L1 Model II

Let's talk about the L1® Portable Line Array Systems

Using proprietary Bose® technology, L1 systems combine  PA and monitors into a single, highly portable unit. The  loudspeaker can be positioned behind or to the side —and you hear what the audience hears.

Highly portable PA and monitor combined for solo performers, DJs and general-purpose use. Fixed vertical control with 180° horizontal coverage Reduced vulnerability to feedback.

Three systems to choose from (Compact, Model 1S, Model II)
Two passive bass module options (B1 or B2)
Consistent coverage and tonal balance, portability and easy setup.

Which L1(s) best for this situation?

Hi-end bar, adjacent to restaurant. Jazz trio (+) as house band, semi-permanat, on very small stage. Could not fit baby grand, so will be using Roland FP90 or similar, small drum kit (16 or 18" bass) with single overhead mic, upright bass w/pickup. Occasional vocalist and or horn will be squeezed in, so 1-2 extra mic channels. Plan to use Bose 8-channel Tone Master.

Question is, which L1?

Bar venue shape is long, narrow room, seating is around 50 seats nearby, for focus on music, and 45 more seats at far end, where music is intended to be less central focus, enabling more conversation.

Stage sound will be collected into a single channel for optional routing (via Dante) to house main AV system (main dining room, private rooms). This means that far end of bar area could have slight additional boost of stage sound routed to Bose ceiling speakers if/when desired.

The integrator who is designing both stage and overall restaurant AV is recommending a single L1-II+B2 for stage. I am thinking that a 1S may be quite sufficient, or even perhaps 2 Compacts, one with a bass module added.

Sound should be very "acoustic" - hoping to achieve best clarity and richness more than gross SPLs. I tend to think the drums and acoustic bass may in fact be nearly sufficient totally un-reinforced for the nearest seats, but the L1+ToneMaster stage system will help even out volume for further seats, and also serve the function of pulling everything together into a single channel for routing elsewhere.

Grateful for any thoughts from experienced L1 users/installers

Original Post

I'd skip the Compacts.   I agree on the notion the 1S may be enough; what I don't know is if the band monitoring off the pole will differ between the 1S and the 2. Depending on geometry, you may be shooting over the heads of the guests in front, which may be a positive or a negative. I see no downside the Model 2 except for the added expense. Ignoring any room acoustics for the moment, I'd go B2 with either pole.  My experience has been that in long narrow spaces with an L1,  you're going to want plenty of sub.

Is everyone monitoring off the L1?

@ST : room is about 7m (~23ft) wide at stage+bar end, 5m (~16ft) wide at far end, length is 26m (~83ft), so long and narrow.

Stage faces the long way down the room, and is about 5m (~16ft) wide at back, and 2.5m (~8ft) deep, back-to-front. Stage front corners (by audience) are slightly rounded, so not full rectangular area. 

also, seat count correction: ~50 in stage end, 28 at far end.

@Smitty : Stage height will be around only 30cm. Standing on stage facing audience, closest are three small two-top tables hard upon the stage, then along right wall is bar with high-ish barstools, along left wall are four booths (4-5 seats each) on slightly raised flooring, finally more tables beyond, at floor level.

So front-most tables may well be below projection of stage L1(s), but these seats will get more than enough direct, acoustic sound (though mix for these seats may be rather different than mix coming out of reinforcement gear).

There is a lot of glass along bar wall, but designers have done their best to mitigate ill effects of this, putting plenty of diffusion/absorption features onto ceiling and other walls. Floor is carpet.

Currently, only planned monitoring will be L1 (though I expect with limited stage depth it might be difficult to get all players into the projection field of a single L1, thus I wondered if two would help monitoring use). Additional monitoring of course from just natural sound, because musicians will be like sardines on this stage. I am aiming for disciplined players (esp drummer) who can play energetically at still moderate volumes, so hopefully stage sound will be un-muddled enough so everyone can hear one-another and themselves with minimal/no monitoring. Hope that's not an un-realistic goal!

House AV is based on Bose ESP 880 DSP matrix router, which will enable delay if stage sound is patched into house.

