Difference between pages "Acoustic Guitar Tone & the L1®" and "The Bose Professional Portable PA Encyclopedia"

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{{Editorial}}
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<seo title="Bose Portable PA Encyclopedia FAQ &amp; Wiki" metakeywords="Bose L1 Pro, Bose L1, Bose specifications, F1, 812, subwoofer, line array, L1 Compact, L1®, ToneMatch, T1®, Model I, Model II, Classic, PackLite, PAS FAQ, L1 FAQ, B1 Bass Module, B2 Bass Module, L1 Cylindrical Radiator, feedback, L1 DJ,power output, watts, Personalized Amplification System, help, power" metadescription="The Bose® Professional Portable Encyclopedia FAQ & Wiki includes official documentation, specifications, technical details,  FAQs and L1 Owner Community hints, tips, and real world experience." google-site-verification="oRgTsJtdmAXjod2zZPyXllzxvGKNcQ_MHf2DobmCZwo" />
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'''by Tom Munch'''
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'''3/3/2007'''
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''Here are some initial ideas on getting acoustic guitar tone.''
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I feel that great tone is in your fingers & how you adjust to what you hear. I played three guitars at the gig last night - a Collings flattop, a Godin nylon solid body, & a Yamaha L5 copy. All of them sounded great according to a couple guitarists I respect in the audience.  I spent just a little time getting the right presets before the gig, & the rest was just listening & adjusting attack & style in the first couple minutes of playing each guitar during the
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performance - no EQ changes, just volume, pick or finger angle, attack, &
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I'm convinced most guitarists just don't listen & adjust to the minute
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differences that make good tone great.  Some are also deaf or have different ideas of what makes good tone.  I've had other guitarists pick up one of my guitars that I can't get good tone out of & within a minute have tone I've never gotten out of that instrument.
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'''From the forum "Tom Munch's Acoustic Guitar Sound" 5/4/2006'''<ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/6366055944/m/8101040623?r=8101040623#8101040623 Tom Munch's Acoustic Guitar Sound] discussion on the Bose Musician's Message Boards</ref>
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Let's talk about acoustic tone. I searched for the holy grail for years. I have a couple dozen pickups & a dozen high-end preamps to show for it.
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The funny thing about my rig in Big Sur was that I had 2 guitars with completely different pickup systems & 2 different preamp systems, so it couldn't have been the pickups or the preamps that made the tone. Right? Well, yes, & no. I'm assuming that Ken liked the tone of both guitars.
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<div style="font-size:150%; border:none; margin:0; padding:.1em; color:#000;">The {{SITENAME}}</div>
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<div style="top:+0.2em; font-size:95%;">Your source for information, tips, tricks, and <br />[[FAQ|FAQs]] about the Bose Portable PA family of products.</div>
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<div id="articlecount" style="font-size:85%;">There are [[Special:Statistics|{{NUMBEROFARTICLES}}]] articles about Bose Portable PA products here.</div>
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<div style="font-size:125%; border:none; margin:0; padding:.1em; color:#000;">[[L1 Pro|Bose L1 Pro]]</div>
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<p>Click or tap your product<br>[[File:Bose L1 Pro Family.jpg|550px|link=L1 Pro|Bose L1 Pro page]]
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Announced October 26, 2020 - Available now.
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<div style="font-size:150%; border:none; margin:0; padding:.1em; color:#000;">The Kemper Profiling Amp</div>
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[[File:KemperProfilingAmpWhite800x500.jpg|200px|link=Kemper_Profiling_Amp|The Kemper Profiling Amp]]
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The pickups for both guitars were very nice & had been tweaked a lot to get the sound I wanted.
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<div style="font-size:125%; border:none; margin:0; padding:.1em; color:#000;">L1 Legacy, ToneMatch Mixers, F1 & S1 Pro</div>
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One guitar was a Goodall grand concert with a Sunrise, a Fishman SBT (soundboard transducer), & a Joe Mills mic. A custom 4-conductor plug & jack (TRRS) fed each of the pickup signals through a 9-conductor cord (built for 3 discrete mic signals) to 2 Fishman Pocket Blender preamps. Blender 1 processed the Sunrise & SBT & mixed those to the pickup channel on Blender 2 while the Joe Mills went to the mic channel on Blender 2. The Sunrise was EQ'd with bass full up & the treble full down. The SBT was flat on bass & to 3 o'clock on the treble. The Mills mic was EQ'd with bass at 3 o'clock (or full up, I can't remember) & the treble about 11:00. The output of Blender 2 then went to channel 3 of the L1.
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[[Image:TomMunchAvatar01.jpg|right|Tom and his Pederson taken at Big Sur April 2006]]
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The other guitar was a Pederson small body custom guitar with a triple system from Pickup-the-World (2 top sensors & 1 under-saddle sensor) & a Joe Mills mic. The combined PUTW pickups & the Mills mic went through a stereo jack & plug through a Mogami 6-conductor cord (built for 2 discrete mic signals) to a Rane AP 13 preamp. The PUTW was EQ'd with the 40 Hz at 6dB boost & the rest flat, & the Mills mic was EQ'd with the Low Cut at about 250 Hz & the rest flat.
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== Current Products ==
  
