{{#Click:Digitech Vocalist Live 2 - Alternative Method to Connect to a T1®|Image:VocalistLive2.jpg|90px|Read the article on how to connect the Digitech Vocalist Live 2 to a T1®}}
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{{#Click:Downloads|Image:Downloads green arrow.gif|update your system}}
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==== Usage ====
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Add to a page:
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<pre>{{#Click:Target|Image:Example.png|90px|Caption is here.}}</pre>
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Width (90px) and caption are optional. Target may be an internal or external link, but internal links take precedence.
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{{#Click:T1 ToneMatch® Audio Engine#Aux_Output|Image:T1AuxOutput.png|T1 Aux Output}}
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== Templates (more) ==
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----
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== Electric Bass Article by Andrew Douglas - Preview ==
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<font size = "4">'''The Electric Bass and the Bose® {{L1}} system'''</font>
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<font size = "4">Configuration options and practical tradeoffs – one user<nowiki>’</nowiki>s perspective</font>
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''by Andrew Douglas, Bose {{L1}} Product Specialist''
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<font size = "1">''This document was not produced by Bose Corporation and is the sole opinion of its author.''</font>
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Electric bassists, like electric guitarists, are perpetually in search of "great" tone. Like the electric guitar, this tone is only partly the result of the instrument itself; the choice of amplification, additional effects and speaker cabinet play a major role in coloring the overall sound. It is a symbiotic relationship.
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== Templates (more) ==
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<nowiki>{{Bose}}</nowiki> becomes {{Bose}}
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This is not the case for most other instruments. Keyboard synthesizers, for example, rely on internal sound generators to produce their unique voice. Acoustic guitars derive their tone from design, construction and materials. For instruments such as these, the goal is not to color the basic sound of the instrument through external equipment, but rather to reproduce that sound as accurately as possible.
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<nowiki>{{forum}}</nowiki> becomes {{forum}}
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The Bose {{L1}} excels at delivering transparent, clear amplification, making it well suited for acoustic instruments and voices. But these same attributes, combined with the high purchase price of the system, can be a deterrent to electric bassists looking to replace a good bass rig without losing its distinctive character.
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This paper will explore, from a practical standpoint, the pros and cons of using the {{L1}} system for electric bass amplification. It is based entirely on the personal experience of the author and reflects his views on the matter.
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'''It costs ''how'' much?'''
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The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} amplifier is among the most expensive bass rigs one can buy, on a par with the most exclusive of boutique amplifiers.
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The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends."
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The primary benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle.
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It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar.
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From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head…and all are relatively compact, which makes transport easy.
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But this alone in my opinion is not sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment.
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A band that goes "all-Bose" can use {{L1}}s to replace all of the back-line amps, plus the PA, plus stage monitors, plus the supporting equipment for small- to medium-sized venues. Since the Bose performance model gives each performer his or her own independent monitor "mix," the extensive additional equipment needed to provide separate monitor mixes with a conventional PA is not needed.
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The total cost of a conventional system that replicates the capabilities of an all-L1 band is comparable to that of the Bose system. Therefore, if the bassist<nowiki>’</nowiki>s {{L1}} is also used to support other sources (such as the bassist<nowiki>’</nowiki>s microphone, for example), then the purchase of the system for use as a bass amp is a logical and cost-effective move.
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This raises the question of system sharing. The more sources each {{L1}} supports, the more cost-effective it is. However, this involves some sonic, signal routing and control compromises, as will be discussed below.
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'''Improving on the conventional bass rig'''
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My own experience with the {{L1}} started when I purchased two single-{{B1}} systems to replace my band<nowiki>’</nowiki>s overly complex PA system. At the time, the {{A1}} had not been introduced, and in any event I was not able to afford all three of the systems we now have at the time.
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My band consists of a bass, one acoustic-electric guitar, a flute and a drum machine. All three band members sing. We faced the same issues that many {{L1}} buyers must contend with, in particular deciding the most effective way to divide up two systems among three performers (and a robot).
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The obvious course was to keep my bass rig (a 1200-watt component rack system driving a 2x12 cabinet, which I was very happy with) and use the two {{L1}}s to support the three microphones, the guitar and the drum machine. This worked quite well and was a vast improvement over our previous setup.
