See the video review of the Bose L1 Personal
  Amplification System, Model II

Bose has always been known for its nontraditional approach to home sound systems and small PA speakers, and the company is particularly renowned for packing a lot of power and frequency response in small speakers. The announcement of the L1 Personal Amplification System (PAS) in 2003 (see Gearbox, September 2004) signaled another radical step in PA design that embraces the Bose philosophy of making small sound bigger and better.

The unique-looking L1 is based on Bose’s Articulated Array technology, which uses a system of numerous small speakers to distribute sound more uniformly throughout a room. The L1 is especially intriguing for guitarists because it promises both clear sound and the performance of a larger PA system without the weight and complexity. The system is also designed to be placed behind the performer, which Bose claims eliminates the need for a monitor or guitar amplifier, and allows the performer to hear output more like that which the audience hears. Bose recently released the L1 Model II, which refines the original system and adds a programmable mixer with a full array of effects and digital models of various instruments and microphones.

SOME ASSEMBLY REQUIRED

The basic L1 Model II consists of a base stand that houses a power amplifier, the two-piece Cylindrical Radiator (a tall, slim column of 24 small speakers) and a B1 bass module that fits conveniently into the stand. The Model II base is smaller and lighter than the original and uses folding legs to reduce the size when packed up. Our review system also included the optional ToneMatch audio engine, a tiny but flexible digital five-channel mixer that provides effects, phantom power, and a variety of inputs and outputs. Bose offers several options, including additional bass modules and a 250-watt power amp.

Setting up the L1 is quick and easy—the whole system goes together in a few minutes. Although the total package weighs about 85 pounds, no single piece weighs more than 25 pounds. The system easily fit in the trunk of my car with plenty of room for a guitar and extras. One downside to the L1’s non-rectangular shape is that the pole segments don’t fit conveniently on a simple dolly, so some ingenuity might be required if you find the pieces too heavy to carry.

TONEMATCH

ToneMatch is a 2-pound, book-size digital five-channel mixer that can be mounted on the L1 or remotely—on your mic stand, for example. Each channel has three-band EQ, a single parametric EQ, and an effects set including reverb, delay, chorus. The effects sound excellent and easily outperform the effects I’ve found on many guitar amps. The first three channels have Neutrik connectors with phantom power. These channels also feature direct outs and can be part of two separate mixes. The final two channels use line inputs, making them most useful for CD players, drum machines, or inputs from another mixer. The ToneMatch’s zEQ also features hundreds of presets by Bose engineers, who preprogram optimum settings for many popular instruments and pickups. You can also create your own presets or “scenes” so that you can instantly recall proven settings for a room you play regularly.

ON THE JOB

At gigs, the L1 proved to be a versatile and superb-sounding system. In a test with a local singer-songwriter, I was impressed with the way the sound covered the entire room at remarkably consistent volume, allowing everyone to hear clearly without blowing away the front seats—or the performer. The system flattered both the performer’s guitar and vocals. And it was helpful to be able to optimize the system with presets the ToneMatch provides for the Taylor guitar and Neumann KSM104 microphone through which he was playing. Feedback problems were almost nonexistent, and the sound that envelops you seems so natural that it’s easy to just relax and play.

The L1 also excelled in settings where I had to reconcile a large space with a volume-sensitive audience. And though I had previously encountered trouble covering the 200-person assembly room without being too loud for those close by, the L1 allowed me play my Martin OM with a K&K pickup at a comfortable level. I could hear every note, no one complained about the volume, and those in the back told me they could hear me for the first time.

THE WRAP

Bose makes strong claims about the performance potential of the L1, and at least in acoustic situations, the system more than backs them up. Those who need to produce ear-splitting volume in the front row or produce chest-thumping bass may not be impressed, but the L1 has power to spare for most acoustic music, and the system clearly excels at amplifying acoustic guitar. At this price point, there are many competing PA systems, but with its relatively small size; clean, transparent sound; resistance to feedback; and excellent room coverage, the L1 could be just what many acoustic guitarists are looking for.