Or read about it on the Bose website: http://www.bose.com/musicians

I'm skeptical, but the concept sounds interesting. What do you think?

[This message was edited by Jerry Gleason on 30 October 2003 at 11:22 PM.]

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Ron Petersen &
The Keep'n Tyme Band

Sounds like a recipe for feedback disaster!

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Stop by the Steel Store at: www.markvanallen.com

[This message was edited by Mark van Allen on 01 November 2003 at 12:38 PM.]

Thanks for taking the time to report on this system. I have some questions. Did the Bose reps explain the application of this system in large venues with relatively high ambient sound levels? ie. A large, boomy, indoor venue filled with let's say, 10 to 15,000 rowdy, audience members? I question the cylindrical radiator's ability to broadcast controllable sound (consistant decibel peaks) in such an environment. Furthermore, would band members be able to hear themselves accurately in such an environment?

Another point: While the cylindrical radiator may provide realistic (apparent) stage monitoring for band members. Rarely, do band members want to hear sonically and directionally accurate sound from their reference point in monitors. Most want to exclude or attenuate certain aspects. I personally believe, professional quality, individual, stereo ear monitors supported by a good stereo mixing board provide everything needed to simulate each band member's monitoring preference, simultaneously with studio-quality results and repeatability.

My remarks are made solely as objective inquiries. They are not intended to "bash" Bose product developement.

TW- The bass player went through an nice Avalon preamp straight into the Bose unit. The drummer used the same unit with kick and snare running into the unit's own mic pres. One guitarist used a pedal board into a line 6 POD into the unit line in, and got all the tones you could imagine. The other guitarist used a tiny boutique 1/2 watt amp in a rack, miked into the bose unit, sounded huge and killer. If you wanted different vocal effects from song to song, that might take a separate rack unit or one of the vocal floor pedals they now make. I would think any of the Evans, Walker, Peavey etc. steel guitar preamps would sound just great through these things.

GS- the product rep (system designer) said they were aiming for and had succesfully used the system in up to 700 seat venues. I don't think the system would carry enough for a larger venue. I had the same other questions you did- I do think this would be fantastic for a small combo band who actually want to hear each other accurately. It was certainly loud enough on stage to compete with a full drum kit, as far as stage monitoring, and the band does hear exactly what the audience hears, which to me would be a good thing. I've run into so many players who don't want to hear each other at blended volume, and want their own monitors extremely hyped in some way- and I think they'd have a lot of adjusting to do. When I first started playing with John Berry, he always carried his own little monitor rack and two wedges, set it up himself and every gig would be absolutely blasting him and his guitar from center stage back at the band. We never needed any of him in the monitors until we got onto huge stages in the sheds. In-ear monitors are certainly accurate and clean if you spend enough $ but I do feel they really contribute to musical and creative isolation onstage. The bandleader in Blueground Undergrass used to go over and look at the knobs on the monitor board and ask me angrily how I could play with so little of him in my mix. I'd explain that since I was always set up right next to the stage left stacks, I could hear his vocal and banjo (!) just fine from the bleed. He always thought I was just dissing him. Such are the vagaries of monitor fun.

[This message was edited by Mark van Allen on 04 November 2003 at 11:28 AM.]