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The Mills mic was the only common element of both systems.
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{{L1 Pro icon}}[[L1 Pro]]
  
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Here's the kicker. Most of this stuff is old tech with all of the modeling technology & newer stuff out there. My philosophy is to get your tone in the ballpark & then do the rest with your fingers. There was a great post at Christmastime a year ago by a great bass player who said he got most of his tone from his fingers. He prided himself on being able to get good sound on most any bass & any system. I feel that is also where most of my tone comes from. Pick or nail angle, attack, amount of flesh, etc. are as important as all the outboard gear.
 
  
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I experimented last weekend with this concept by taking an old guitar out to the gig with an average pickup system & forcing myself to get good tone out of it. It took a couple tunes, but I got it dialed in where I was pretty content.
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{{Sub icon}}[[Sub1/Sub2]]
  
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I used to like to do unconventional things like play an electric guitar through a keyboard amp to prove to myself that the gear didn't matter that much. At the end of the night I had people saying they loved my tone & asking what I was using. Go figure.
 
  
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My best advice is to really listen & be intuitive to get good tone. I've heard some great guitars sound horrible & some bad guitars sound pretty good over the years. At least the L1 really lets you hear what tone you are making, so you are halfway there. Use your ears & experiment. Every situation is different.
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{{T8S icon}}{{T4S icon}}[[T4S/T8S ToneMatch® Mixer]]<br>[[T4S T8S Firmware Update Instructions]]<br> &uArr; If you just got a new T4S or T8S follow this link.
  
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Ken mentioned something about the room. The beauty of the L1 is that the room doesn't interfere with guitar tone near as much, & feedback is not near the issue that it is with standard systems. When I play with a full band my tone is just as cutting as the lead guitar player. That had never happened before the L1.
 
  
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There are lots of good pickups on the market these days, & lots of guitars with high-end pickups already built in. My best advice is to get the best guitar with the best pickup system you can, & then really listen to your tone (through an L1, of course). Listen to when your tone sounds squashed from overplaying. Listen to when your pick angle or finger technique makes the guitar sound more acoustic & more real. Be attentive to this sound & work to make that attention an unconscious part of your playing & sound. The unconscious attention is the key to most good playing anyway. You could call it being in the zone too.
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{{F1 icon}}[[F1 Model 812 Flexible Array Loudspeaker]]
  
  
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'''Cliff Henricksen's comments in the same thread:'''
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{{S1 Pro icon}}[[S1 Pro]]
  
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Working with Ron Carter and tweaking his sound with my 1/3 octave (EQ), Ron looked at me, smiled, held up his right hand, fingers spread apart, and said "here's MY equalizer". I said "oh yeah, you are so right".
 
  
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I think that what it comes down to in the quest for tone is the goal of the player, what they want to hear. Often this is the result of hearing really fine tone, like what Tom delivered in the Hidden Barn (at Big Sur). While I'm touched, as always, to hear that our technology empowered Tom to achieve his tone, it's really his thoughts that allowed him to get there and not the technology.
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[[Throw Over Distance]] - Comparing all models.
  
