Presets/Model I and Classic

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Presets

preset selector

changing presets

This article relates to the L1 Classic and L1 Model I.

Presets 3.0 are now available. See: Presets 3.0

For T1 ToneMatch Audio Engine presets
See: Presets / ToneMatch® / Downloads


What Version Do I Have

Q: I just got a new System, does it have the latest presets? A: Quoting Kyle-at-Bose: "You can easily tell if you have one of the newer power stands- those that come preloaded with Presets 2.0- by looking at the rear I/O panel. If the Amp 3 Output connector area (where the B1s plug in) is a light blue color, then the Presets 2.0 have been preloaded at the factory."

blue ring around Amp3 out tells you that you have version 2

If you have an older L1 Classic and you want to know if the Presets have been updated to Version 2.0, used a steady sound source (e.g. a microphone) and switch from Preset 80 to 81, 82, 83... These were not used in Presets Version 1.0. So if you don't hear a difference, then your L1 Classic has probably not been updated.

Upgrading your Presets

If you don't have version 2.0 presets see:


What do the Presets Do?

Overview


Cliff-at-Bose

Cliff-at-Bose had these general comments about working with the presets. [1] "They were all developed to make CLOSE VOCALS (as in eat-the-mic) sound more natural through our system. When you back way off, say 6 inches or more, all bets are off. The same goes for even close miking of musical instruments. Actually, close miking of a Dobro might be fine in the flat setting, maybe turn up the HF on the remote for some sparkle. In the studio, a B57 sounds pretty useful 4-6 inches away from a guitar. Stay away from the sound hole if the sound gets too dark. Too much signal from the sound hole will also encourage low-mid feedback. As a hunch, try preset 35, assuming you recently purchased and these are v2 presets. This is probably the most radical one in the catalog, but will give you an idea of the extremes. It's for a very midrange-heavy electric guitar (PRS) to be played direct. Also, try all the presets on a spare evening alone. Lots of tone variations here. Forget the titles and just listen.

Also, on the mics for singing, try presets 01-04 as an alternative to the ones we recommended for your mics.

No one really knows the sound you want but you, when you hear it. So experiment with the presets and turn the knobs. Write back and let us know your results. Lots of players like you will benefit from your results."

Cliff-at-Bose had more to say [2]

The mic pre's are really good ones, recording quality. Compare them to anything. You'll be amazed how they stack up to tweakier high-dollar units. We worked real hard on this and we're happy we did.

About the presets: No mic that I know of sounds good for close vocal, even for recording for that matter. All our presets compensate for this. A lot of these mics sound a lot more natural when you back off a foot or so from them. Of course this is true in the studio too. No one does this for a live performance (backs very far off the mic) since you want to maximize gain before feedback by eating the mic. And so then you get funny sound and so then you need our presets to make it natural.

If you need more channels for all-the-same mics, use a small mixer into channels 1 or 2. The presets work on line levels too, so a mixer full of mics using the recommended preset will all sound great. Use the presets always. They are one of the really great features of our system and they really give you a no-brainer great-sounding place to start for any amplification.

Steve-at-Bose

Steve-at-Bose [3] said:

Think of it this way, if you work at Shure, Audix or any company making microphones you have no clue what speaker your customer will use to reproduce sound with your mic. So you voice it for a "best fit" system (or systems) and hope the market (or a part of it) agrees with your decision(s).

Now, imagine you knew EXACTLY what speaker your customer was going to use your mic with. Let's say, a Cylindrical Radiator(r) speaker Smile. Well, then you could voice the mic to create a very nice response.

That's what we can do with presets. We can create an EQ curve that attempts to make the mic sound very natural since we know how the speaker and mic will work together. It's that simple.

The good news is that 00 is flat which means the mic will sound like it is "supposed" to sound (according to the mic manufacturer).

Then there is the artistic choice. If you like the SM58 preset for an OM5 ... well, go for it. I've heard a few guitar players say they love the Accordian preset ... go figure.

I hope that helps to de-mystify presets. No voodoo or making things bigger and badder. Just choices. You can use the Bose choice (mic preset) the mic manufacturers choice (flat) or your own (try your voice with the accordion preset). Oh, and there's the 3-band EQ.

Which Preset Should I Use?

Presets - Finding What Works

Presets - Finding What Works - This is a step-by-step walkthrough.

Presets (v2) Used By Owners

Presets (v2) Used By Owners - This is list of inputs and presets that are not on the official list, contributed by L1 owners.

Print a copy

Presets 2.0

Other Languages

Preset 2.0 - Una panoramica - Italian [4]


