DJ
From Bose L1 Encyclopedia FAQ & Wiki
B1s: How do I place them, single double, quad
In response to: "where and how is the best way to place the B1; single, double, and quad"
It Depends
I'm planning to expand the wiki article Bass Outdoors to try to be as comprehensive about indoor and outdoor bass placement issues as I can be. Until I publish that, the short but annoying answer is of course, "it depends" and the slightly longer, but still unsatisfying answer is, "results will vary from case to case in ways that even the best acousticians can't anticipate." But you'll often find recommendations on the web or even in technical journals by folks who have only considered a subset of the factors that contribute. The authors may not know about the other factors or, more likely, they may be hoping that those other factors can be ignored. The temptation to extrapolate beyond the part that one grasps is almost irresistible. Hope springs eternal. One wants to give a satisfying answer, even when it is out of reach.
This is not as hopeless as it sounds, because there is an important distinction between "what is best?", which we cannot answer, and "what do you recommend that I do?" which we should and can answer. We can also say some things about "what should I NOT do?" Here I will give you a random smattering of such recommendations and hope that they will suffice until I can give a fully organized wiki entry. It's a pretty long post, but I hope it will address most of the questions that have arisen. (It takes more time to make a shorter post. Smile ) If not, ask more questions and that will help me make the wiki entry more complete. Chris
Orientation, aiming and obstruction
Sound comes through the B1 grille only and then spreads out the same amount in all directions from that surface. So box orientation doesn't matter to the B1 sound. Sonically the B1 can rest on any one of its four sides and nothing will change. (Of course, for stacking, you want the "wide side down" in order to engage the nubs on the next B1.) Once you pick a side to rest it on, you can aim the B1 in any direction you want, forward, sideways, even firing backward toward a rear wall. If you hear a change, it is because you've moved the grille relative to other B1s or relative to boundaries. Don't shove the grille into a wall or into a big obstacle, because then the sound can't get out; leave at least 6 inches (15 cm) of space in front of the grille. The side of the box itself can be right against a wall, so long as the grille is not obstructed. We often start out placing our B1s on the floor, sideways against the rear wall, so that the first reflections from the floor and rear wall will not change the tonal balance in the bass. (Room modes will change the tonal balance anyway, but at least we eliminate one source of variability this way.)
Arranging groups of B1s that play the same signal
When multiple sources playing the same signal are spaced apart, they make an "array" which means that the tonal balance they radiate can be different in different directions. If you understand array theory, you can make this work for you, but in our case, it is safest to keep the spacings as small as we can, so that the array radiates the same in all directions. When we keep the spacing tight, multiple B1s will behave just like single B1s, only louder. What matters here are the spacings of the grilles, not the cabinets, because the grilles are where the sound comes from. The more specific suggestions that follow below rely partly on my own understanding of the theory and partly on consultation with Hilmar, who has both theory and a lot of experience to guide him.
Two B1s
For two B1s, we prefer to stack them on their wide sides, mostly because this takes the minimum floor space. But you can place them side by side or even face to face, leaving 12 inches (30 cm) between grilles (because this is 6 inches (15 cm) in front of each B1). Sonically, it doesn't matter which wide side is up and the two don't have to have the same side up. Sonically you can even have one B1 on its wide side and one on its handle side, although that looks funny. In fact, for two B1s, "looking good" places more restrictions on what you do than "sounding good." I've seen two B1s placed either side of an L1 on the PS1, and that should work fine acoustically. In any arrangement where the grilles fit completely within a 30 inch (75 cm) diameter sphere, your two B1s will act like a single one, only louder. Note that spacing two B1s on the floor with the L1® Classic or L1® Model I Power Stand between them does not meet this criterion. That arrangement would reduce the mid-bass that radiates to the left and right sides.
Four B1s
For 4 B1s, we are most likely to stack all 4 on their wide sides, but sometimes we make two stacks of two, side by side. The stack of four takes up the least floor space, but it radiates a little less mid-bass upwards, which has not been a problem and might be beneficial. We don't lay all four in a line on the floor on their wide sides, since we expect this to weaken the midbass that travels left and right toward other band members or audience at the sides. You could probably lay all four in a line if you rest them on their handle sides, so that they make a short line. If you use the 2x2, keep the two stacks adjacent to avoid possibly weakening the mid-bass to the sides.
