L1 Model II

Let's talk about the L1® Portable Line Array Systems

Using proprietary Bose® technology, L1 systems combine  PA and monitors into a single, highly portable unit. The  loudspeaker can be positioned behind or to the side —and you hear what the audience hears.

Highly portable PA and monitor combined for solo performers, DJs and general-purpose use. Fixed vertical control with 180° horizontal coverage Reduced vulnerability to feedback.

Three systems to choose from (Compact, Model 1S, Model II)
Two passive bass module options (B1 or B2)
Consistent coverage and tonal balance, portability and easy setup.

Information on the new T1 ToneMatch audio engine

Is this the new little mixer-looking piece of equipment, or is it new software (or some such intangible)?

Hey, I just realized the main site might have that answer, or at least a clearer picture than what we've seen in the Acoustic Guitar magazine ad we've seen here for several days now. I'll check...(EDIT AFTER CHEKING MAIN SITE):

So, is any existing ToneMatch technology just for ES equipped Taylor guitars?

A little confused on existing ToneMatch (if any) and what the T1 will offer. Sorry about the similar questioning across the new forum, here. I've tried to keep them unique to the thread topic, but they kinda weave together.

Thank you, Ken. Thank you, Bose!

Nathan
quote:
Is this the new little mixer-looking piece of equipment, or is it new software (or some such intangible)?


It's very tangible - it is that little mixer looking device (it is MUCH more than a mixer) in the Acoustic Guitar ad.

quote:

So, is any existing ToneMatch technology just for ES equipped Taylor guitars?


No! along with the anouncement of the T1(tm), is the anouncement formally of several more ToneMatch(tm) partners. For example, Audix Microphones, LR Baggs pickups, Lakland Basses, Rickenbacker Guitars and Basses, NS Design, Duncan-Turner Acoustic Research, David Gage, and of course Taylor Guitars..
quote:
Originally posted by Sludgefactory:
THe new T1 has effects built in? If so, what effects?


I'm going to let Mike Z come back with a full answer to that one, but the dial on the T1 has the following sections:
Tone Match engine
zEQ (I'll touch this one so Mike doesn't have to be all humble in a second)
Para EQ
Comp Gate
Mod (ulation)
Delay
Reverb

then
Reverb type
Prefs
Scenes
Aux
Tuner
and we're back to Tone Match Engine.

zEQ may be the coolest move of the whole thing. Mike Z at Bose came up with the idea that when you ran an instrument (such as a bass) into a traditional ANY system (even our original), the EQs for bass/mid/treble were set for full range audio.

zEQ allows you to tell the T1 Tone Match Module what instrument is plugged into a particular channel and suddenly your EQ parameters for bass/mid/treble, should you chose to use the zEQ, are aligned to the frequency range of the instrument. So you would be have 3 ranges of tone control only within the range of notes that instrument produces. Helps you fine tune the sound of your bass differently than your mandolin, for instance.

That Mike Z is a little genius. So, that's the "Z" in "zEQ". Smile
Regarding the Tone Match partners, I can't say more other than we have nabbed some KILLER other partners for down the line. And, with the T1 USB port, updating your T1 will be easier than ever when those come.
BigKyle,
Does this mean that we could use the Tone Match Module on its own and not in conjunction with either L1 model?

For instance, I am doing a short set this weekend on a big stage with a huge sound system. I can't set up my L1, even as monitor. If I had the Tone Match Module, could I use that, almost like a really fancy DI, run through the huge system and take advantage of the Bose Tone Match technology, EQ, effects, etc?

That would be sweet!

Matt
Sludgefactory,

Here is an overview that may be helpful:

Effects
Modulation
Chorus 1: Brite - Shimmering chorus that works well with acoustic instruments. Includes adjustable mix, depth and
speed parameters.

Chorus 2: Warm - Similar to Chorus 1 but with a little less high frequencies. Includes adjustable mix, depth and speed
parameters and works well with electric guitars and basses.

