Understanding ToneMatch® presets

[note: some text below taken from an email from ickler to jacob]

Narrators in the Taylor/Bose video are having some difficulty explaining the ToneMatch™ concept simply, so the video tries to solve that problem by providing multiple explanations and by conveying the enthusiasm of the people involved instead.

Chris Ickler has some ideas on how to talk about this at the Fall L1 Owners Conference and maybe that will lead to a shorter, more accurate message about ToneMatch technology.

(ickler text follows)

Nobody can ToneMatch a system that doesn’t have uniform coverage. (It’s like trying to impose a house curve on an installed system that has spotty coverage.) Certainly no triple system has uniform coverage. Even if you decided to ToneMatch every instrument through every speaker of a triple system, you would have to nail the performers’ shoes to the floor and the audience would have to take turns standing in the "ToneMatched" sweet spot of the FOH system. ToneMatch technology only has audible benefit AFTER you solve the coverage problem.

• So the first problem of amplified music is to get the same tone everywhere. The L1 is the solution.
• The second problem of amplified music is to get the right tone everywhere. ToneMatch is the solution.
• No one can deliver the second solution before they deliver the first solution.