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.

I sometimes have the impression that some users think that buying a T1 will immediately solve all problems. Connect microphone or guitar select a preset and someone waves a magic wand and everything's perfect. After nearly 50 years of gigging experience I know that this just can't work. 

Each person sees things differently. Tastes and preferences aren't (thankfully) identical. Therefore the way that e.g. a particular Taylor guitar should sound (and, please note, this is only an example) might be OK for guitarist Nr.1 but not quite right for guitarist Nr.2 etc. The same goes for microphones. let's take 2 vocalists who both use a Shure Beta 58A. Singer Nr. 1 finds the preset to be just what he needs. Singer Nr.2 isn't quite happy with the sound and has to tweak it until he's happy. He may even try out other presets e.g. a Shure SM 58 and be happier with that. 

The way I see the list of Bose T1 Presets is this:

The first Bose Presets were incorporated into the first L1 (now known as the Classic) when it first appeared . The idea with the original L1 was to work together with certain manufacturers to EQ their instruments/mics to sound the way they envisaged the way they should sound when played through an L1 and thus making things easier for the musician. This worked pretty well and these EQ settings were saved and named presets which could be called up by selecting them. You could select a preset by number from a list. That was it. This in itself was a big step towards helping musicians to be responsible for their own sound on stage. The idea at the beginning was one L1 per musician and for the first time musicians had the chance to sound really good in small to medium settings. The first L1's had a remote control (the R1) connected via cable to the power stand. This meant that the musician had more control over his sound without having to bend down to the power stand and didn't need to stand next to his L1 on stage.

We were still basically in the analog world of connections.

The L1's were improved and there came the innovation of having a small mixer which could be attached to the Loudspeaker column. The mixer was called the T1 and was connected to what is now called the Model II via the Tonematch connection which is digital and also supplies the T1 with Power.

The T1 is a really good, small, handy digital mixer designed to work well with the L1 family of PA systems. 

The idea behind this was a good one and designed to help musicians who had little or no experience with being responsible for their own live sound when gigging, giving them as much help as possible to find a sound that they could work with. The number of presets grew as the idea was expanded to take in more manufacturers. 

As with all companies, Bose is not exempt from it's employees needing a change and moving on to other companies. Apparently this is what happened on the Preset side of the story. The man responsible for this moved on. I say apparently because no one has told me this and it's my assumption. I'm only a user and not a Bose employee.

This could well be the reason that there have been no new presets in the last 8 or 9 years or so. I don't know exactly how long it's been. It's not really all that important. This means that anything which has appeared on the market since then (e.g. the LR-Baggs Anthem Pick-up which I use myself) has no official Preset to call it's own).

With the T1 Bose gave the user the possibility of selecting a Preset and then by means of tone controls which operated in the frequency spectrum of the instruments they were made for. Even in the beginning there weren't presets for everything on the market. This would be an impossible task. They selected a few well known companies and worked with them to create EQ-Presets for certain instruments in their range of products (a microphone is also an instrument in my books).

As there were so many different instruments available back then, they could really only cover a small selection. Since then even more things have become available. Just no more new presets. However, nothing has really changed in the basic idea as far as I'm concerned.

OK I'm not completely inexperienced in the use of mixing desks etc., but the general idea with the T1 is to make it easier for the less experienced of us to get a decent sound. This is still the case.

Here are a couple of examples:

Preset Taylor Guitars: G. Concert Strum for a Taylor Grand Concert with strum style playing. This is how a person at Taylor would expect this particular model should sound. Many people will be extremely happy with the preset just as it is. Others will tweak the sound with the  Tone Controls available on the T1 (these controls are designed with each preset to work in the frequency range of the instrument depicted by the type of preset. With this example it would be an acoustic guitar.

There will be other guitarists who may prefer to try another preset altogether and find that one more to their liking. This is perfectly OK. The Preset gives you a starting point which you can then refine. If you're not used to being responsible for your own sound such a starting point can be worth it's weight in gold.

Microphone Presets were created together with the manufacturers (generally in a close micing situation where the proximity effect was apparent and compensated). This is why some singers who've chosen the preset for their microphone but sing 12 inches away from it find their voice to sound really thin. They're not singing in close proximity but the preset is compensating for close proximity. In such a case they may need to increase the lows a bit. Better would be to sing really close to the microphone, but some people either can't or don't want to.

These are just 2 examples. 

What I am trying to say here is:

Presets give you somewhere to start with tone controls which operate in the frequency spectrum of the designated instrument to be used to "flavor" the sound as required. There is nothing to prevent you from trying out a preset different to the one designated for your instrument if you're not happy with the sound.

People who have instruments/microphones for which there are no presets have to try out what's on offer in the preset banks.

My advice for anyone just starting out with a T1 is as follows:

Connect your instrument/microphone to the T1. Select the input channel that you've connected up to and try out the different presets for the instrument TYPE that you're using. Don't tweak at this time. Just go through the presets and see which one or which ones you prefer the sound of. Then start to tweak the sound. It doesn't matter what the given name of the preset is. Whichever preset works best for you is the right one because there's nothing more subjective than personal taste. Once you've found a preset which works and have tweaked it, save it and give it a name.