Locating the Group of B1s
Where to locate the group: If the group of B1s is far from its L1, the lows will come from one place and the highs from another and this is harder for everyone to hear clearly. More than about 5 feet (1.3 m) of separation is probably beginning to compromise your spatial quality. It's best if you can keep the B1s adjacent to or within a foot (30 cm) of the PS1. Since our preferred arrangements are stacks of 2 or 4 B1s, we also like to aim those stacks sideways and place them against the rear wall if we can, because this minimizes unwanted array effects with the first reflections. But we don't hesitate to aim the stacks forward when the best appearance is more important. In this case, we keep the B1s as close to the back wall as the connectors allow, but being careful not to stress the cables by bending them too sharply against the wall. Although we prefer to keep the B1s as close to the rear wall as we can, there are times when this is just not an option. In such cases, we try to get 7 feet (2.1 m) or more from a rear wall as a second choice because, in the 2-7 foot (0.6-2.1 m) range, the reflection from the rear wall tends to reduce some of the bass frequency range in the audience (an interference effect). Sometimes we have no choice but to place B1s in that 2-7 foot (0.6-2.1 m) range and we just live with the minor reduction in bass, perhaps compensating with a bass tone control boost.
Other variations: It's okay to raise the B1s on short risers if you like, but I don't know of any reason why this would always sound better or worse, just different. Floors and walls are not perfect reflectors of bass[1], but I have no different recommendations to make due to this source of variation.
It Depends
Although the above suggestions describe our default arrangements, they don't always yield good-sounding results. The factor that we can't really control or understand easily is the room. Rooms often cause very uneven distribution of bass and there is no universal method of cure. Sometimes a different speaker placement seems to help, but what helps for one listener usually makes it worse elsewhere. It's easy to fool yourself and it's easy to fuss endlessly without finding a good solution. We try not to fall into that trap. If one or two alternatives don't cure the problem, we give up and move on.
There are only a few techniques that we think are likely to help. First, if there is too much bass, we might try to fix that with a tone control reduction before moving anything, since, if it works, we will have higher maximum bass output available to us (because the bass amp is working less hard to give the right amount of bass). If a bass control adjustment doesn't straighten out the problem we hear, we might move the stack closer to or farther from the nearest corner. Closer sometimes increases bass while farther sometimes reduces it. (That's the simplified theory, anyway.) But proceed with care: the change the musicians hear will probably be different from the change in the audience. Make sure you know who you are trying to improve the sound for. The last thing we might try is a different arrangement, say switching from a stack of 4 to 2x2. If these few alternatives don't give a clear improvement (and they usually don't), we think it's time to shrug our shoulders and get on with the show.
Who Wins?
Ultimately, we have to be willing to accept that often the room will "win" and we won't get the ideal bass response. This will be true for any bass system, not just specifically for the B1. There is no point in worrying about this--we do what little we can to avoid the worst and then concentrate on giving a good performance. If we do that, the L1 will make sure people enjoy the sound, even when the bass isn't all that we'd like it to be.
Using More Than Two B1s with a Power Stand
You can have up to two B1 Bass Modules connected to an L1® Power Stand.
- You can add two more B1 Bass Modules powered by the PackLite® power amplifier Model A1
- You can purchase the Packlite® and two B1 Bass Modules as a PackLite® Extended Bass Package
- You can add as many PackLite® Extended Bass Packages as you like to a single L1®, although it is unlikely you would go beyond four B1 Bass Modules except for live music in a very large venue.
- If you have an L1® Classic you can use that to drive up to six B1 Bass Modules. For details see: Classic Extended Bass Package
External Subwoofers
Passive (unpowered) Loudspeakers
L1® Classic and L1® Model I
Output if no B1 Bass Modules detected
- 40-180 Hz Bandpass (that is: NO B1 EQ)
If one or two B1 Bass Modules detected (or resistors used across NL4 2+ / 2- pins to emulate detection)
- 40-180 Hz with different EQ curves. For details on how to do this see: Activating B1 EQ Curves
For more details about the Power Stand outputs see: PS1 Power Stand / Bass Line Out
L1® Model II
Output if no B1 Bass Modules detected
- 40-200 Hz Bandpass (that is: NO B1 EQ)
If one or two B1 Bass Modules detected (or resistors used across NL4 2+ / 2- pins to emulate detection)
- 40-200 Hz with different EQ curves. For details on how to do this see: Activating B1 EQ Curves
For more details about the Power Stand outputs see: L1® Model II Power Stand / Bass Line Out
Active (powered) Loudspeakers
PackLite® power amplifier Model A1
The PackLite® power amplifier Model A1 is part the L1® System. It can be used to power up to two B1 Bass Modules. This is connected to the Power Stand Bass Line Out.
Third Party (non-Bose®) Systems
If you want to use a powered loudspeaker system, you can use the Power Stand Bass Line Out as the signal source. Here are notes specific to the L1® you are using.
You will probably use an powered loudspeaker in the same way as you would connect an PackLite® amp.
Please see PackLite® power amplifier Model A1 for extensive notes that include ideas that can be applied to other systems.
Longer Cables for B1s
The Bose B1 requires a NL4 connector with all 4 pins connected (that's why we call it 4-wire cable). Unfortunately, the Speakon connector comes in three different flavors, NL2 (2-pins), NL4 (4 pins), and NL8 (8-pins). Most salespeople are not aware of the differences.