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So many string players, especially the experienced ones, will tell you "it's in the fingers". It's so true. And so, for the tone-pilgrim that has yet to arrive in the land of The Magic, stay steadfast in your search and it will all happen. Just have faith, be patient and work, work, work.
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== L1 Legacy Products ==
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{{Model II icon}}[[Model II|L1 Model II]]
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<br><br>
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{{Model 1S icon}}[[Model 1S|L1 Model 1S]]
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{{B1 icon}}[[B1]]
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{{B2 icon}}[[B2]]
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{{T1 icon}}[[T1|T1 ToneMatch Audio Engine]]
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{{Classic icon}}[[Classic|L1 Classic]]
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{{A1 icon}}[[A1|A1 PackLite Amplifier]]
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<br><br>
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[[L1 Legacy F1 S1 Pro|Legacy Articles]]
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<br><br>
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[https://pro.bose.com/en_us/resources/discontinued-products/loudspeakers/l1.html Discontinued L1 systems on Bose.com]
  
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== [[Different Models|Identify your L1®]] ==
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* [[Different Models|Different Models: What L1® do I have?]]
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* [[L1® Compatibility|L1® Compatibility across models]]
  
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'''Another thought from me on that thread:'''
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One of the things that is most important is the touch. You hear great players talk about this all the time. What I posted vocally about playing at 40% with intensity - that's what it's all about for me.  It's like stroking a cat softly around the ears, or feathering your car's throttle ever so lightly, or kissing your love with great passion & & gentle tenderness. Do the same thing for your guitar.  (I know how odd this sounds - LOL.)
 
  
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''Here's what I had posted about vocals...''
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{{:Application Notes}}
  
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''...one of the things I did was turn up the master to 2 o'clock & then whisper into the mic. I believe in playing with intensity at 40% instead of the 80% that most guys like to play at. That can make a HUGE difference in tone.''
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{{Main Page Hot Topics}}
  
  
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'''Another thought - 3/13/2007, Finding the Sweet Spot'''
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==[[Unofficial Guides & FAQs for the Bose L1®|Unofficial Guides & FAQs for Bose Professional Portable]]==
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This is the home of Unofficial <ref>This site is privately owned, supported by volunteer efforts of owners of the F1 and {{PAS}} of products. Please see [[{{SITENAME}}:About|About {{SITENAME}}]] for more information.</ref> Guides for Bose F1 and {{L1}} System Users and Performers.
  
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Another way to express these thoughts is "finding the sweet spot".  That is a phrase that applies to an awful lot of life.  The best tone is in that sweet spot guitar-wise, vocally, in any instrument & performance.  Find that sweet spot of tone that really gets you off & work with it.  There are sweet spots in many ranges & volumes on every instrument.  There are also sweet spots with mics & even the L1.  Find those magical ranges & work in them to find every nuance & expressive conduit available.
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{{Main Page Guides}}
  
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[[Category:Acoustic Guitar]]
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{{Main Page General Interest}}
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{{L1 Systems on Tour}}
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[[The Bose L1® Wiki Project|The Bose L1® Wiki Project]] - For background about the project
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Revision as of 16:35, 27 April 2022


The Bose Portable PA Encyclopedia
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This is the home of Unofficial FAQs Guides for Bose L1® Portable Systems Users and Performers. There are 947 articles for you all related to using and performing with the Bose L1® Portable Systems for Performers and Owners


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       April 1 2009


Bose L1® Model II


URL
Release Date: 2007-03-29
Height: 84 inches
Weight: 84 pounds (includes B1)
Power Stand Depth:27.2 inches
Power Stand Width:26 inches
Description: FAQ, documentation, hints and tips for owners of the L1® Model II
Description:

Key Features

  • High-performing, powered, portable two-way loudspeaker system with a 195° H x 0° V nominal dispersion designed for the production and reproduction of live music, music playback, speeches and A/V sound reproduction

  • 24-driver articulated line array loudspeaker technology produces wide, uniform sound coverage throughout the entire listening area—even off to the extreme sides

  • Consistent front-to-back coverage, 24 drivers mounted in a vertical line array produce little drop in sound pressure level per doubling in distance than a conventional point source

  • Retractable folding leg mechanism for easy transport

  • Lightweight, interlocking components

  • Expandable bass design supports the use of multiple B1 bass modules or a single B2 bass module

  • Digital Ethercon port provides single-wire connectivity for the T1 ToneMatch audio engine

Physical

Enclosure
Power Stand: Polypropylene cover with cast aluminum legs and steel chassis base
Cylindrical Radiator: Aluminum enclosuure with ABS baffle

Dimensions
Assembled height: 84.0" (2134 mm)

Net Weight
Power Stand: 23.7 lb (10.7 kg)
Cylindrical Radiators (pair): 33.7 lb (15.3 kg)
B1 bass module: 26.6 lb (12.1 kg)
B2 bass module: 45 lb (20.41 kg)