Chorus 3: Dark - Similar to Chorus 2 but with less high frequencies for a darker tone. Includes adjustable mix, depth
and speed parameters, and works well with electric guitars and basses.

Flanger 1: Tape - Tape-style flanger with no feedback. Includes adjustable mix, depth and speed parameters, and
works well with electric guitars and basses.

Flanger 2: Feedback - Same as Flanger 1 but with preset Feedback effect.

Phaser 1: Stomp - Classic “stomp box”-style phaser. Features a preset wide speed with variable speed and feedback
parameters, and works well with electric guitars/basses and keyboards.

Phaser 2: Rack - Classic “rack”-style phaser. Features a positive mix type with variable speed and feedback
parameters, and works well on electric guitars/basses and keyboards.

Phaser 3: Warm - Vintage-style phaser. Features a positive mix type with variable speed and feedback parameters, and
works well as an effect on electric guitars/basses and keyboards.

Phaser 4: Bright - Phaser with no bass. Features a positive mix type with variable speed and feedback parameters that
works well on electric guitars and keyboards.

Tremolo - Vintage-style tremolo effect with variable speed and depth parameters that works well as an effect on guitars
and keyboards.

Delay
Choose from analog, digital or tape delay. Independently assign/adjust the delay settings for desired channels with
discrete control over the mix and feedback time parameters for each channel. For example, the user may select a tape
delay for the vocal on Channel 1 while selecting an analog delay for the guitar on Channel 2.

Digital Delay - Digital delay effect where the repeats remain uncolored. Features adjustable mix, time, and feedback
parameters, and may be used on guitars, drums or vocals.

Analog Delay - Classic analog delay effect, where the repeats continuously deteriorate. Features adjustable mix, time
and feedback parameters, and may be used with guitars, drums or vocals.

Tape Delay - Vintage-style tape delay effect, where the repeats deteriorate even more than analog delay, and may be
used with guitars, horns, harmonica or vocals.

Reverb
The T1 allows access to a global reverb type that may be applied to all channels. The reverb types are plate, small,
medium, large and cavern. Control decay time and level of reverb signal sent through master output. Please keep in
mind that once you select a global reverb type to be used among any or all channels, you may control the mix and
brightness of each channel. However, the type of reverb may only be altered for all channels. This is achieved through
adjusting the Reverb Type audio engine mode.

Plate - Creates the ambience of a medium-sized space. Features adjustable time and balance (ratio of early/later
reflections) parameters and may be used with guitar, horns, percussion instruments and vocals.

Small - Creates the ambience of a small-sized space. Features adjustable time and balance (ratio of early/later
reflections) parameters and may be used with guitar, horns, percussion instruments and vocals.

Medium - Creates the ambience of a medium-sized space. Features adjustable time and balance (ratio of early/later
reflections) parameters and may be used with guitar, horns, percussion instruments and vocals.

Large - Creates the ambience of a large-sized space. Features adjustable time and balance (ratio of early/later
reflections) parameters, and may be used with guitar, horns, percussion instruments and vocals.

Cavern - Creates the ambience of an extremely large space. Features adjustable time and balance (ratio of early/later
reflections) parameters, and may be used with guitar, horns, percussion instruments and vocals.

Dynamics Processing

Compressor 1: Light - Compressor featuring a preset low compression ratio with variable threshold and gain
parameters. May be used as a general-purpose compression for most instruments and microphones that require minimal
level control.

Compressor 2: Medium - Compressor featuring a preset moderate compression ratio with variable threshold and gain
parameters and may be used with basses, guitars, keyboards, vocals or other instruments requiring subtle level control.

Compressor 3: Heavy - Compressor featuring a preset high compression ratio with variable threshold and gain
parameters and may be used with loud instruments such as horns and drums, vocals or other instruments that require
more aggressive level control.

Noise gate - adjustable threshold and speed independently assignable for each channel. Controls extraneous noise from
open microphones or hot instrument pickups from being introduced into the system.

