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By Craig Jackson, BOSE Corporation
Musicians and DJs who have used BOSE L1® systems know about their consistent tonal balance, 180 degrees of horizontal coverage, and portability. But the best-kept secret just may be theaudio engine.
The is more than a mixer. It’s a multichannel digital audio device containing the most advanced tone shaping tools from audio engineBOSE, including a comprehensive library of ToneMatch presets and proprietary zEQ. This technology from BOSE is designed to get you sounding your best faster than ever before.
This device accommodates up to four sources and provides a complete suite of studio-class effects and processing for each channel. It can be used with an L1 system, as a personal direct box—when connecting to larger front-of-house systems—or as a USB recording interface. Its large backlit LCD screen and encoder provide quick access to modes, effects, and parameters, including ToneMatch presets and zEQ. And all of this in a rugged, compact size that fits in a backpack or cable bag.
What makes the audio engine unique is BOSE ToneMatch technology. It can be difficult to properly EQ an instrument or microphone at a gig or during sound check. There’s never enough time to dial everything in, and often the right equipment isn’t available to make the necessary adjustments. It’s a constant struggle from venue to venue and it’s less than satisfying to perform when you’re not comfortable with your tone. That’s why BOSE invented ToneMatch technology. It makes it easier to achieve ideal sound, allowing you to focus on the performance.
ToneMatch removes the guesswork from the EQ process. It’s as if a skilled studio engineer listened to the sound of your particular instrument or microphone being played through an L1 system, made a series of EQ adjustments to optimize the sound, and then saved those changes as a preset to be instantly recalled at the touch of a button. That is the power of ToneMatch technology.
Each ToneMatch preset is custom designed by a skilled BOSE engineer, often working directly with the instrument manufacturers that include Taylor, Gibson, Breedlove, Ovation, Takamine, and Audix, among others. This ensures the instrument sounds the way the manufacturer intended when played through a BOSE L1 system.
If you don’t see a specific preset for your music instrument or microphone, don’t worry. BOSE includes generic presets for acoustic guitars with piezo pickups along with a host of other presets for popular microphones and instruments such as bass, mandolin, and violin. Access to presets is easy. They are organized into banks: vocal microphones, electric guitars, acoustic guitars, keyboards, basses, percussion, winds and horns, and more. Select a bank, load a preset, and you’re done.
Further EQ refinements can be made with the zEQ feature. This EQ technology automatically adjusts the range of tone controls to match the instrument or microphone selected, making it easier to fine-tune your sound. Unlike the fixed EQ ranges of conventional mixers, zEQ redefines low, mid, and high ranges for each ToneMatch preset allowing you to cut or boost specific frequency ranges for different instruments and microphones.
ToneMatch presets can be easily updated via the USB port on theaudio engine. Go to Bose.com/livesound for additional ToneMatch presets from Audix, Breedlove, Gibson, Taylor, Takamine, Ovation, and more. And there’s never a charge.
A suite of effects and dynamics processing allow you to choose from three delay types, 10 modulation effects, and seven dynamics processors—and assign them independently to each channel. Five reverb types are available and can be globally assigned with individual channel controls for delay time, mix level, and brightness. The audio engine also includes a chromatic tuner that can be accessed from any channel.
The Scenes feature lets you store your customized settings for specific gigs and recall them at a touch of a button. This feature helps simplify setup when you’re using an L1 system in different venues. The audio engine comes with five predefined scenes and the ability to save a total of 10.
The features four independent channels that offer a great amount of flexibility for easy connection to a wide variety of sources. Channels 1 through 3 feature mic/line analog inputs accepting balanced XLR or unbalanced 1/4" audio cables. These channels also include 1/4" preamp outputs for connecting dry output signals to other sources. Channels 4 and 5 accept balanced or unbalanced ¼" audio cables for analog stereo connections to keyboards, mixers, and computers.
A 1/4" aux output is also available to create an independent submix of channels 1 through 4 or 1 through 5. There is a master 1/4" analog output, and a ToneMatch port to connect the digital output from theaudio engine to the ToneMatch port on the L1 Model II system.
Each channel includes level and trim controls with signal/clip LEDs, and dedicated audio and FX mute buttons. A channel select button is used to access effects and processing.
A USB port is available for updating theaudio engine and backing up scenes to a USB drive.
The audio engine easily connects to an L1 Model II system via the included digital ethercon cable. When connecting the T1 ToneMatch audio engine to an L1 Compact or Model I system, a 1/4" analog cable and a T1 ToneMatch audio engine power supply are required.
With these advanced ToneMatch technologies, the high level of tone customization that most musicians can experience only in a recording studio is now available onstage for any performance. And with a suite of studio-class effects and processing, theaudio engine makes it easier than ever to dial in your signature sound.
Bring your onstage tone up to studio standards. Order theaudio engine from Musician’s Friend and get the lowest price and satisfaction guaranteed.