos and a small band (5 musicians). The speakers are even shaped so that they can be used as on-stage monitors, placed on the floor and angled up at the performers, if necessary. The mixer has two ouptuts so you can use it with a larger system where needed (keep the StagePAS speakers on stage as monitors and plug the other output into the house PA system or other speakers). It is also very portable. Check it out



Of course, if you already have a PA system and just need a single on-stage monitor, I can recommend the Yamaha MSR100



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Awhile back we had a little folk group. My wife was lead and the guitarist was harmony, I was sound guy. We did some local coffee shops and book stores and very few people ever took the time to pay any attention to what we were doing. I think we could have played the menu from a Chinese takeout and had the same effect. Got to have a thick skin.
One night we had the tip jar out with a couple of dollars seed money in it and had several fellows looking real hard at those dollars. Some nights it's chicken, other nights just feathers. Wyndham

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Nice story


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Doug, That's good advice you hit the nail right on the head. I've been doing the one man band thing for about 10 years now. The first thing you must do is consider the typ of gig you are doing. If someone hires one person they probably don't want you to be that loud anyway. Pick a volume and stay there. The people who want to hear it will be close. The people who want to talk will move away. Everyone has given some good input with hotspots and earbuds. I don't sing so it's easy for me just to put a speaker right behind me so I can hear it doesn't need to be loud enough to lose hearing. Just loud enough to follow what's going one. Remember, the only one you need to impress is the one paying you. If you do that, you will impress others.


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Hey welcome to the forum Jakob. I am listening to some of your music as I type this entry, very nice playing indeed.

Later,

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My advice about loud parites - have more of them!

I have the Stagepass 300 also, Love it. You do have to buy special brackets though if you want to put the speakers on stands.


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My old Kustom PA had larger hole in it than the stands did, So i cut some PVC pipe and slipped it over the ends on the stands and then neatly wrapped a couple layers of Black Electrical tape and it has fit snuggly for the last 7 years. Amazing what a nice sound you can get if you just spend the time to setup the songs properlyI noticed that the overall sound quality of my music jumped when I went to the roland TTS from VSC. There is just a better sound and more options to adjust.


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I always thought Kustom stuff was an excellent value.


Like the man said, "ain't that a kick in the head!"
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Quote:

If you have a small MP3/FM reciever (Ipod or the like) Go buy the accessory FM transmitter for it, the reverse it. Plug the headphone out of the mixer to the line in on the transmitter, tune your Ipod to that station and plug the ear buds in. WaaLaa instant ear monitor system. Cheap but not to bad.




very coal


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Robh,

Quote:

If you have a small MP3/FM reciever (Ipod or the like) Go buy the accessory FM transmitter for it, the reverse it. Plug the headphone out of the mixer to the line in on the transmitter, tune your Ipod to that station and plug the ear buds in. WaaLaa instant ear monitor system. Cheap but not to bad.




I think I have what is needed to do the ear monitor but I can't figure it out.
I have the ipod, I have a FM transmitter that plugs into the earphone jack to play my ipod through a tuner.
What I can't figure out is where the "line in" is on the transmitter. It only has a mini plug
to plug into the earphone jack of the ipod.

Any transmitter part brands or part numbers?

Thanks,

Ernie

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Quote:

If you have a small MP3/FM reliever
Plug the headphone out of the mixer to the line in on the transmitter,




instead of plugging the transmitter into the ipod buy whatever adaptors you need to Connect the transmitter to your sound source

the presumption is that the mp3 player you have has a built in fm radio receiver which you then tune to the transmitter and into which plug your headset

the new ipod nano w/fm tuner could be used for this


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Another way to deal with loud parties is to throw a bit of karaoke into the evening - they then discover for themselves how hard it is to hear and be heard. Makes them realise your stuation...


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What I hate the most is people with hearing aids at a dinner party sit closest to the PA system and keep waving your sound down. Then those at the back bring you a beer and complain they can't hear the 'background' music. The wife doesn't amp her flute and they say she plays too loud. Wow. It they weren't war vets I'd just not play there, but twice a year they call so I made cards and put them on the front tables, WARNING, IT MAY BE A BIT LOUD HERE! That seems to have worked a bit.

I'm thinking Bose is the way to go but the daughter needs some uncovered eye laser thing for conical eyes, to the tune of 5g's so there goes my walking around cash.


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Quote:

... so I made cards and put them on the front tables, WARNING, IT MAY BE A BIT LOUD HERE! That seems to have worked a bit.





Another possible sign: "WARNING: IF IT'S TOO LOUD, YOU'RE TOO OLD!".

;-)


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Hey I resemble that remark....


John Conley
Musica est vita
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Quote:

Quote:

... so I made cards and put them on the front tables, WARNING, IT MAY BE A BIT LOUD HERE! That seems to have worked a bit.





Another possible sign: "WARNING: IF IT'S TOO LOUD, YOU'RE TOO OLD!".

;-)




Huuuuhhhh . . . I guess it's too loud for me also.