ToneMatch® Presets

Custom Instrument Presets

Please see the discussion on The Bose® Musicians Community Message Boards


Instructions for Using the Downloadable Preset version 2.0

Presets 3.0 with Presets 2.0 and T1® Equivalents

Version 3.0 Version 2.0 Category Description
00 00 Utility Flat
01 01 Vocal Mics Handheld mics
02 02 Vocal Mics Headworn mics
03 03 Vocal Mics Hi Gain, bright
04 04 Vocal Mics Hi Gain, normal
05 05 Vocal Mics Audix OM-5
06 06 Vocal Mics Audix OM-6
07 07 Vocal Mics Beyer M88
08 08 Vocal Mics Crown CM-310/CM-311
09 09 Vocal Mics ElectroVoice N/D357
10 10 Vocal Mics ElectroVoice N/D767
11 11 Vocal Mics ElectroVoice N/D967
12 12 Vocal Mics Neumann KMS105
13 13 Vocal Mics Shure SM57
14 14 Vocal Mics Shure SM58
15 15 Vocal Mics Shure Beta 57A
16 16 Vocal Mics Shure Beta 58A
17 17 Vocal Mics Shure Beta 87A
18 18 Vocal Mics Sennheiser e855
19 19 Vocal Mics Sennheiser MD431-II
20 20 Vocal Mics Sennheiser MD441
21 n/a Audix Mics Audix OM-2
22 n/a Audix Mics Audix OM-3
23 05 Audix Mics Audix OM-5
24 n/a Audix Mics Audix VX-10
25 25 Electric Guitars General direct
27 27 Electric Guitars Miked amp w/SM57
28 28 Electric Guitars Fender Stratocaster
29 29 Electric Guitars Fender Telecaster
30 30 Electric Guitars Gibson ES-335/ES-345
32 32 Electric Guitars Gibson Les Paul
33 33 Electric Guitars Gretsch C. Gent
34 34 Electric Guitars Ibanez Artist
35 35 Electric Guitars PRS Custom 22
36 n/a Electric Guitars Rickenbacker 360/12
37 n/a Electric Guitars Miked amp w/Sennheiser e609
38 n/a Acoustic Guitars Nylon string w/piezo
39 n/a Acoustic Guitars Nylon string w/condenser
40 40 Acoustic Guitars Steel string w/piezo
41 41 Acoustic Guitars Steel string w/dyn
42 42 Acoustic Guitars Steel string w/condenser
43 43 Acoustic Guitars Guild D25
45 45 Acoustic Guitars Martin Backpack
46 46 Acoustic Guitars Martin DC16
47 47 Acoustic Guitars Martin D28
49 49 Acoustic Guitars Taylor 810 with ES System
50 50 Keyboards General keys
51 51 Keyboards Fender-Rhodes 73
52 52 Keyboards Hohner Clavinet D6
53 53 Keyboards Wurlitzer 200
54 n/a Special Electric violin
55 55 Special Accordion w/Limex MP
56 56 Winds and Horns Trumpet w/Pro35ax
57 57 DJ/Playback Low volume music
58 n/a DJ/Playback High volume music
59 n/a Special Electric mandolin
60 60 Basses Upright 3/4 Bass with Fishman
61 61 Basses Active bass 1
62 62 Basses Active bass 2
63 63 Basses Active bass 3
64 64 Basses Fender Active Jazz
65 65 Basses Fender '66 P-Bass
66 66 Basses Fender '69 J-Bass
67 n/a Basses Rickenbacker 4003
68 n/a Basses NS Design Bass
69 n/a Basses David Gage Realist
70 70 Percussion Kick drum, general
71 71 Percussion Kick drum w/Audix D6
72 72 Percussion Kick drum w/AKG D112
73 73 Percussion Kick drum w/Sennheiser 601
74 74 Percussion Kick drum w/Shure Beta 52a
75 75 Percussion General overhead
76 76 Percussion Overhead w/SM57 differential
77 77 Percussion Overhead w/condenser differential
78 n/a Percussion Hand percussion w/SM57
80 80 Utility 50Hz Highpass filter
81 81 Utility 80Hz Highpass filter
82 82 Utility 5kHz Lowpass filter
83 83 Utility 50Hz-5kHz Bandpass filter
84 84 Utility 50Hz-5kHz Bandpass filter
89 89 Taylor Guitars TGS mahogany/cedar
90 n/a Winds and Horns Trumpet w/SM57
90 90 Taylor Guitars Dreadnought fingered
91 n/a Winds and Horns Trombone w/SM57
91 91 Taylor Guitars Dreadnought strummed
92 n/a Winds and Horns Soprano sax w/SM58
92 92 Taylor Guitars Grand Audit fingered
93 n/a Winds and Horns Alto sax w/SM58
93 93 Taylor Guitars Grand Audit strummed
94 n/a Winds and Horns Tenor sax w/SM58
94 94 Taylor Guitars Grand Concert fingered
95 95 Taylor Guitars Grand Concert strummed
96 96 Taylor Guitars Jumbo fingered
97 97 Taylor Guitars Jumbo strummed
98 98 Taylor Guitars T5
99 99 Taylor Guitars GS
n/a n/a Vocal Mics Audix OM-2
n/a n/a Vocal Mics Audix OM-3
n/a n/a Vocal Mics Audix VX-10
n/a n/a Vocal Mics Flat
n/a n/a Electric Guitars Line6 Pod
n/a n/a Electric Guitars General processor
n/a n/a Electric Guitars Flat
n/a n/a Acoustic Guitars Taylor T5
n/a n/a Acoustic Guitars Taylor w/Fishman
n/a n/a Acoustic Guitars Flat
n/a n/a Basses MusicMan Stingray
n/a n/a Basses Lakland 55-01/44-01
n/a n/a Basses Rickenbacker 4001
n/a n/a Basses Upright w/Fishman
n/a n/a Basses David Gage Czech-Ease
n/a n/a Basses Bass zEQ
n/a n/a Winds and Horns Trombone w/RE20
n/a n/a Special Harmonica w/SM58 not available
n/a n/a Special Harmonica w/Green Bullet not available
n/a n/a DJ/Playback Flat zEQ controls
n/a n/a Audix Mics Audix OM-6
n/a n/a Audix Mics Audix VX-5
n/a n/a Audix Mics Audix SCX-25 bass
n/a n/a Audix Mics Audix SCX-25 treble

See also: T1 ToneMatch® Audio Engine / Presets with Version 3.0 Presets Equivalents

Download in PresetsT1V3.xls Excel Format