Color
Black

Package Contents
1 system

In stock $ New 999.95
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Bose L1® Model I


URL
Release Date: 2007-03-29
Height: 82.5 inches
Weight: 97 pounds (includes B1)
Power Stand Depth:26 inches
Power Stand Width:26 inches
Description: Bose Spatial Dispersion™ system technology delivers sound evenly across the stage and throughout the audience. The L1 Model I and L1 Model II systems project sound waves forward and to the sides at nearly 180 degrees and with little vertical dispersion, reducing unwanted room reverberation. Amplified sound is spread more evenly across the stage and into the audience. The volume level drops off much more slowly than with a conventional speaker.
Description: High-performing, powered, portable two-way loudspeaker system with a 160° H x 0° V nominal dispersion designed for the production and reproduction of live music, music playback, speeches and A/V sound reproduction

  • Spatial Dispersion™ loudspeaker technology produces wide, uniform sound coverage throughout the entire listening area—even off to the extreme sides

  • Consistent front-to-back coverage, 24 drivers mounted in a vertical line array design produce a loss of only 3 dB in sound pressure level per doubling in distance

  • Integrated ToneMatch® presets for popular vocal microphones and instruments

  • Integrated 4-channel mixer with wired remote control

  • Lightweight, interlocking components for easy transport

  • Expandable bass design supports the use of multiple B1 bass modules

    In stock $ New 999.95
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    Bose L1® T1 ToneMatch® Audio Engine


    URL
    Release Date: 2007-03-29
    Height: inches
    Weight: 2.1 pounds
    dimensions 8.22" H x 6.52" W x 2.66" D (209 mm H x 165 mm W x 67 mm D)
    Power Stand Depth:n/a
    Power Stand Width:n/a
    Description: FAQ, documentation, hints and tips for owners of the T1 ToneMatch® Audio Engine
    Description: T1 ToneMatch® Audio Engine

    Features

    ToneMatch - Features
    Technical Specifications

    Audio Channels
    4

    Outputs
    2- Master and AUX

    A/D and D/A Converters
    24-bit

    Sample Rate
    48 kHz

    USB & Interfaces
    1.1 protocol, Type A to Type B cable

    Dimensions
    8.22" H x 6.52" W x 2.66" D (209 mm H x 165 mm W x 67 mm D)

    Shipping Weight
    2.1 lb (.97 kg)

    The T1 ToneMatch® audio engine is a digital multichannel mixer designed for use with Bose® L1® sound systems. It provides four independent channels, over 100 proprietary ToneMatch presets for instruments and microphones and a complete suite of studio-class effects and sound processors.

    Proprietary ToneMatch presets optimize L1 system to match the intended natural sound of specific instruments and vocal mics. Over 100 presets are organized into quick-access banks and can be independently assigned to each channel. Free ongoing updates can be downloaded via a USB connection between your computer and the ToneMatch audio engine.

    • More than 100 proprietary ToneMatch presets for a variety of popular microphones and instruments

    • Four input channels with independent selection of ToneMatch presets and effects

    • Proprietary zEQ for precise tone control, plus a complete suite of studio-class effects and processing, such as reverb, delay and modulation

    • Chromatic tuner

    • Phantom power

    • Compatible with any L1 system
      (requires T1 power supply for use with L1 Model 1 and L1 Compact systems, and with a PC)

    User interface

    ToneMatch - User Interface

    1. Input signal/clip LEDs (1-4/5) — Displays the input signal status in color: Green indicates the presence of an input signal, yellow indicates a signal near clipping and red indicates clipping

    2. Trim controls (1-4/5) — Adjust the input sensitivity for the respective channel

    3. Phantom power switch — Applies +48V power to input channels 1-3. A red LED indicates that phantom power is on

    4. Display — Provides function menus and system status information

    5. T1 rotary selector — Allows access to both global and channel related parameters, which are adjusted using the editing controls

    6. Editing controls — These three rotary/push-button controls allow you to select or adjust items/values appearing on the display

    7. CH edit buttons (1-4/5) — Select the channel you want to modify using the T1 rotary selector and display-related editing controls