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It didn<nowiki>’</nowiki>t take long to try plugging the line out from the bass rig<nowiki>’</nowiki>s preamp into a vacant channel on one of the {{L1}}s, just to see what would happen. The results were astonishing. The good basic tone of the 2x12 was still there, but the {{L1}} added wonderful clarity and sparkle. It also gave the sound the superior dispersion characteristic of the {{L1}} where it counts most, in the mid and upper frequency ranges. The fact that there was only one {{B1}} was not an issue: keeping the 2x12 cabinet provided plenty of support for the low end. Best of all, it allowed me to keep "my" tone, created by the preamp.
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An alternative arrangement is to reverse this: Plug the bass into channel 1 or 2 of the {{L1}} (assuming they are not occupied) and use the {{L1}}<nowiki>’</nowiki>s line out to feed a conventional bass rig for extra power on-stage. I did not explore this option because I wanted the tone of my preamp to come out of the {{L1}}, and also because channels 1 and 2 on both systems were already in use.
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The drawback to this hybrid solution, of course, was that I still had a fairly large, heavy bass rig to contend with. This led me to take the next step in optimizing the rig.
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'''Optimizing the hybrid system'''
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On the premise that part of the frequency spectrum produced by the rig<nowiki>’</nowiki>s conventional speaker cabinet was being duplicated by the {{L1}}, I purchased a small, lightweight single-15" speaker cabinet to replace the large 2x12. The overall configuration remained the same: bass plugged into the bass rig (now a 1x15), with a line out going to the {{L1}}. By itself this cabinet did not sound very good, but it didn<nowiki>’</nowiki>t need to…the mid- and high-end were being carried by the {{L1}}. This effectively eliminated the major drawback of the earlier rig – a big, heavy cabinet. I did prefer the tone of the 2x12/L1 hybrid system, but I was willing to compromise to gain compactness and light weight.
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This final iteration of the hybrid system displayed many of the physical/logistical benefits of the {{L1}}, specifically size and weight. The 1x15 cabinet I had selected weighed less than 30 pounds and was about as small as a 1x15 cabinet can get. My four-space amp rack also made use of a very lightweight power amp.
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'''Moving to the {{L1}}'''
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When the {{A1}} was introduced, I decided to give it a try. Curious about how it would sound compared to my satisfactory hybrid setup, I purchased the
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{{A1 EB}} ({{A1}} and two {{B1}}s). After a month of A/B comparisons, I decided to keep it. The tone was good, the logistics were good, and there was a side benefit: the drum machines were now able to take advantage of the additional power and bass support provided by the {{A1}} and extra {{B1}}s.
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Soon after, I was in a position to buy a third {{L1}}, which I did…basically because Bose had been right about every other claim, so I was willing to purchase it on faith by that time; they said that one system per performer is the way to go, and I had to find out. Needless to say I wound up keeping it.
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So I had ultimately worked my way into owning a $3300 bass amp. Was I insane? Perhaps, but there were good reasons to add the third system. These had at least as much to do with the improved overall sound of the band as it did with the bass tone that the extended-bass {{L1}} gave me. Giving each singer a separate {{L1}} made a significant difference in the monitoring situation – one that surprised us. We would never have guessed how much better having one system per performer sounded had we not tried it for ourselves.
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Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s.
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In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki>’</nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important.
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The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and now use the extended-bass {{L1}} system, driven by a Line6 BassPODxt, as my bass amp. My {{L1}} also supports one channel of the drum machine and my vocal.
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== Linked Image Example ==
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only works for links to internal wiki pages
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'''Tone options'''
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<linkedimage>
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wikipage=The Bose® L1® Wiki
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tooltip=Main Page
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img_src=L1doubleWA1.gif
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img_width=138px
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img_height=200px
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img_alt=Sampletext
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</linkedimage>
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Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking color, even with the full extended-bass package.