Limiter – User-adjustable threshold and gain settings are independently assignable for each channel.
Prevents input signals from overloading, helping to maintain consistent gain staging.

De-Esser – User-adjustable threshold and gain settings are independently assignable for each channel.
Compression useful in reducing high-end frequencies associated with vocal sibilant sounds.

Kick Gate The Kick Gate is a Bose proprietary technology that allows you to drive your kick
drum to loud levels while avoiding microphone feedback.
And how will we control all these effects while playing? Is there a foot controller in the works? I'd hate to run back to the T1 between every song to change or stop effects.

Right now I'm using a VoiceLive for vocals. If playing bass, I plug in direct. If guitar, I use a PodXT. I know I'm going to love the new system and will probably be selling my old systems (3 of 'em) very soon.

[rant on]
One of the things that scares me is that with the additional capabilities will give more people the chance to really screw up their sound. There are several bands here in Houston that absolutely destroy the elegance and clean sound of their Bose systems by hooking up all sorts of processing devices and mixers. I'm probably a purist, but my band gets great results by using the one-Bose-per-player approach with as few effects as possible. Just whatever the song requires.
[rant off]
quote:
[rant on]
One of the things that scares me is that with the additional capabilities will give more people the chance to really screw up their sound. There are several bands here in Houston that absolutely destroy the elegance and clean sound of their Bose systems by hooking up all sorts of processing devices and mixers. I'm probably a purist, but my band gets great results by using the one-Bose-per-player approach with as few effects as possible. Just whatever the song requires.
[rant off]


This is a great point and is absolutely true. The power for good or evil is in your hands. A *lot* of power in a very small pacakge.

Ive thought about this a lot and I see it this way - with the model I and model II you are hearing *exactly* what you are doing. In a triple system setup, an effect that sounded great on stage a lot of times did not transfer to audience. With everyone hearing the same thing, it gives the artist the power to really make it sound great. Maybe not right at first - but with some effort, some evaluation and 'woodshedding' an artist can really hone in their unqiue and personal sound. And then they can take that precisely dialed in tone, SAVE it on their T1(tm) in what we call a 'Scene' and then take it to every gig and deliver that tone to everyone with either a model I or model II.

It's a lot more power, but I think it's easier to deploy that power in an artistic way than it's ever been.

MikeZ
quote:
And how will we control all these effects while playing? Is there a foot controller in the works? I'd hate to run back to the T1 between every song to change or stop effects.


Great question. On the T1(tm) itself you have 'FX Mute' buttons to quickly enable and disable the effects on each channel induvidually. It is also fairly quick to change from say a Chorus to a Phaser - a task you could do in between songs. OR you could save the effects profile in a 'Scene' and recall it before the next tune. You can save up to 15 of these scenes on the unit.

You dont have to run back to change the settings. There is an accessory for the T1tm) that allows you to have the unit mounted securely to a mic stand, right at your fingertips. It's very fast tointereact with the unit when it's right there.

There are no plans for a foot controller at this time. Ive found by and large that musicians who need constant mid song effects on/off capabilities are already set up for it anyway, and you can easily integrate this typ of rig into the T1(tm).

MikeZ
Thank you for some great answers! True about the power for good or evil. Ultimately, the musician can choose, but now there are more choices. (Choose well!)

I've mounted my L1 remote on my mic stand and that works wonderfully. Since the T1 can be mounted, that will answer the question about quick control. Sounds like you Bose-folks have once again come up with a winner. I like the new footprint too.

As an owner of three L1 systems I've come to depend on quality sound at live performances. Now I may be forced to upgrade. I don't know if I should say thank you or send hate mail!! Oh...., uh..... THANK YOU!
quote:
Does this mean that we could use the Tone Match Module on its own and not in conjunction with either L1 model?

Matt,

I always understood that the "presets" (i.e. Tone Match) EQs were to couple the instrument to the Bose L1 in particular, making mics and instruments compatible with a 2-1/2" speaker as opposed to traditional PA gear that was used as benchmarks when developing those instruments.