    8. FX mute buttons (1-4/5) — Bypass the Mod, Delay and Reverb effects on the selected channel

    9. Volume controls (1-4/5) — Adjust the volume level for the respective channel

    10. Mute buttons (1-4/5) — Silence the audio output for the respective channel

    11. MASTER volume control — Adjusts the overall output level

    Inputs and Outputs

    ToneMatch - Inputs and outputs

    1. ToneMatch port — A digital output used by the L1 Model 1S and Model II systems. Also delivers power to the T1 audio engine from the L1 Model 1S and Model II power stands. Accepts the included ToneMatch cable

    2. Power switch — Turns the T1 audio engine on or off

    3. IN — Analog input channels 1-3. Accepts XLR balanced cables for microphones, or ¼" TRS balanced or TS unbalanced cables for high-impedance inputs such as guitars

    4. USB port — A USB interface that allows you to connect the T1 to your computer. This feature enables you to stream audio to/from your computer, update the T1 and back up performance scenes

    5. Preamp OUT — Preamp outputs for channels 1-3. Accepts ¼" TRS balanced or TS unbalanced cables

    6. Master output — User-definable analog output. Can be configured for a pre- or post-master volume analog output. Accepts ¼" TRS balanced or TS unbalanced cables

    7. Aux output — User-definable analog output. Can be configured for a pre-fader, post-EQ, and effects or post fader output. Accepts ¼" TRS balanced or TS unbalanced cables

    8. Line IN — Analog input channels 4/5. Accepts ¼" TRS balanced or TS unbalanced cables for line-level inputs. Can be used for stereo input signals

    In stock $ New 999.95
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    Bose L1® Compact


    URL
    Release Date: 2012-09-27
    Height: 78.5 inches
    Weight: 29.2 pounds
    Power Stand Depth:16.8 inches
    Power Stand Width:13.2 inches
    Description: FAQ, documentation, hints and tips for owners of the L1® Comppact
    Description:

    Key Features

    • High-performing, powered, portable two-way loudspeaker system with a 180° H x 40° V nominal dispersion designed for the production and reproduction of live music, music playback, speeches and A/V sound reproduction

    • Articulated line array loudspeaker technology produces wide, uniform sound coverage throughout the entire listening area—even off to the extreme sides

    • Curved array design provides 40° of vertical coverage

    • Integrated ToneMatch® presets contain hardwired equalization curves for dynamic handheld microphones and acoustic guitars

    • Lightweight, interlocking components for easy transport

    • Offers both collapsed and extended setup positions

    Physical

    Enclosure
    Power Stand: Polypropylene
    Extensions and Array: ABS

    Dimensions
    Assembled height, collapsed position: 16.5" (418 mm)
    Assembled height, extended position: 78.5" (1995 mm)

    Net Weight
    Power Stand: 24.6 lb (11.2 kg)
    Extensions (each): 2.3 lb (1.1 kg)

    Color
    Black

    Package Contents
    1 system

    In stock $ New 999.95
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    Bose L1® B2 Bass Module


    URL
    Release Date: 2012-09-27
    Height: 23.4 inches
    Weight: 45 pounds
    dimensions 23.4H x 13.31W x 18.9D (59.4 cm x 33.8 cm x 48 cm)
    Power Stand Depth:18.9 inches
    Power Stand Width:13.31 inches
    Description: FAQ, documentation, hints and tips for owners of the Bose B2 Bass Module
    Description:
    • High-performance flexible bass module
    • Designed to provide deep, impactful bass for higher SPL live music and DJ applications
    • Features two 10" high-excursion woofers mounted in a rugged enclosure
    • Features a three-position sensing switch, allowing bass output to be adjusted for different applications
    • Interlocking end caps allow up to two B2 modules to be stacked together
    • Includes a slip cover and NL4 cable

    [edit] Electrical Specifications

    • Impedance: 4 ohms
    • When used with Model 1S or Model II
      • Frequency Response (+/-3 dB) 40Hz - 200 Hz
      • Frequency Range (-10 dB) 32 Hz - 200 Hz


    • When used with Model / Classic
      • Frequency Response (+/-3 dB) 40 Hz - 180 Hz
      • Frequency Range (-10 dB) 32 Hz - 180 Hz

    [edit] Mechanical Specifications

    Dimensions: 23.4H x 13.31W x 18.9D (59.4 cm x 33.8 cm x 48 cm)

    Weight: 45 lb (20.41 kg)


    Image:B2Mechanical.png

    In stock $ New 999.95
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