 

In terms of stage monitoring, I’ve used the S1 Pro with my L1M2 from the Aux Out of my mixer. Something to consider as it has a small footprint and can run on battery allowing for flexible stage placement. 

This might be a stretch, but using the S1 in floor monitor position with an L1S might help fill in the sound for the folks closest to the stage and still be able to be used as a stage monitor. 

Anyway, just throwing out the idea.

Hi bobm,

Thanks for the added information.

Put a single L1 Model II with B2 on the stage.  You may not need the B2 compared to a couple of B1s, but the B2 gives you more options.

For context, I have a couple of L1 Compacts, L1 Model 1S, L1 Model II, and B1 and B2 bass modules. I've used them all in countless settings. 

I would not use L1 Compacts in this situation. You would have to run them too loud (stage volume) to reach the back of the room. You wouldn't have enough gain before feedback to meet your needs.

For the rest of this conversation, I'm comparing the L1 Model II to the L1 Model 1S.

bobm posted:

@ST : room is about 7m (~23ft) wide at stage+bar end, 5m (~16ft) wide at far end, length is 26m (~83ft), so long and narrow.

Given the depth of the room, you'll appreciate the longer throw you get with the L1 Model II compared to the L1 Model 1S.   They both behave similarly, but you will be able to run a lower stage volume with the L1 Model II - and still be heard at the back.

Stage faces the long way down the room, and is about 5m (~16ft) wide at back, and 2.5m (~8ft) deep, back-to-front. Stage front corners (by audience) are slightly rounded, so not full rectangular area. 

That's a shallow stage, so you will have a better monitoring experience with the L1 Model II.  Both models share extremely wide horizontal coverage, but you'll be able to run at a lower stage volume with the L1 Model II, and get the job done. This will reduce the likelihood of feedback from the overhead and vocal microphones.



also, seat count correction: ~50 in stage end, 28 at far end.

@Smitty : Stage height will be around only 30cm. Standing on stage facing audience, closest are three small two-top tables hard upon the stage, then along right wall is bar with high-ish barstools, along left wall are four booths (4-5 seats each) on slightly raised flooring, finally more tables beyond, at floor level.

So front-most tables may well be below projection of stage L1(s), but these seats will get more than enough direct, acoustic sound (though mix for these seats may be rather different than mix coming out of reinforcement gear).

You'll get better vertical coverage with the L1 Model II. There are 24 drivers spanning the entire column from top to bottom. There are 12 drivers in the L1 Model 1S in the top half of the column, starting at about one meter.

With the L1 Model 1S, the sound below the array will be slightly muffled, and from your description, this could be noticeable for the people at the front tables and your seated pianist and drummer.



There is a lot of glass along bar wall, but designers have done their best to mitigate ill effects of this, putting plenty of diffusion/absorption features onto ceiling and other walls. Floor is carpet.

Currently, only planned monitoring will be L1 (though I expect with limited stage depth it might be difficult to get all players into the projection field of a single L1, thus I wondered if two would help monitoring use).

The single L1 Model II will give you the horizontal coverage you need for the stage as long as the bassist is not standing directly in front of the cylindrical radiator.  Adding a second powered loudspeaker will lower your gain before feedback. Try to make it work with the single L1. You can add an S1 Pro as a spot monitor for the vocalists, but I doubt they will need it.

Additional monitoring of course from just natural sound, because musicians will be like sardines on this stage. I am aiming for disciplined players (esp drummer) who can play energetically at still moderate volumes, so hopefully stage sound will be un-muddled enough so everyone can hear one-another and themselves with minimal/no monitoring. Hope that's not an un-realistic goal!

That sounds realistic.



House AV is based on Bose ESP 880 DSP matrix router, which will enable delay if stage sound is patched into house.

You're covered.

Cheers,

ST

Thanks all, especially ST. Sounds like the integrator's advice - one L1-II plus a B2 - gets pretty good consensus here. 

This gig doesn't get going until early next year. It has been a great blessing to be able to get input into room design as well as house/stage equipment well in advance of putting live music on the stage.

I'll try to remember to post results back here once things get going.

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