A good source for the correct cables is
for example
— Click image for details —
If you call Mark and tell him you want the cable for the Bose B1, you will get one that is made to our specifications. You can also any custom length cable at a very reasonable price.
- Hilmar-at-Bose[2]
Connect an Analog Stereo Source to an L1®
Backing Tracks — This article covers connecting devices like CD, DVD, mp3, iPods to your L1®
Connect a DJ or VJ Console to a Model I
Connections / DJ VJ Computer to Model I— This article covers connecting devices like a DJ or VJ console to your L1®
Connect a Computer to T1 ToneMatch® Audio Engine Through USB
You can connection your computer to a T1® through USB. The default routing sends the USB from Computer to the Master buss. This works fine, and is the default setting. You will want to use your source computer to control the volume, equalization, effects if any. For more notes about USB see: T1 ToneMatch® Audio Engine / USB.
Settings USB from Computer to Channel 4/5
If you want more control then you will want to send USB from Computer to T1® Channel 4/5.
Connect your Computer to your T1® and send that to Channel 4/5. This allows you to control the sources applying ToneMatch® Presets, EQ, and volume using the Channel 4/5 Vol control.
- Turn the Rotary Selector to Global section and Prefs
- Press the first button, Menu
- Turn the Menu to USB from PC, Press
- Press the middle button Left
- Turn to select Channel 4/5, Press
- Press the right button Right
- Turn to select Channel 4/5, Press
- Here is the final result
USB and Channel 4/5 Analog at the same time
You can connect the USB input to T1® Channel 4/5 for a stereo source (computer) AND an analog input to T1® Channel 4/5 at the same time. While it is unlikely you would play both sources simultaneously, you can raise and lower the outputs at the source. This allows you to control the sources applying ToneMatch® Presets, EQ, and volume using the Channel 4/5 Vol control.
See: Settings USB from Computer to Channel 4/5 (above) for USB setup and Analog Connection below.
Analog Connection
Connect a single T1 ToneMatch® Audio Engine to two L1®s
We have a comprehensive article on how to do this that covers analog and USB connections.
T1 ToneMatch® Audio Engine / Stereo Output to Two L1®s
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 DJ 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 signal in the Model II.
You cannot 'get through the gig' this way if you're a DJ or needing to run prerecorded music.
Stereo setups
Live or PreRecorded / Stereo and *-Mono — The engineers at Bose conducted listening tests with four L1®s and eight B1s. Read about the results in this article.
Can I run two L1®s in Mono
Minimum Distance Running Two L1®s in Dual Mono
Phase cancellation can be an issue if you are running Dual Mono (two L1®s from the same mono source). This can be an issue when two or more L1®s are fed the same signal.
The minimum recommended distance for two L1®s is 20-50 feet.
Only when fed the same signal, "Interference between line arrays would be more severe [than for non-line-array speakers]. In fact, the current Bose design rules for installing MA12 line arrays recommend ... a spacing between line arrays of between 6 and 15 meters! (20-50 feet)" The same applies to the L1. - Chris-at-Bose [3] (Clarifications added by the author of the quote.)
Note: During a conversation with Chris-at-Bose, he confirmed that the recommendations above are the same for the L1® Model II. ST 15:13, 30 August 2007 (GMT-7)
- ↑ Floors and walls are not perfect reflectors of bass - see: B1 Bass Module / Walls
- ↑ B1 Cables
- ↑ See: Used 4 towers & 8 subs today in the Bose® L1® Systems Users Forum
Connect two L1® Model Is to play the same source
If you are going to do this read see Dual Mono for some background.
If you are using a T1 ToneMatch® Audio Engine
If you are not using a T1 ToneMatch® Audio Engine
What is a Pad and when would I use one
"pad" is short for attenuation pad. This is a device used to lower the signal level between two other devices. You are most likely to need a pad when using a L1® Classic or L1® Model I and your source uses an XLR connection at line-level. For more details please see: Pad.
Mixers
General Notes
L1® Model I and L1® Classic
XLR to XLR
The XLR inputs for Channels 1 and 2 are intended for microphone level inputs.
- If your source (mixer or CD/DVD player) has XLR outputs, check to see if you have the option to set it to a microphone level output. If so, use that setting.
- If your source has XLR outputs at line-level (most likely) then you will probably need a Pad between the source and the L1® Model I (or L1® Classic) Power Stand.
- You may be able to make things work without the Pad by turning down the output from the source and turning down the trim at the Power Stand. If it sounds okay then you are probably fine. If you cannot get enough a good sounding signal without an excess of noise then try a Pad.