I could be totally wrong. Smile
Hey Drumr!
Thanks for the reply. I guess it would make sense if the Tone Match Engine only worked with the L1's. I hadn't thought about the presets being designed specifically for the system. But I'll bet you're right.

I was just hoping for those time when I can't use my L1 that I might be able to take a little bit of Bose technology with me on stage. It seemed like a good idea to me. Thanks again for the response.

Take good care,
quote:
For instance, I am doing a short set this weekend on a big stage with a huge sound system. I can't set up my L1, even as monitor. If I had the Tone Match Module, could I use that, almost like a really fancy DI, run through the huge system and take advantage of the Bose Tone Match technology, EQ, effects, etc?



open road matt - sorry I missed this earlier. Great question!!

The short answer to your question is Yes, you can use the T1(tm) in this way.

As it turns out, without getting too deep into it, when the ToneMatch(tm) presets are developed, the resulting EQ curve also makes the instrument sound 'normal' on a more netural system like studio monitors or a home stereo. The presets will transfer somewhat even to a bigger PA system. Ideally, the engineer at the board could apply one global EQ to yout T1(tm) feed to make it sound 'normal' through the big house system.

My prediction would be you would be better off using the T1(tm) and it's presets than not using them.

You could always just turn the presets off in this situation if they were not working for you.

Lot's of the other features will completely transfer when using another system, like the effects, tuner and zEQ.

Hope this is helpful - keep the questions coming...
Matt,

The T1 can be used with other speaker systems while enjoying many benefits of the powerful processing ability of the T1 such as effects, scenes,and dynamics processing.

The ToneMatch presets would not be applicable in that situation as Drumr indicated the preset is optimized for the L1 only.

We do however always reccomend using a T1 with an L1 system whenever possible to enjoy the full benefits of the approach.

Let us know if you get to try it.

Thanks Neil
Thanks Neil and MikeZ,
I appreciate the help. It sounds like your opinions vary a bit as to whether or not the ToneMatch presets would be of any help on a big "conventional" PA system.

quote:
The presets will transfer somewhat even to a bigger PA system.


quote:
The ToneMatch presets would not be applicable in that situation as Drumr indicated the preset is optimized for the L1 only.


It sounds like there's only one way to find out! Smile

I'll certainly try one and if history is any indication, I'll be in line to get the L1 Model II ASAP. I don't use any effects through my L1 now and I never have with any PA system I've owned. It's just me, acoustic guitar, harmonica and Porchboard so I like it clean and natural.

I got the L.R Baggs Presets last month and those have really made a difference. That's why I thought it would so nice to have those presets be portable and usable through other systems.

Thanks for all the help!

Take care,
quote:
Originally posted by open-road-matt:
Hey Drumr!
Thanks for the reply. I guess it would make sense if the Tone Match Engine only worked with the L1's. I hadn't thought about the presets being designed specifically for the system. But I'll bet you're right.

I was just hoping for those time when I can't use my L1 that I might be able to take a little bit of Bose technology with me on stage. It seemed like a good idea to me. Thanks again for the response.

Take good care,


Matt,

In that case you could require the venue to supply you with an L1 for your onstage monitor (if possible in the rider) & just plug in your T1 & go.

Tom
Hey Tom!
You're right. And it's pretty rare that I have to go without my L1.

I'm part of a neat event in St. Louis this weekend. In fact I just loaded two L1's (each w/2 B1's) into my Camry. We are going to use my L1's for the acts that play during the day in the resort lobby. There is a ballroom with a big stage, big PA, lights, etc. where the final acts of the evening/night will play. The last act each night is a big band.

I'm doing a set Saturday evening on the big stage. Theoretically, I could ask to set up my L1 and use it as my monitor and take lines out to the house. But I'm the "new guy." So I don't want to be the "guy who brought too much stuff, took too long to sound check and insisted on setting up his own PA."

They are doing three solo acts back to back before the band Saturday. And while I always want to sound a good as possible, I know that you know the importance of finding a balance in these situations between being picky about sound/tone and being easy to work with. I pretty much need to be off stage in one trip.