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<linkedimage>
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wikipage=The Bose® L1® Wiki
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tooltip=Main Page
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img_src=L1doubleWA1.gif
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img_alt=No width or height specified
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</linkedimage>
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== LiveSaver Test ==
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The alternative is to feed the {{L1}} with a signal that has been put through a preamp of some sort. This can be accomplished in any one of several ways:
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http://meta.wikimedia.org/wiki/LiveSaver
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* A rack-mount preamp
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== Test for Inclusion ==
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* A pedal such as the SansAmp Bass Driver DI
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Cliff-at-Bose wrote<ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/7466055944/m/3371001663?r=3451021663#3451021663 Cliff-at-Bose wrote about B1s and proximity to walls]</ref>
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* A modeler such as the Line6 BassPODxt
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I<nowiki>’</nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki>’</nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode, I<nowiki>’</nowiki>ve been able to get a tone that I find very pleasing…quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki>’</nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step.
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The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer.
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Depends on the wall construction. Most drywall will reinforce midbass (like 100-250 Hz) and let the deeper octave or so pass right on thru giving you little reinforcement from reflection. So if you push your bass boxes up against the wall, you'll tend to get a lot of midbass with a typical drywall-constructed wall. And, yeah, then it will be muddy. Most walls don't reflect sound uniformly with frequency, so you get a change in spectrum you probably don't want no matter what. One possible exception to this is, say, 6" thick concrete with a 1/4" thick lining of steel. Oh, and don't take my word for it either. Do it yourself and see what you hear. Also, aiming the individual bass boxes won't have much effect as they are so much smaller than the wavelengths they are producing that they are virtually omni. For instance, a 125Hz wavelength is on the order of 8 feet. A pair of b1's on each side of your ps1 will give you a hotter midbass down the middle and not so off to the side. Here, you've essentially made a crude bass array. So, my experience with all this tells me that the most consistant way to set the bass up, gig to gig, is to lump the bass boxes together and keep them away from the walls. You won't get the extra bass boost from the walls, but if you did, it wouldn't be wideband. I think you'll always do better not asking the wall to help. You know what they say about free help (you get what you pay for). This works for bass players, dj's and so on.
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There<nowiki>’</nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right.
<a href="http://toonz.ca/bose/wiki/images/flash/training01.htm" title="Presets - Ken Jacob" class="thickbox">Presets - Ken Jacob 01</a>
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</html>
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The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki>’</nowiki>t down low…it<nowiki>’</nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience.
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<html>
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<a href="http://toonz.ca/bose/wiki/images/flash/training01.swf" title="Presets - Ken Jacob" class="thickbox">Presets - Ken Jacob 01</a>
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</html>
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Also, the bassist<nowiki>’</nowiki>s perception is different from that of the audience. The bassist feels the low "thump" more because he/she is standing right in front of the cabinet, or at least in close proximity. Out in the audience, that physical "hit" of air movement, while it may still be present, is lessened.
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The real question is, what sounds best? Does having a powerful "thump" really serve the music? The important thing is to ''listen'' to the sound and abandon preconceived notions about what "should" sound right. Like many bassists, I used to cut the mids and boost both bass and treble because this "smiley face" EQ curve sounds good soloed. But in the mix, the bass disappears if it<nowiki>’</nowiki>s EQed this way. Now I leave the bass EQ flat and boost the mids…and the overall sound of the band is excellent, with the bass sitting prominently in the mix and no blurriness or muddiness. This EQ curve doesn<nowiki>’</nowiki>t sound quite as pleasing when the bass is being played by itself, however.
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Ultimately this is a matter of personal taste. Several {{L1}} users are using large powered subwoofers as the Mackie 1801 subwoofers to generate that extra air movement. In my experience going that far is not necessary.
Another misconception is that adding more {{B1}}s will add "more bass." This is not so. What it does do is add more headroom. Bass frequencies require a lot of power, and the more you can throw at them, the better they<nowiki>’</nowiki>ll sound…at any volume. This is also true of conventional rigs: My old rig had a 1200 watt amplifier driving a 2x12 cabinet and it sounded superb because I was never pushing the amp hard. Unlike electric guitars where a heavily-driven tube power amp can produce improved tone, with electric bass it<nowiki>’</nowiki>s far better to have plenty of clean power on tap.
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Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki>’</nowiki>s not necessary to drive them as hard.
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== test captcha ==
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Note that the full extended-bass {{L1}} system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig.
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[[Category:PackLite®]]
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The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations.