Later,

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I simply don't accept solo gigs if I know the crowd is going to be rowdy.


Mike Laatz
Cape Town
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Mike,

I Know what you mean . . . For that an other reasons I do not play weddings.

Later,

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We book weddings.

But we also let it be known in advance that should a fight break out, the band is very likely to join in!

And win.

Another good use for the Japanese Fender Tele w/Rock Maple neck and Ash body if there ever was one, the martial arts options should be well studied and practiced, dojo style until the guitarist has mastered the Body Held Headstock Jab, the Neck Held Full Slam and the Neck Held Battleaxe Edge moves, at least. Save the Tuners Across the Eyeballs rake for the serious afficionados of the sport...

Always set the B3 up facing the crowd, so that if he's in front of you when he calls you out, you can just reach underneath the keyboards wih both hands and flip about 500 lbs of hardwood and steel organ right on top of him. It won't hurt the B. At least, it hasn't to date and I've had that thing a looong time...


--Mac

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Wooh! So you still have real John Wayne type bar room brawls across there in the States! Wooping and a fighting amid the mud and the sweat and the tears! Great!

Call me!


Follow That Dream

Sam
Karaoke King

--------------------

Turning that corner again - I have to keep following that dream, no matter what
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Be careful, Sam, you might get what you wish for.

I was just joking.

So don't use it to stereotype. 'K?


thanks


--Mac

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Citaat:

We book weddings.

But we also let it be known in advance that should a fight break out, the band is very likely to join in!

And win.








Sure thing. Why should the all fun be only for the audience?

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Always set the B3 up facing the crowd, so that if he's in front of you when he calls you out, you can just reach underneath the keyboards wih both hands and flip about 500 lbs of hardwood and steel organ right on top of him. It won't hurt the B. At least, it hasn't to date and I've had that thing a looong time...




Don't forget to clean it with a damp cloth after the gig. You don't want to start the next gig with stains already on it

Now I know where those "X"-es you carved on the side stand for

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Quote:

Wooh! So you still have real John Wayne type bar room brawls across there in the States! Wooping and a fighting amid the mud and the sweat and the tears! Great!

Call me!




Ahhhh Mud, Sweat and Tears, I used to love that group.

Later,

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First, I'm not a Bose or a Yamaha representative but I've spent a bit of time recently looking into my first PA for solo and group giging and I've found a product that I think solves this exact problem you're having.

I'm taking the advice of others here and at other forums and I'll be buying the Bose portable PA. I'm leaning more toward the model II with tonematch engine over the model 1, although it certainly isn't as cheap as other brands/models (or the model 1 for that matter), but it's a different animal -- it's not designed the same as other PA's (check it out at http://www.bose.com/controller?url=/shop...match_pkg.jsp).

The model-1 system is cheaper but the model 2 has some features I couldn't (didn't want to) live without. The model-1 is actually on sale right now direct from Bose and you end up getting the first bass unit for free (up until 6/30/2010). Check it out at http://www.bose.com/controller?url=/shop...single_pkg.jsp.

I mention this to you because I've tested it live and this I've found the Bose to be a totally unique PA in that it's actually designed to be placed behind you (not in front of you) and without feedback. You can, but you do not need to have any monitors since you're hearing the same thing your audience is hearing (you're hearing it before they do and hence, your crowd noise isn't a problem anymore). Also, anything you'd want to adjust (including a one-touch sound effects feature) can be done on the spot using the T1 (tonematch) panel and this can either be mounted directly on the speaker unit or alternatively on a mic stand.

Aside from the fact it's portable and I'll be able to port it around myself, it's everything I need for a solo act or even a small ensemble (and again, it's positioned behind me, not out front). They also offer additional bass modules (both models come with one but you can add up to four and they recommend two or more for bass guitars, drums, etc.).

I have seen documentation from Bose which shows a typical band usage where they use one L1 setup for each instrument / section (one for piano and bass, one for drums / percussion, one for bass guitar, one for lead guitar, etc.) and each unit is placed near (but behind) each musician. However, unless each musician in your group is willing to shell out his/her own cash for their own unit, this in my opinion would be cost prohibitive -- although for me, it doesn't matter what 'group' I'm gigging with, nevertheless I'll have my own system and I won't even need an engineer as I can instantly hear and process my own performance independent of the group (although it does provide the capability to patch if you do have a sound guy/gal on a separate board).

You can get more details for the model-1 and see some more reviews here:

http://pro-audio.musiciansfriend.com/product/Bose-L1-Model-II-System?sku=600095

BTW based on my comparisons, I will be buying the Bose over another 'portable', the Yamaha STAGEPAS 500 Portable PA system. I did test the Yamaha and although it was impressive, it doesn't have near the clarity or features that the Bose does and the Bose can always be upgraded to suite your needs.

There's seems to be lots of argument between Bose and Yamaha people about their choice of PA system, but one of the reasons I chose the Bose is the ability to play 'out front' which I feel could potentially eliminate the problem you're experiencing. There have been arguments that the Yamaha (designed the same as most others), does cover low frequency better than the Bose, but having tested both brands I can attest that this is not necessarily true, as the Bose does provide for expansion by simply adding more bass units.


