Mackie mixer into Harbinger MLS900 powered line array

[Bob Coldwell]

The Harbinger is a knockoff of Bose L1, etc. I want to add a mixer for more flexibility.

I don't know whether to plug into::

Channel 1 (mic),
Channel 1 (guitar - hi z?)
Channel 3 (aux).

Harbinger tech support says do the first option. Youtube videos say to do option 3. Google AI is ambiguous.

 

[Mike Caldwell]

After a quick look at the manual it look like ch. 1 & 2 inputs have a line input selection or you you could use the direct
XLR line input.
What Mackie mixer are you using?s

 

[Bob Coldwell]

Mackie ProFx12V3. It has both XLR and 1/4" outs.

Channel 1 and 2 is what Harbinger support recommended. I'm just not sure about the gain structure. Should I put everything at noon on the Harbinger?

I was wondering about the direct input too. That is for linking two or more units together for "smart stereo". I guess I'll have to explore every configuration.

 

[Wasnex]

AFAIK the OM doesn't identify input levels for channel 1, channel 2, or the Link In.

I am pretty confident you can use Channel 1 or 2. The jacks are labeled 8 and 11 on this image. The associated switch 7 or 10 should be set to Line.

I may also be possible to use the Link In (jack 17). I would experiment to see which works best.

For speakers that have calibrated gain controls and provide input sensitivity ratings, you can figure out how many clicks down to set the gain to provide a theoretical match to the mixers nominal output level. Since the input levels are not listed for the Harbinger MLS900, you have to experiment to figure out gain staging. IME sometimes this involves choosing a compromise between an acceptable signal to noise ratio and headroom.

For max headroom AFAIK you generally set gain on the speaker so that it clips when the mixer runs out of headroom. Digital mixers typically run out of headroom when the output meter hits 0. The clip point for analog mixers can vary and may not occur until the meters are into the orange, perhaps +6dB or more.

You may find it useful to vary the gain setting on the speaker to suit the gig. Sometimes matching the clip points on the speakers to the mixer out will result in too much noise, or you may need to run the output faders really low. This may occur if you are mixing in a small room where the speaker have way more headroom than you need. Under this circumstance, it can be desirable to turn down the gain on the speakers so you can turn up the main out on the mixer a bit. However, be careful to ensure you don't turn the speaker down too much or the mixer may clip before sufficient SPL is achieved.

 

[Wasnex]

I have experience mixing on a pair of the original Bose L1s with four of the B1 bass modules. I believe my experience will be relevant.

This type of speaker uses really small drivers for the mids and highs. Also the width of the array is very narrow, rather than having a fairly wide baffle on the front. The consequence is they loose horizontal pattern control fairly high in the mids. I.E. the mids will wrap around the array instead of shooting forward. IME, this can cause feedback problems (greatly reduced gain before feedback).

The solution for me was to scoop out even more of the mids than I usually do. I was using a Yamaha DM1000 Digital mixer with parametric EQ on the outputs. It took me awhile to dial in a correct EQ curve, but once I did the system sounded decent and had sufficient gain before feedback.

Another limiting factor is vertical dispersion tends to get pretty beamy. My perception is the sound will seem to emanate from the center of the array. In order to hear the highs, the center of the array needs to be at about head level. Even better if it's slightly higher and then tilted down a few degrees. With the L1s, I found it impossible to get clear highs for sitting and standing members, unless the arrays were tilted forward a bit. I will say the joints that hold the L1 column elements together showed obvious signs of stress from tilting the array. They were obviously not designed to do this.

These sort of systems tend to have pretty modest SPL capabilities. My biggest complaint with the Bose system was lack of headroom.

Here is the horizontal polar plots of the L1 Compact

Notice that at 630hz a lot of the sound is being projected backwards.

Here is the vertical plots

Notice the beaming and lobing that occurs at 2K and higher.

The Harbingers should have similar dispersion problems

 

[Bob Coldwell]

@Mike Caldwell, @Wasnex,

Thank you both. Back in the day, we ran a drum mixer into a channel on the main mixer to aquire more channels. So, this is kind of the same deal.

I figured what you both suggested would be the way to go, but wasn't sure about where to set levels.

I'll set everything up and experiment when I get a chance. This setup is for a solo act. I've only used the Harbinger at home, so far. And the Mackie board is brand new.

 

[Bob Coldwell]

Another somewhat related question: when using only one speaker, obviously it's in mono. Should I pan all the mixer channels hard left, or does that not make any difference?

 

[Wasnex]

Another somewhat related question: when using only one speaker, obviously it's in mono. Should I pan all the mixer channels hard left, or does that not make any difference?

If you only hook up one side of the mixer, you can either pan to the side you are using or leave it in the center. If you want to monitor with headphones, you probably want to pan to the center. No need to hook up the right output though.

Alternately, you could hook up both sides of the mixer to a MLS900 (Chan 1 and 2) and use L and R on the mixer sort of like sub groups. For example you could run vocals to L and instruments to R. Both sides are mixed to mono in the MLS900.