{{#lst:Warranty Information|PackLite® power amplifier Model A1}}
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<table>
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'''Summary'''
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== Search ==
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My own journey from conventional amplification to an all-Bose system has covered most of the possible configurations, from conventional rig to hybrid to a full-bore extended-bass {{L1}} system. At every stage I<nowiki>’</nowiki>ve been rigorous with my decision to move to the next step, conducting extensive A/B comparisons and choosing the most viable overall option. It says a great deal about the engineering of the {{L1}} that I no longer own a conventional amplifier.
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<inputbox>
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type=search
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searchbuttonlabel=Full text
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break=no
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width=50
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</inputbox>
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Overall, my experience with the hybrid conventional rig/L1 arrangement was very positive. For the bassist who simply cannot afford his or her own {{L1}} system, but who has access to one belonging to a bandmate, I believe that a hybrid arrangement is an effective, but not optimal, solution. It is, in my opinion, well worth taking advantage of the 45-day trial period to test the extended-bass {{L1}} system against such a hybrid system. It was only after I had done this that I concluded that the added benefits justified the cost.
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<inputbox>
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type=search
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width=30
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buttonlabel=Go
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searchbuttonlabel=Search
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break=no
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</inputbox>
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'''To recap the main points:'''
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* Purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki>’</nowiki>s used to replace additional equipment as well, it is very cost-competitive.
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* If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system.
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* A full extended-bass {{L1}} system can and does make a viable replacement for a conventional bass rig and offers the following benefits:
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* Multiple use as a vocal monitor/PA replacement
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* Reduced weight and bulk
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* Improved sonic characteristics
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* {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers.
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* The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air.
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* The extra presence and punch provided by additional {{B1}}s and the {{A1]] is well worth the cost in this application.
Andrew Douglas is a professional writer and an amateur bassist ("I<nowiki>’</nowiki>m good enough to get asked back, and nobody<nowiki>’</nowiki>s thrown a rotten tomato at me yet…but there<nowiki>’</nowiki>s always a first time.") who lives in Bridgeport, Connecticut. He has been playing off-and-on with the same two close friends for over 20 years, and the three of them have been performing as a band for over 10 years. He is also a Bose {{L1}} Product Specialist.
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'''''About the equipment'''''
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'''Original rig:'''
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== Streaming Video ==
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* Pre-Fender SWR Grand Prix tube preamp
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* PreSonus Blue Max Compressor
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* Stewart World 1.2 1200-watt power amp
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* Avatar 2x12 w/horn, later replaced by a Flite Sound 1x15, no horn
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'''Current Bose rig:'''
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=== Soapbox ===
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<html>
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* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s)
* Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp
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* Current bass, MusicMan Bongo 5 HH w/piezo
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----
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<noinclude>
<references/>
<references/>
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</noinclude>
Latest revision as of 04:36, 25 November 2018
Edit this page
This "sandbox" page is to allow you to carry out experiments. Please feel free to try your skills at formatting here. If you want to learn more about how to edit a wiki, please read this introduction or the tutorial at Wikipedia.
To edit, click here or "edit" at the top of the page, make your changes in the dialog box, and click the "Save page" button when you are finished.
Content added here will not stay permanently; this page is cleaned regularly.
L1® Model II: Can I run a Stereo Source to the Power Stand
A ¼ inch Tip-Ring-Sleeve connector carrying a stereo signal should not be used with the analog input on the Model II.
Even though a ¼ inch Tip-Ring-Sleeve connector can carry a stereo signal this is not how this physical connection is used on the Sandbox Power Stand.
The analog input on the Model II is balanced, and will therefore subtract the Left and Right signals on a stereo cable and you will hear an L-R (Left minus Right) signal in the Model II.
You cannot 'get through the gig' this way if you are a DJ or if you need to run prerecorded music or have stereo inputs.
Using a Mixer
If you are using a mixer instead of a T1 ToneMatch Audio Engine use the mixer to create a mono output and send that to the Model II Power Stand Analog input.
If there is a stereo/mono switch then use it and send the mono output to the Model II Power Stand Analog input.
If there is a Left/mono output then use that and send it to the Model II Power Stand Analog input.
If there is no way to create a mono output then pan all your mixer inputs all the way to one side (e.g. Left) and then take the mixer for that side (e.g. Left) output and send it to the Model II Power Stand Analog input.
