Difference between revisions of "Model I and Model II Comparison / Stage Monitoring Experience"
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− | <b>Objective</b>: To find out if I should approach stage layouts differently with the Model II (compared to the Model I). Specifically - would I set up things differently for the performers at the outer edges of the stage.<br><br><br>First: If you are in front of them, playing through the | + | <b>Objective</b>: To find out if I should approach stage layouts differently with the Model II (compared to the Model I). Specifically - would I set up things differently for the performers at the outer edges of the stage.<br><br><br>First: If you are in front of them, playing through the T1® through the Model I and Model II sound very similar to me. Similar enough that I would not significantly change the way I set up a stage as a solo performer. Nor would I feel it absolutely necessary to stop using my Classic for rehearsal, if using my Model II for performance.<br><br>I'll leave the differences for a different discussion.<br><br>Assumptions: <ul type="SQUARE"><br><li> Ensemble - up to four performers. The stage is 20 feet wide.<br></li><li> Shallow stage (only room to get 5 feet in front of the L1™).<br></li></ul><br><br>Gear setup: <ul type="SQUARE"><br><li> Microphone to T1® <br></li><li> T1 ToneMatch® connection to Model II<br></li><li> T1® Aux connection to Classic<br></li><li> No effects<br></li><li> On axis volume is the same at 15 feet (Classic and Model II)<br></li><li> I listened to only one L1® at a time by alternately muting the Aux and turning the Master volume off.<br></li></ul><br><br>Here's a picture of what I tested.<br><img src="http://toonz.ca/bose/wiki/images/ModelIILayouts/HearingFromTheEdges.gif"> <br><br>Initially I had both the Classic and the Model II aimed straight out.<br><br>I went to position <img src="http://bose.infopop.cc/eve/forums/a/ga/ul/1051001154/inlineimg/Y/1g.gif"> and listened to what I heard coming from the Model II.<br><br>I went to position <img src="http://bose.infopop.cc/eve/forums/a/ga/ul/5051001154/inlineimg/Y/2g.gif"> and listened to what I heard coming from the Classic.<br><br>I rotated the Classic to the point that I found the sound at <img src="http://bose.infopop.cc/eve/forums/a/ga/ul/5051001154/inlineimg/Y/2g.gif"> to be similar to <img src="http://bose.infopop.cc/eve/forums/a/ga/ul/1051001154/inlineimg/Y/1g.gif"> <br><br><br>Part II. <br><br>Instead of rotating the Classic, I moved it toward the middle of the stage until what I heard was similar at both points 1 and 2.<br><br>This is where I ended up.<br><br><img src="http://toonz.ca/bose/wiki/images/ModelIILayouts/HearingFromTheEdges2.gif"> |
<br><br>A couple of important things to consider.<br><br>I was trying to simulate <ul type="SQUARE"><br><li> a shallow stage<br></li><li> vocal only <br></li><li> performer's perspective (can I hear myself well enough to perform comfortably)<br></li></ul><br><br>With the Classic, on a shallow stage I have sometimes<ul type="SQUARE"><br><li> <b>Rotated</b> the outermost Systems in toward the middle to help with monitoring. <br>- = or = - <br></li><li><b>Moved</b> the outermost Systems in toward the middle to help with monitoring. | <br><br>A couple of important things to consider.<br><br>I was trying to simulate <ul type="SQUARE"><br><li> a shallow stage<br></li><li> vocal only <br></li><li> performer's perspective (can I hear myself well enough to perform comfortably)<br></li></ul><br><br>With the Classic, on a shallow stage I have sometimes<ul type="SQUARE"><br><li> <b>Rotated</b> the outermost Systems in toward the middle to help with monitoring. <br>- = or = - <br></li><li><b>Moved</b> the outermost Systems in toward the middle to help with monitoring. |
Revision as of 11:59, 20 January 2010
This article is an editorial and expresses the opinion and experience of the author. Please post comments in the discussion page.
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Objective: To find out if I should approach stage layouts differently with the Model II (compared to the Model I). Specifically - would I set up things differently for the performers at the outer edges of the stage.
First: If you are in front of them, playing through the T1® through the Model I and Model II sound very similar to me. Similar enough that I would not significantly change the way I set up a stage as a solo performer. Nor would I feel it absolutely necessary to stop using my Classic for rehearsal, if using my Model II for performance.
I'll leave the differences for a different discussion.
Assumptions:
- Ensemble - up to four performers. The stage is 20 feet wide.
- Shallow stage (only room to get 5 feet in front of the L1™).
Gear setup:
- Microphone to T1®
- T1 ToneMatch® connection to Model II
- T1® Aux connection to Classic
- No effects
- On axis volume is the same at 15 feet (Classic and Model II)
- I listened to only one L1® at a time by alternately muting the Aux and turning the Master volume off.
Here's a picture of what I tested.
Initially I had both the Classic and the Model II aimed straight out.
I went to position and listened to what I heard coming from the Model II.
I went to position and listened to what I heard coming from the Classic.
I rotated the Classic to the point that I found the sound at to be similar to
Part II.
Instead of rotating the Classic, I moved it toward the middle of the stage until what I heard was similar at both points 1 and 2.
This is where I ended up.
A couple of important things to consider.
I was trying to simulate
- a shallow stage
- vocal only
- performer's perspective (can I hear myself well enough to perform comfortably)
With the Classic, on a shallow stage I have sometimes
- Rotated the outermost Systems in toward the middle to help with monitoring.
- = or = - - Moved the outermost Systems in toward the middle to help with monitoring.
- Negotiated to get more stage depth.
This is *not* new.
What *is* new is that I felt no need to do that with the Model II.
I see this as a by-product of the extremely smooth distribution of the sound delivered by the Model II. It is not a detractor from the Classic (or Model I) but something to be considered when thinking about shallow stages and especially if playing into wide rooms.