¼ inch jack inch to ¼ inch
If your mixer has ¼ inch jack outputs, these are almost certainly at line-level and should work well with any of the ¼ inch jack inputs (Channels 1, 2, 3, 4) on a L1® Model I or L1® Classic.
L1® Model II
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 DJ 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 signal in the Model II.
You cannot 'get through the gig' this way if you're a DJ or needing to run prerecorded music.
T1 ToneMatch® Audio Engine
- You can run ¼ inch jack line level inputs to T1® Channels 1,2,3.
- You can probably run XLR line level inputs to the T1® Channels 1,2,3. No Pad required.
- T1 ToneMatch® Audio Engine inputs will accept a wide range of signals. We have not encountered a normal use where someone needed a pad - even using +4dbU console outputs[4]
- If you have the option to run ¼ inch to ¼ inch, you could use T1® Channels 4/5. This would leave more channels available for use with microphones and instruments with lower output levels.
- ↑ Floors and walls are not perfect reflectors of bass - see: B1 Bass Module / Walls
- ↑ B1 Cables
- ↑ See: Used 4 towers & 8 subs today in the Bose® L1® Systems Users Forum
- ↑ MikeZ-at-Bose talks about T1® inputs in T1® Audio Engine Questions
DJ Mixer vs General Purpose Mixer
The discussion is live: DJ Mixers vs "Band" mixers and at least for now, open to some controversy.
Read about specific mixers in Mixers
Specific Mixers
There are several articles related to using specific mixers with the L1® Model I and L1® Classic. Here is a list of what is available: Mixers and connection recommendations
Protecting the L1® components - Cases
SKB Cases
Note: JohnL[5] tells us that SKB now sells the "1SKB-5009BL" as the SKB L1 and L1 Model II Case
Note: hned [6] tells us (Feb 2007) "These cases, now identified as UPC# 0789270500907, feature new TSA-accepted and recognized locking latches that are made of unbreakable fiberglass-reinforced nylon."
- Sources for this SKB case 2SKB-5009:
- casesbyskb.com $199 last checked: 12:15, 6 April 2007 (GMT-7)
SKB site with details
Quality Cases
- Hardshell Cases John Howe - john@qualitycases.com or Iris Smith - iris@qualitycases.com Details below:
Hardigg Storm Case
Adaptations from other sources
From Tom Munch[7]
Wal-Mart carries a Contico gun case for $21 & change every fall (during hunting season). I have had very good luck with my 5+ cases. I thought the latches would have failed by now (bought them in the fall of 2004), but they just keep going strong.
Contico makes several cases that you can see at the website here.
More from Tom: Tom Munch talks about good cases
Fishing Rod Case
Hi All, I have been waiting to add this for a while or at least until I could make sure they would hold up. Here is the issue with all hard shell transport cases for the L1™s I have seen so far. First, according to the airlines, they surpass the checked luggage requirements of most major airlines (50lbs or less and 62" measured length+width+height).
I first tried airline travel with the box the are shipped in and got charged $100 by Delta (different airlines have different fees). I then looked at gun cases and all of their variations. The airlines approve gun cases that hold up to 2 rifles. The thing is that I'm not carrying rifles and don't want to try tricking the airlines. It's destined to fail. Those that meet airline regulation were flimsy.
So, here is my solution. Fishing rod cases. The ones in the photos I got from Bass Pro Shop/ Outdoor World for $36 each. I duct tape them together to form one case. It weights 48lbs and is under the oversized baggage restriction anyway you want to measure it. The have been on 6 trips with my by airline and have held up perfectly.
Bass Pro Shops Plano Airliner Telescoping Rod Case
As far as the Model 2 powerstand, I have been using the shipping box it came it. Same with the B1.
That's what I've got for you. Jed-at-Bose[8]
Discussions about Cases
Discussion on the Bose® Musicians Community Message Boards
- SKB Cases For Secure Radiator Transport
- Good Cases Excellent discussion with many suggestions, links, and pictures of different ways to protect the L1®.
- Hardigg Stormcase cases
- ↑ Floors and walls are not perfect reflectors of bass - see: B1 Bass Module / Walls
- ↑ B1 Cables
- ↑ See: Used 4 towers & 8 subs today in the Bose® L1® Systems Users Forum
- ↑ MikeZ-at-Bose talks about T1® inputs in T1® Audio Engine Questions
- ↑ New SKB 1SKB-5009BL for Bose L1™
- ↑ Improved SKB Cases for the L1™
- ↑ Tom Munch talks about good cases
- ↑ Jed-at-Bose talks about fishing rod cases for shipping
Photos in the slideshow can be editted here:Edit slideshow
Categories: DJ | A1 | B1 | Classic | Model I | Model II | Bass | Unsupported Applications | T1 | USB | Mixer | Bags | L1® System | Transporting | Hardshell Cases | Application Note