A: From a technical standpoint it is safe to operate the system with only the lower section of the Sandbox , however the spatial and spectral performance of will be greatly reduced, so this has only a very limited application.
- Hilmar-at-Bose[1]
Correcting the Tone
Try inserting a ¼ inch connector in the Bass Line Out of the Power Stand. This will cause the internal logic to reduce the Bass output, and this should give you a better overall tonal balance when running with only one section of the Sandbox.
For very detailed notes about this see Half Stack.
Feedback occurs when the sound from the loudspeaker (or loudspeakers if a microphone is connected to more than one) is louder at the microphone than the sound of the voice.
This fundamental fact is shown in the figure below.
More generic explanation
Definitions:
Audio feedback (also known as the Larsen effect after the Danish scientist, Søren Larsen, who first discovered its principles) is a special kind of feedback which occurs when a sound loop exists between an audio input (for example, a microphone or guitar pickup) and an audio output (for example, a loudspeaker). In this example, a signal received by the microphone is amplified and passed out of the loudspeaker. The sound from the loudspeaker can then be received by the microphone again, amplified further, and then passed out through the loudspeaker again. — audio feedback: Wikipedia
Audio feedback is the ringing noise (often described as squealing, screeching, etc) sometimes present in sound systems. It is caused by a "looped signal", that is, a signal which travels in a continuous loop. — feedback: MediaCollege.com
{{#Click:Digitech Vocalist Live 2 - Alternative Method to Connect to a T1®|Image:VocalistLive2.jpg|90px|Read the article on how to connect the Digitech Vocalist Live 2 to a T1®}}
{{#Click:Downloads|Image:Downloads green arrow.gif|update your system}}
Usage
Add to a page:
{{#Click:Target|Image:Example.png|90px|Caption is here.}}
Width (90px) and caption are optional. Target may be an internal or external link, but internal links take precedence.
{{#Click:T1 ToneMatch® Audio Engine#Aux_Output|Image:T1AuxOutput.png|T1 Aux Output}}
T1 ToneMatch® Audio Engine
Sub Heading
Some more text. This is the Sandbox (example of a magic word)
{{PAGENAME}}.
More in Magic Words ← this is an internal page link!
[[{{PAGENAME}}#Magic Words|Magic Words]]
Sub Sub Heading
Some more text
Sub Sub Heading
Some more text
Another Sub Heading
Some more text
Bullets
Wikis are fun
Wikis are easy
Less coding that is needed for most forums
Numbered Bullets
Wire up the PS1 Powerstand connections
Connect the B1
Insert the L1™ Cylindrical Radiator sections
Turn down the R1 Remote Master Level
Power on the System
Italics
Bold
Link to an external image (just type in the URL) like this image from the Bose Site
No special codes - just the address of the image.
Magic Words
There are currently 944 articles and 4,348 users.
There are currently {{NUMBEROFARTICLES}} articles and {{NUMBEROFUSERS}} users.
Depends on the wall construction. Most drywall will reinforce midbass (like 100-250 Hz) and let the deeper octave or so pass right on thru giving you little reinforcement from reflection. So if you push your bass boxes up against the wall, you'll tend to get a lot of midbass with a typical drywall-constructed wall. And, yeah, then it will be muddy. Most walls don't reflect sound uniformly with frequency, so you get a change in spectrum you probably don't want no matter what. One possible exception to this is, say, 6" thick concrete with a 1/4" thick lining of steel. Oh, and don't take my word for it either. Do it yourself and see what you hear. Also, aiming the individual bass boxes won't have much effect as they are so much smaller than the wavelengths they are producing that they are virtually omni. For instance, a 125Hz wavelength is on the order of 8 feet. A pair of b1's on each side of your ps1 will give you a hotter midbass down the middle and not so off to the side. Here, you've essentially made a crude bass array. So, my experience with all this tells me that the most consistant way to set the bass up, gig to gig, is to lump the bass boxes together and keep them away from the walls. You won't get the extra bass boost from the walls, but if you did, it wouldn't be wideband. I think you'll always do better not asking the wall to help. You know what they say about free help (you get what you pay for). This works for bass players, dj's and so on.