I generally find that it's reducing the level of a certain frequency spectrum that works best for me rather than increasing. Especially in the mids. Not always though. 

Try out different settings. You can't make any real mistakes here. Whatever you tweak and like is OK. Don't be afraid to try out different things.

I hope that this has been of help to some of you who feel a bit overwhelmed when starting out with the T1. I love the unit for its simplicity in comparison to most mixing consoles on the market, although I'm experienced enough to use them (and do use them). The size of the T1 and the fact that I can even have it on my microphone stand when playing have made it my go to mixer for most things. For other things where the T1 is too small I have to use something larger.

The effects section in the T1 is also a collection of high quality effects. E.g. Reverb, Delay, Chorus, also a single channel parametric equalizer which can be used to dial in on a problem frequency (e.g. where feedback occurs) and then lower the level of it to decrease the chance of feedback.

There are several good Videos explaining how to make use of the various aspects of the T1 so I'm not going to cover anything along those lines. The idea behind this article is to try to help people who may be a bit apprehensive about "fiddling" around with the T1 in the search of a decent sound. I hope that what I've written here will inspire  these people to try out their hand at acquiring a good live sound.

It's all well and good asking questions here on the forum. That's what the forum's here for. At the gig it's a completely different ball game. The better you've learned what the T1 can do, the less you're going to be afraid of what happens if something goes wrong. Ask your questions here on the forum. Try things out with the T1 and you'll have more confidence when you're out there gigging with it.

Tony

 

 

 
 
Original Post

BRAVO!  Tony, your post is not only informative but quite accurate, at least where my own experience with the T1 has been.  Especially so with your ending statements.  Things can and do happen in live gigs and if you know the T1 thoroughly, the fix can be accomplished in moments instead of losing an audience to "dead time tweaking and testing."  The same settings that are perfect in the practice room/studio can and will often change in the live setting.  A saved scene for specific venues can often change just based on the amount of people that are lacking or filling a room with bodies as well as other changing factors.  Knowing how to tweak instantly from having the learned knowledge and experience doing so is quite rewarding.  Your advice on not insisting upon a specific preset is also very good advice.  I thought when I purchased my Neumann KMS 105 that it's own preset was going to be a magic wand for a magic mic.  Not so (for me).  Using the Hand Held Mic preset and then balancing and tweaking...and THEN saving was the magic wand for this magic mic.
    For the same reason I kept my older (good, just not the excellent of Bose) PA system, I have also written out and filed away all of my settings individually.  Because it is a machine...and eventually machines will die.  Just like the hard drive of a computer, backup is essential.  When that dreaded someday my T1 should die, it will be replaced.  If I have all the numbers and settings recorded in writing, such as exactly where each parameter of EQ, Reverb, etc for each channel and mic/instrument is,  I will be able to get back to the exact place I was before it's death in less than an hour instead of starting from scratch for hours and hours again.    
    The beauty of "saved scenes" opens the door for fearless tweaking and experimenting.  With the ability to always be able to go back to where you started, there is no reason to not explore every possibility.   Sometimes experiments produce the horrid, sometimes they produce just the right magic.  Saved scenes allows choice and freedom to explore.   
      Your time, thoughts, and experiences shared creating this post is most appreciated and will be of great benefit to any T1 owner out there.                            I'm hoping to read others ideas and experiences here with the T1.   Thanks again!   Tom    

Hi Tom,

with your help and the help of others sharing their experience we might well have a thread here which can be a help to many in the future. I thought I'd write the story because I find myself quite often repeating advice that I've given in answer to similar questions. I think that if we can remove some of the apprehensiveness which many seem to have when it comes to using the T1, we'll have helped many to have a better understanding of what they're doing, and therefore help them to have a more fulfilling experience with their L1's.

Hi ST,

I'm glad you like the article. Thanks for the link to the videos. They're the ones I meant. You've done a very good job with them giving people "hands on" advice on how to do things.

There's a saying that says "You can lead a horse to water" but it's still got to do the drinking itself. The videos you've made really explain the topics very well. Anyone who watches them should be able to do the things you've described. I hope that you can somehow keep finding the time to do a new one once in a while.

The link to the Tonematch Story is also good. I haven't read that in a while. It will surely be of help to some of our members, especially new ones who don't know how it all came to happen.

Cheers for now,

Tony

@Musicianthomas

Musicianthomas posted:

I have also written out and filed away all of my settings individually.  Because it is a machine...and eventually machines will die.  Just like the hard drive of a computer, backup is essential.  When that dreaded someday my T1 should die, it will be replaced.  If I have all the numbers and settings recorded in writing, such as exactly where each parameter of EQ, Reverb, etc for each channel and mic/instrument is,  I will be able to get back to the exact place I was before it's death in less than an hour instead of starting from scratch for hours and hours again.    

Thanks for mentioning that Tom.

This may be of help to yourself and others regarding the use of scenes, backing up scenes, sharing scenes etc.

T1_ToneMatch®_Audio_Engine_/_Scenes_Documentation

However in the days of Digital Fatalities, it can never hurt to have the old analog written word as a last resort.

Tony

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