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It's an expensive investment, but I bought a Bose L-1 with the T1 Tonematch mixer. This thing cuts through any volume level and makes BIAB sound fantastic; pluse its easy to haul around. It has a usb in/out so I can use my computer with great sound reproduction (sometimes I just use mp3's I've transfered to my iphone. There's hardly any feedback problems so you can put it right next you. Oh, and that acoustic bass realtrack is out of this world!

Mike

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Cita:

Mike,

I Know what you mean . . . For that an other reasons I do not play weddings.

Later,




I am with you and Mike. My favorite question to just married who is looking me for play the party is 'against who you married?' . At first they look puzzled, then laugh and say ' ha ha ..you are the man...hired!'


Gabriel Arellano,
Nucleox Music
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For what it is worth . . . . . The following information is from my website, please keep in mind that for the most part it is directed to Activity Directors in Retirement Communitles as they often have issues with one or more entertainer's music volume. However my experiences have taught me that no matter where the gig in most cases you can still breakdown your audiences into these three categories.

To avoid any pit falls in executing a successful event make sure you and your entertainment are on the same page when it comes to just what is expected from your act at each particular event, and music volume is a very intricate part of this equation.

Over the years I have come to learn that most party-goers can be broken down into the three categories which are listed below. I have also included what experience has taught me is a pretty accurate description of what each categoery expects from the entertainment at a cocktail party or dance.

Social Visitors: They like to hear the music in the background, but still be able to hold their personal conversations at normal speaking volume over the music. They expect the music to enhance the mood of their visit and conversation, period. They are usually the first to let you know when the music is “too loud”.

Listeners: They like to listen to the music in its entirety at a comfortable listening volume. They are usually into the music and will hold their conversations in-between tunes on breaks. This group very seldom complains about music volume, that is unless it is ”really loud” although they have been known to complain about loud conversations around them. However most of the time they will just find a seat closer to the performer or band to better hear the music or see the act.

Dancers: They not only like to hear the music, they like to feel it as well. So while the volume for this group maybe acceptable for the “Listeners” as well it may be a bit too loud for the “Social Visitor”. This group will be the first to fill the tables closest to the band and dance floor. If this group complains about the music “being too loud”, it is too loud!

When booking entertainment, besides checking out references and past reviews, always let them know up-front what you expect in the way of genre selection and volume. But at “party time” try to keep in mind that with the exception of dinner and small venue cocktail parties, most parties will be made up of all three-category partygoers listed above. So your function, “on it’s own” may very well take on a different mood than what you intended. With this said any professional performer worth their salt will err on the side of lower volume at the start of the performance and will adjust volume accordingly based upon audience and the booking agent’s feedback and response. And by response I don’t necessarily mean a “stage visit” from anyone in particular, all though don’t rule that out as I have heard some acts that just blew my ear drums out. What I mean is that by monitoring the general reaction and response of the crowd as the party goes along, the professional entertainer should know how and when to adjust his/her volume.

So don’t be alarmed if you get one or two guest who complains about music volume while you have the majority of your guest listening and/or dancing. That is unless that complaining guest is paying the bills then you can throw these rules out of the window!

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Citaat:

Social Visitors: They like to hear the music in the background, but still be able to hold their personal conversations at normal speaking volume over the music. They expect the music to enhance the mood of their visit and conversation, period. They are usually the first to let you know when the music is “too loud”.

Listeners: They like to listen to the music in its entirety at a comfortable listening volume. They are usually into the music and will hold their conversations in-between tunes on breaks. This group very seldom complains about music volume, that is unless it is ”really loud” although they have been known to complain about loud conversations around them. However most of the time they will just find a seat closer to the performer or band to better hear the music or see the act.

Dancers: They not only like to hear the music, they like to feel it as well. So while the volume for this group maybe acceptable for the “Listeners” as well it may be a bit too loud for the “Social Visitor”. This group will be the first to fill the tables closest to the band and dance floor. If this group complains about the music “being too loud”, it is too loud!




It's the listeners and the dancers (and or sing-along folks) I do my thing for. If people don't want to participate, that's fine with me. If the volume bothers you you can always go a couple of meters to the back of the room where the volume is at conversation level.


The "social Visitors" (read: "Hey, I don't care if you're hired by the married couple to play music at their wedding. I just want to enjoy my free food and drinks and have a quite conversation. I don't give a duck that the married couple likes to see a filled dance-floor and people singing along and having a good time. I don't like that sort of thing. Period. And yes, I must sit right in front of your speakers. And now turn that thing down.")

I once had a very anti-social social visitor. He kept on complaining the volume was too loud (remaining his seat which he had put right in front of my speakers!) and requesting that I would take a break. I told him that I was actually getting paid to be there whereas he had to buy his way into that party. I asked him who would be missed more if one of us was to leave at that moment ....

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