And I don't think I have reached the point, as nice as it would be, to "require" anything in my rider. They'd probably tell me what I can do with my "requirements!" Smile

That's a long post but this weekend got me thinking about how great it would be to take my ToneMatch presets, my EQ settings, etc. with me where ever I go. That way, L1 or not, at least I know I'm starting with all the settings I am used to. (or will be used to with ToneMatch Engine!)

Thanks for the help!

Take good care,
Matt
OK. I'm here in Frankfurt, Germany, at our global launch for the L1 Model II and T1(tm) systems. Would you please indulge a rave from a very biased source (one of the L1/T1 designers) who has some jet lag?

There is an amazing band called "Straight Up" that helps Bose demo our Live Music products in Europe (where we sell to as many musicians as the US, btw). They've been playing many sets per day to folks attending this show (the show is Musikmesse, a huge show: my guitarist colleagues have pretty much dissappeared into the many guitar maker's booths and not come back. Their credit cards are now at their limits, they've mortgaged their homes, and they're listed as missing persons - but that's another story)

This band is made up of guitar, keyboards, drums, bass, female lead vocal, sax and trumpet. They are rockin, and screamin, which is more of a horn player's term - trumpet players know exactly what I'm talking about here.

One of the coolest things, and the reason I'm posting here, is that they rehearsed in a different country from the show (Holland, maybe?), using the T1(tm) ToneMatch audio engines. Each musician selected their own presets, zEQ, and effects, and adjusted them to make them sound exactly the way they wanted. In a different country.

Then, they each saved the "scenes" (a scene is all the settings) on their T1's, and brought them to Frankfurt.

So, I helped set them up in Frankfurt. The T1 with the saved scene called "Ronnie" was for the guitar player (named Ronnie, of course). Etc. for the others. So in the new location, it was just, bam, set up the T1's, start playing, and the sound was amazingly close to what we needed, right out of the box. Minor adjustments in level for the new hall were all that was required. Unbelievable portability!

Imagine - your sound is saved on your T1(tm). You either save your settings onto a PC and email them to your next gig (!), or just bring your little T1(tm) to your next gig and use someone else's L1. It's like the T1 is now part of your instrument, instead of part of the sound system.

People using the POD XT or other modelers have had some of this portability of settings before - but here it is for you L1 users, and, I gotta tell ya, even though I was working with the other designers on this product, like Hilmar and Cliff, it totally surprised me how sweet it is in use.

The band sounded incredible (Ok, ok, I'm biased - but they brought down the house on many occasions). For example, even from "backstage", 180 degrees off axis, where I would hang out to check for technical issues during the show, I could hear the highs of the guitar clearly and distinctly as he wailed from across the stage. To my ears, the dispersion of sound with the model II is to a level where you almost don't need to talk about it any more. People are actually going to forget that high frequencies used to be directional! Smile Hmmm. We'll have to explain to our children that in the old days, you could only hear the clarity of a sound if you were standing right in front of it. . . . Smile

The musicians (and they were pros) seemed to adapt with ease to having the T1 at their fingertips, and were easily making adjustments like muting vocal mics when not in use, or muting effects when a singer's mic was used for announcements, or just tweaking volume for solos or ensemble playing, or for balance.

I would usually rather leave the posting of opinions about our products to the musicians on the board that don't work for Bose! It's more important what the rest of you hear and think.

But since I've had an early listen to some bands using the system, and played with it, I wanted to share my enthiusiasm. I hope it doesn't sound like Marketing Hype! I'm excited, as a musican an engineer, and wanted to share that with you. Take it with a grain of salt until you experience it for yourself.

Thanks for reading!

Bill
Bill,

That's simply awesome. The idea of the portability of the T1 is something I was thinking of as well. I'm thinking that the L1MII could be the preferred system of choice in the future for jetting musicians at most venues with the performers only having to travel with a T1 from gig to gig. Emailing scenes or it would even be cool to be able to save them to USB drive or SD card that could plug into the T1 & transfer the scenes instantly to the T1 you're using for that gig.

Tom
Open road matt,

While you certinaly can use your T1 with other gear keep in mind that the "big idea" behind ToneMatch is "closing the loop" and delivering a complete system for musicians.

That means that when you create a ToneMatch preset you must know the input transducer (turns motion into electricity) - a mic or a pickup -- and a the output transducer - the loudspeaker -- to really get the full benefit.

Plugging your T1 into another speaker will certainly work, and the preset might sound great, but, in the end it's not really a "ToneMatch" unless you're using preset with the L1 because the preset was created with the L1. Did that make sense?

And Bill is wrong ... I have not mortgaged my house ... yet. Razz

Steve
Thanks Steve!
The reality is that I've used my L1 for probably 99 percent of all the shows I've done in almost 2.5 years. And I know that will be the case in the future, either with my "classic" or model II. The ToneMatch engine sounds like a great tool with either L1. And the ability to use it with other systems won't influence my decision to get one, it would just make it extra cool!

Thanks again for all the help.

Take good care,
Matt
Tom,

5 hours of sleep last night but I'm up and ready to go again. Buzzzzzz (where's the coffee?)

Matt,

I hear ya. I think that's why it's never been done before.

The idea of voicing a mic, let's say an Audix OM5, to the many, many, many possible combinations of loudspeakers must have seemed like a daunting task. Then, with conventional loudspeakers, where you sit in the room sounds different so why bother trying to make a ToneMatch preset at all? They build their gear and "average" it for many different systems.

But, with an L1 speaker, the sound is pretty much the same no matter where you are in the room, so you can voice a ToneMatch preset for a mic or instrument and feel confident that what you did in the lab will translate to what the musician will hear at thier gig. Now we can dail in a "precise" sound for a mic instead of an "average" because 1) you know what speaker it's connected to and 2) you know that no matter where the person is sitting it's going to sound the same.

I hope that helps.

Back to "work" ... it's a whole lotta fun! e-ya tonight.

Steve
COnsidering the base has been reduced in weight to 18 pounds let me ask this...Do the speaker cyclinders weigh the same as the Classic cylinders? What does the T1 weigh? Will the T1 have a bag of it's own?

Also, other then the speakers being articulated to spread sound better are there any other improvements to the speakers themselves or are they exactly the same as the Classic cylinder's speakers?
quote:
Originally posted by Sludgefactory:
Do the speaker cyclinders weigh the same as the Classic cylinders?


Yes, within a pound or so.

quote:

What does the T1 weigh? Will the T1 have a bag of it's own?


2.1 pounds. The T1(tm) does come with it's own bag. It also has a hard plastic cover to protect the face.


quote:

Also, other then the speakers being articulated to spread sound better are there any other improvements to the speakers themselves or are they exactly the same as the Classic cylinder's speakers?


They are basically the same - the same size, same output.
I note one "error" on the web site -- if I assume the owner's manual is correct.

The T1 owner's manual indicates the XLR-1/4" combo inputs are for TS unbalanced inputs (just as in the L1 Classic).

The web site "roll-over" details indicate these inputs are TRS inputs ... with the implication that stereo signals into one T1 channel will be summed.

Which is more correct? What is the correct specification on those "XLR-combo" inputs of the T1?
quote:
Originally posted by Tom Hall:
Website seems to indicate the T1 is not Mac compatible. Is this the case, and if so, any plans to change that?


Tom, at the present time this is true. We are currently looking into this.

Hope your Stone Chruch gig went well...
MikeZ
quote:
Originally posted by Tom Hall:
Website seems to indicate the T1 is not Mac compatible. Is this the case, and if so, any plans to change that?


One work around would be evident for Mac users with the new dual Intel processors - they can run a Windoze environment simultaneaously with the Mac OS with the right software. Wouldn't it be a bright future, when operating system incompatibilities become a thing of the past? Wink

Ken

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